Hello OP @S Moore,
Until today, after your kick-off of this interesting thread, I have been being a careful read-only-member on this thread. Now, please let me participate a little bit having my primitive and general suggestions.
First of all, your present approach seems to be very much similar to my almost-five-year exploration journey (thread) of PC-DSP-based multichannel multi-SP-driver multi-amplifier fully active audio system where I converted passive 3-way SP system into fully active configuration with adding L&R super-tweeters and L&R subwoofers, of course in fully active way.
For your quick understandings on my almost-completed 5-way 10-channel active system, you can find the details of my latest system setup in my post #931 on the project thread. __Furthermore, for your overview perspective and "search" purposes, you can find here and here (exactly same contents) the hyperlink index for my project thread.
I assume these posts and threads under the below spoiler cover would be of your reference and interest:
In this post, I would like to just personally suggest the following only two points.
1. You would please consider (and at least test/evaluate) the relative gain (tone) controls between the SP drivers not only in digital domain using DSP but also in analog domain using HiFi grade pre-amplifiers and/or integrated-amplifiers to enable optimal safe flexible combination and pros; I wrote in my post #931 as follows under the below spoiler cover.
2. I would like to strongly suggest you evaluating your system at each of your progress steps not only by various objective measurements but also by your careful subjective listening tests using your own consistent music playlist consists of nice-recording-quality tracks selected from various genres of your preference, of course in your consistent listening room acoustics. In this perspective, my independent thread and posts thereof under the below spoiler cover would be your reference and interest:
In case if you would be seriously interested in the intact tracks of my such "Music Playlist" as well as "the test tone-burst signals I prepared" and "SONY Super Audio Check CD", please simply contact me though PM communication.
I do hope much good luck in your present bi-amping (or further mutli-amping) audio project!
Until today, after your kick-off of this interesting thread, I have been being a careful read-only-member on this thread. Now, please let me participate a little bit having my primitive and general suggestions.
First of all, your present approach seems to be very much similar to my almost-five-year exploration journey (thread) of PC-DSP-based multichannel multi-SP-driver multi-amplifier fully active audio system where I converted passive 3-way SP system into fully active configuration with adding L&R super-tweeters and L&R subwoofers, of course in fully active way.
For your quick understandings on my almost-completed 5-way 10-channel active system, you can find the details of my latest system setup in my post #931 on the project thread. __Furthermore, for your overview perspective and "search" purposes, you can find here and here (exactly same contents) the hyperlink index for my project thread.
I assume these posts and threads under the below spoiler cover would be of your reference and interest:
- In depth insights on SP attenuators and their elimination in multichannel system: #248, #251, #99(remote thread), #100(remote thread), #101(remote thread)
- Frequency (Fq) responses in the completed system measured by using “cumulative white noise averaging method” under the present standard crossover configurations and relative gains_Part-6_Summary, discussions, and a little step forward: #404, #405-#409
- Precision measurement and adjustment of time alignment for speaker (SP) units: Part-1_ Precision pulse wave matching method: #493
- Precision measurement and adjustment of time alignment for speaker (SP) units: Part-2_ Energy peak matching method: #494
- Precision measurement and adjustment of time alignment for speaker (SP) units: Part-3_ Precision single sine wave matching method in 0.1 msec accuracy: #504, #507
- Measurement of transient characteristics of Yamaha 30 cm woofer JA-3058 in sealed cabinet and Yamaha active sub-woofer YST-SW1000: #495, #497, #503, #507
- Perfect (0.1 msec precision) time alignment of all the SP drivers greatly contributes to amazing disappearance of SPs, tightness and cleanliness of the sound, and superior 3D sound stage: #520
- Not only the precision (0.1 msec level) time alignment over all the SP drivers but also SP facing directions and sound-deadening space behind the SPs plus behind our listening position would be critically important for effective (perfect?) disappearance of speakers: #687
