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The "you" in your above sentence is pointing myself, right?
This thread is a kind of lengthy BLOGS on the progress of my PC-DSP-Based multichannel multi-SP-driver multi-amplifier fully active audio (audio-visual) project.
You would please find here (on this thread) and here (remote independent thread post) the Hyperlink Index of this thread and some of my related posts in remote threads.
In order to properly respond to your above worry of "(I have no idea how you arrived at that layout)", I am sorry, but it would be inevitable to ask your precious time for your understandings on the prehistoric story and very early "history" (until the arrival of OKTO DAC8PRO) of this project.
I would highly appreciate, therefore, if you could spare your precious time for a while to read through page 1 to page 5 (posts #1 dated April 9 of 2020 through around #100 dated May 10, 2020); after your kind read, you will have idea how I arrived atthe latest system setup (as of June 26, 2024) shared in my post #931 dated July 7, 2024.
By the way, as for very general discussion/guidance on sub-woofer to woofer crossover, I recently wrote this post #3 responding to @Smoey22's inquiry on his new thread.
Hello, I’d like to point out that here on this forum, we’re not audio engineering students but regular folks, often pressed for time and not keen on reading through numerous links that lead to even more references. I think even AI would understand and provide a straightforward answer to a simple question: what principles, specifically which acoustic filters, did you use when designing your four-way speaker system? Please, no links to other references. I know it might seem unreasonable, but could you kindly repeat the key points you’ve already mentioned? Please respond in no more than 100 sentences and under 2000 words.
In order to properly respond to your above worry of "(I have no idea how you arrived at that layout)", I am sorry, but it would be inevitable to ask your precious time for your understandings on the prehistoric story and very early "history" (until the arrival of OKTO DAC8PRO) of this project.
Yes I mean you as the designer. The part in bold was just to guard against my words being read as if you had just applied such things in that fashion. I haven't read in detail because it's not my question so I wasn't looking for an answer, I was just observing that the other poster seemed to be asking a different question to that answered.
OK, let me try as follows in 7 sentences, with ca. 350 words.
Prior to starting this project, I already had and much enjoyed really excellent passive 3-way SP YAMAHA NS-1000 plus L&R sub-woofers YAMAHA YST-SW1000 and L&R super-tweeters FOSTEX T925A, all driven and fed by a nice integrated amplifier ACCUPHASE E-460; those were my pre-project passive audio setup.
After receiving OKTO DAC8PRO, I fully eliminated the passive LCR XO network and attenuators from NS-1000 to make it fully active 3-way, i.e. each of the three SP drivers (as well as super-tweeters FOSTEX T925A) is driven directly and dedicatedly by each of the four amplifiers; sub-woofer YST-SW1000 has its own powerful amplifier in it.
The four HiFi integrated amplifiers have been very carefully evaluated and selected according to my policy "right-person-in-right-place" on amplifier exploration; all candidate amplifiers were actually evaluated in my audio setup at my listening room in my room acoustic environment.
I essentially nicely simulated and further optimized the YAMAHA's almost miracle passive (BW, 2nd-order) LCR XO network by active PC-based DSP software EKIO's 2nd-order LR filters at 50 Hz, 500Hz, 6kHz (plus passive 1st-order capacitor filter at ca. 8.8 kHz for super-tweeter); furthermore, the super-tweeters, directly driven by dedicated amplifier, were set in wide-3D reflective-dispersion-configuration using random-surface hard heavy thick glass material.
As the result of my rather long mountain climbing-type audio exploration project, I could achieve substantially better total sound quality in DSP-based multichannel multi-SP-driver multi-amplifier fully active audio setup compared to my pre-project passive audio setup, together with optimized XO configuration with sub-woofer and with super-tweeter, in my listening acoustic environment. You can get "at-a-glance" understandings on my latest system setup by looking at a few diagrams and photos I have recently shared on July 7, 2024; one diagram or photo would worth more than 1,000 words, I believe.
During the course of my audio endeavors, I have been using my own consistent "Audio Sampler/Reference Music Playlist" consists of 60 tracks which was/is widely shared with friends and colleagues within ASR Forum.
If you would be interested in each of the details in this audio project, I will be more than happy to give you the link(s) to my relevant post(s); for your further convenience, I also prepared Hyperlink Index to this lengthy BLOG-type thread.
OK, let me try as follows in 7 sentences, with ca. 350 words.
Prior to starting this project, I already had and much enjoyed really excellent passive 3-way SP YAMAHA NS-1000 plus L&R sub-woofers YAMAHA YST-SW1000 and L&R super-tweeters FOSTEX T925A, all driven and fed by a nice integrated amplifier ACCUPHASE E-460; those were my pre-project passive audio setup.
After receiving OKTO DAC8PRO, I fully eliminated the passive LCR XO network and attenuators from NS-1000 to make it fully active 3-way, i.e. each of the three SP drivers (as well as super-tweeters FOSTEX T925A) is driven directly and dedicatedly by each of the four amplifiers; sub-woofer YST-SW1000 has its own powerful amplifier in it.
The four HiFi integrated amplifiers have been very carefully evaluated and selected according to my policy "right-person-in-right-place" on amplifier exploration; all candidate amplifiers were actually evaluated in my audio setup at my listening room in my room acoustic environment.
I essentially nicely simulated and further optimized the YAMAHA's almost miracle passive (BW, 2nd-order) LCR XO network by active PC-based DSP software EKIO's 2nd-order LR filters at 50 Hz, 500Hz, 6kHz (plus passive 1st-order capacitor filter at ca. 8.8 kHz for super-tweeter); furthermore, the super-tweeters, directly driven by dedicated amplifier, were set in wide-3D reflective-dispersion-configuration using random-surface hard heavy thick glass material.
As the result of my rather long mountain climbing-type audio exploration project, I could achieve substantially better total sound quality in DSP-based multichannel multi-SP-driver multi-amplifier fully active audio setup compared to my pre-project passive audio setup, together with optimized XO configuration with sub-woofer and with super-tweeter, in my listening acoustic environment. You can get "at-a-glance" understandings on my latest system setup by looking at a few diagrams and photos I have recently shared on July 7, 2024; one diagram or photo would worth more than 1,000 words, I believe.
During the course of my audio endeavors, I have been using my own consistent "Audio Sampler/Reference Music Playlist" consists of 60 tracks which was/is widely shared with friends and colleagues within ASR Forum.
If you would be interested in each of the details in this audio project, I will be more than happy to give you the link(s) to my relevant post(s); for your further convenience, I also prepared Hyperlink Index to this lengthy BLOG-type thread.
Ok, from your post I gather that your concept, based on your experience with the passive and original crossover of the NS1000, was implemented in such a way that by adjusting the DSP parameters – namely frequency and filter slope – you kept tweaking until you achieved a similar effect. This is one way to do it, but there are other methods as well. If you're satisfied with the outcome of your work, then so be it. However, if you'd like to see what I or another colleague might come up with, I suggest that you take measurements of each speaker using RWE without the crossover but with those capacitors protecting the beryllium drivers. Just describe the distance at which the measurement was taken and send it as a zipped file (*.ZIP) as evidence.
P.S.
You can omit the 22 ohm resistor, no one needs it here.
I checked Fq-SPL curves with and without (before and after) protection capacitors in SP-high-level signals in my post #402;
Please note that I use integrated amplifiers with which flexible on-the-fly (while playing/listening to music) relative gain control can be done; for example, in super-tweeter sound, i.e. ca. 8kHz to 20 kHz, the Fq-SPL measurement was done in SP-high-level signal and in room air sound at my listening position in my post #485;
I use measurement microphone BEHRINGER ECM8000 which was specially selected, and it was cross-calibrated with strictly-calibrated EARTHWORK M50 measurement microphone; my ECM8000 has acceptably flat response throughout 10 Hz to 22 kHz within +0.7 dB/-0.5 dB from flat 0.0 dB, i.e. within 1.2 dB in the whole (ref. #831).
In my specific set up, the 22 Ohm fine-tuning parallel resistors give very-slightly better sound quality (low distortion) maybe due to forcing the amplifiers working a little above the zero-cross level; we have already discussed a lot on this; - In depth insights on SP attenuators and their elimination in multichannel system:#248, #251, #99(remote thread), #100(remote thread), #101(remote thread) You need to read carefully especiallymy post #248.