- Summary of rationales for "on-the-fly (real-time)" conversion of all music tracks (including 1 bit DSD tracks) into 88.2 kHz or 96 kHz PCM format for DSP (XO/EQ) processing: #532
- A nice smooth-jazz album for bass (low Fq) and higher Fq tonality check and tuning: #910, #63(remote thread)
Thread: Music for Testing Treble (High Frequency) Sound
- Frequency (Fq) responses in the completed system measured by using “cumulative white noise averaging method” under the present standard crossover configurations and relative gains_Part-6_Summary, discussions, and a little step forward: #404, #405-#409
- Precision measurement and adjustment of time alignment for speaker (SP) units: Part-1_ Precision pulse wave matching method: #493
- Precision measurement and adjustment of time alignment for speaker (SP) units: Part-2_ Energy peak matching method: #494
- Precision measurement and adjustment of time alignment for speaker (SP) units: Part-3_ Precision single sine wave matching method in 0.1 msec accuracy: #504, #507
- Measurement of transient characteristics of Yamaha 30 cm woofer JA-3058 in sealed cabinet and Yamaha active sub-woofer YST-SW1000: #495, #497, #503, #507
- Perfect (0.1 msec precision) time alignment of all the SP drivers greatly contributes to amazing disappearance of SPs, tightness and cleanliness of the sound, and superior 3D sound stage: #520
- Not only the precision (0.1 msec level) time alignment over all the SP drivers but also SP facing directions and sound-deadening space behind the SPs plus behind our listening position would be critically important for effective (perfect?) disappearance of speakers: #687
- Summary of rationales for "on-the-fly (real-time)" conversion of all music tracks (including 1 bit DSD tracks) into 88.2 kHz or 96 kHz PCM format for DSP (XO/EQ) processing: #532
- A nice smooth-jazz album for bass (low Fq) and higher Fq tonality check and tuning: #910, #63(remote thread)
Thread: Music for Testing Treble (High Frequency) Sound
In this post, I would like to just personally suggest the following only two points.
1. You would please consider (and at least test/evaluate) the relative gain (tone) controls between the SP drivers not only in digital domain using DSP but also in analog domain using HiFi grade pre-amplifiers and/or integrated-amplifiers to enable optimal safe flexible combination and pros; I wrote in my post #931 as follows under the below spoiler cover.
Here in this post (#931), please let me emphasize again about the pros and merits of relative gain (i.e. tone) control not only in digital domain but also in analog domain using pre-amplifiers or integrated-amplifiers (in my setup). I recently wrote again in my post #56 on a remote thread like these;
Yes, as for safe and flexible tone controls (or I can say "relative gain controls among the multiple SP drivers"), my stance (policy) at least, is that we are encouraged to utilize the "best combination" of "DSP configuration in digital domain" and "analog domain tone controls using HiFi-grade preamplifiers and/or integrated amplifiers".
We need to note (and to respect for) that analog domain tone controls (relative gain controls among the multiple SP drivers) give no effect nor influence at all on the upstream DSP configuration (XO/EQ/Gain/Phase/Polarity/Group-Delay). I believe that this is a great merit of flexible tone controls in analog domain. We know well, on the other hand, in case if we would like to do the "tone/gain controls" only within DSP configurations, such DSP gain controls always affect more-or-less on "XO" "EQ" "phase" and "delay" of the DSP settings which will leads you to possible endless DSP tuning spirals every time; within DSP configurations, XO EQ Gain Phase and Delay are always not independent with each other, but they are always interdependent/on-interaction.
Just for your possible reference, my DSP-based multichannel multi-SP-driver multi-amplifier active system has flexible and safe analog level on-the-fly relative gain controls (in addition to upstream on-the-fly DSP gain controls) for L&R subwoofers, woofers, midrange-squawkers, tweeters, and super-tweeters, all independently and remotely. My post here shows you a typical example case for such safe and flexible on-the-fly analog-level tone controls. This my post (as well as this post) would be also of your interest.
Of course, I know well that I (we) can also perform such relative gain control using DAC8PRO’s 8-channel output gain controllers. I do not like, however, to change the DAC8PRO’s output levels frequently on-the-fly (while listening to music) due to safety and inconvenience concerns; I like to keep DAC8PRO’s analog out gain level always at constant -4 dB which should remain to be usually “untouchable” in my case.
One of the very unique aspects/features of my multichannel audio rig is that I fully utilize four HiFi-grade “integrated amplifiers” plus L&R active subwoofers, each of them have its own gain (volume) controller for safe and flexible relative gain (tone) control in analog domain even on-the-fly i.e. while listening to music.
In this perspective, my posts #438 and #643 should also give you better understandings. Furthermore, my posts #317(remote thread), #313(remote thread) would be also of your reference and interest.
Yes, as for safe and flexible tone controls (or I can say "relative gain controls among the multiple SP drivers"), my stance (policy) at least, is that we are encouraged to utilize the "best combination" of "DSP configuration in digital domain" and "analog domain tone controls using HiFi-grade preamplifiers and/or integrated amplifiers".
We need to note (and to respect for) that analog domain tone controls (relative gain controls among the multiple SP drivers) give no effect nor influence at all on the upstream DSP configuration (XO/EQ/Gain/Phase/Polarity/Group-Delay). I believe that this is a great merit of flexible tone controls in analog domain. We know well, on the other hand, in case if we would like to do the "tone/gain controls" only within DSP configurations, such DSP gain controls always affect more-or-less on "XO" "EQ" "phase" and "delay" of the DSP settings which will leads you to possible endless DSP tuning spirals every time; within DSP configurations, XO EQ Gain Phase and Delay are always not independent with each other, but they are always interdependent/on-interaction.
Just for your possible reference, my DSP-based multichannel multi-SP-driver multi-amplifier active system has flexible and safe analog level on-the-fly relative gain controls (in addition to upstream on-the-fly DSP gain controls) for L&R subwoofers, woofers, midrange-squawkers, tweeters, and super-tweeters, all independently and remotely. My post here shows you a typical example case for such safe and flexible on-the-fly analog-level tone controls. This my post (as well as this post) would be also of your interest.
Of course, I know well that I (we) can also perform such relative gain control using DAC8PRO’s 8-channel output gain controllers. I do not like, however, to change the DAC8PRO’s output levels frequently on-the-fly (while listening to music) due to safety and inconvenience concerns; I like to keep DAC8PRO’s analog out gain level always at constant -4 dB which should remain to be usually “untouchable” in my case.
One of the very unique aspects/features of my multichannel audio rig is that I fully utilize four HiFi-grade “integrated amplifiers” plus L&R active subwoofers, each of them have its own gain (volume) controller for safe and flexible relative gain (tone) control in analog domain even on-the-fly i.e. while listening to music.
In this perspective, my posts #438 and #643 should also give you better understandings. Furthermore, my posts #317(remote thread), #313(remote thread) would be also of your reference and interest.
2. I would like to strongly suggest you evaluating your system at each of your progress steps not only by various objective measurements but also by your careful subjective listening tests using your own consistent music playlist consists of nice-recording-quality tracks selected from various genres of your preference, of course in your consistent listening room acoustics. In this perspective, my independent thread and posts thereof under the below spoiler cover would be your reference and interest:
my hosting thread:
An Attempt Sharing Reference Quality Music Playlist: at least a portion and/or whole track being analyzed by 3D color spectrum of Adobe Audition
and my summary posts thereof:
[Part-18] An Interlude or Provisional Finale of the Post Series: #669
and,
Updated, the latest, Audio Sampler Playlist as of October 20, 2022: #670
An Attempt Sharing Reference Quality Music Playlist: at least a portion and/or whole track being analyzed by 3D color spectrum of Adobe Audition
and my summary posts thereof:
[Part-18] An Interlude or Provisional Finale of the Post Series: #669
and,
Updated, the latest, Audio Sampler Playlist as of October 20, 2022: #670
In case if you would be seriously interested in the intact tracks of my such "Music Playlist" as well as "the test tone-burst signals I prepared" and "SONY Super Audio Check CD", please simply contact me though PM communication.
I do hope much good luck in your present bi-amping (or further mutli-amping) audio project!
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