During the course of my amplifier selection exploration, I always compared/confirmed the total sound quality with/without the 22 Ohm fine-tuning resistors as well as with/without the protection capacitors, for example using the on-off signal path shown in my post #258;
I assume that I have already cordially responded to your inquiries on my project, and I think it would be better to end-up our communication at least on background and my implementation "concept/policy"; these might be redundant (or well known and already fully understandable) to many people frequently visiting and following this thread.
BTW, I essentially agree with your subjective comment shared in your post here which can be read as; "One is never done with DIY projects. But one thing is certain: combinations with large domes are acoustically really sexy."
I understand, you want me to leave you alone. If you don't want or can't answer the questions directly, there must be good reasons for it, and you don't even need to share them with us/me. Best of luck and stay healthy.
I understand, you want me to leave you alone. If you don't want or can't answer the questions directly, there must be good reasons for it, and you don't even need to share them with us/me. Best of luck and stay healthy.
I would like to continue our invaluable communication/discussion, however, on the remote thread which would be also much worthwhile to other people within ASR.
I received an important big news from OKTO Research today, "OKTO Reseach Autumn 2024 Newsletter".
In response to my and our intensive requests (I believe so), OKTO is announcing support for parallel operation of DAC8PRO (demonstration of three DAC8PRO), combined into a single USB device!
They said; "This setup delivers 24 channels of audio, supporting up to 192kHz/32-bit resolution. The clocks are synchronized via AES/EBU, ensuring zero clock drift and phase shift, while volume control is unified across all units and fully managed from the master DAC. This feature opens up many possibilities for home cinema and multichannel audio setups and will be included in the upcoming firmware release."
Since it looks the detailed information is still not yet available on OKTO's web site, I dare not to copy paste all of the contents of the Newsletter here in my post on this thread (including the diagram screen shot of the coming aggregate/combined device settings for three of DAC8PRO where the first DAC8PRO serves as master clock via AES/EBU enabling 24-Ch ins and 24-Ch outs).
Welcome onboard on this multichannel multi-SP-driver multi-amplifier audio project thread!
I assume and hope you have visited my lengthy post #931 sharing the latest system setup, have you?
I have, but a bit superficially to be honest, because I would need hours of study in order to able to comprehend all the complexities and arcana of that extraordinary system. It so happens I visited Japan with my family earlier this year and it was love at first sight and a truly unforgettable experience. A wonderful country, with a passion for excellence, in all spheres of life.
New video clips of dancing 12-VU-Meter Array (IEC60268-17 compatible) together with all the on-screen Peak Meters of audio software tools while playing reference/sampler music tracks by JRiver MC, ADOBE Audition 3.0.1 and MusicScope 2.1.0: Part-1: using a typical reference/sampler music track suitable for high-Fq (treble) transient music sound
Hello ASR friends and colleagues,
About four weeks ago, one of my dear ASR friends cordially PM-contacted me requesting my possible preparation and sharing new video clips of dancing DIY-built my IEC60268-17 compatible 12-VU-Meter Array (ref. #535 and #545) together with all of the on-PC-screen Peak Meters of JRiver-MC DSP-"EKIO" and VB-AUDIO MATRIX, even though I have already shared some of video clips of dancing 12-VU-Meter previously as you may find under the bellow spoiler cover; all of them are perfectly working in my latest DSP-based multichannel multi-SP-driver multi-amplifier fully active audio setup as I shared in my post #931.
- Dancing video of my IEC 60268-17 compatible large glass-face DIY 12-VU-Meter Array _____Part-1: with "High Frequency Linearity Check Track" of Sony Super Audio Check CD: #750 _____Part-2: with typical "Full Orchestra Music"-1: #751 _____Part-3: with typical "Full Orchestra Music"-2: #752 _____Part-4: with typical "Jazz Piano Trio Music": #753
You would please be reminded that my 12-VU-Meter Array does monitor the gain levels of; ____- whole sum (10 Hz - 22 kHz) of the digital signal going into DAC8PRO (after conversion into L&R analog line-level signals), ____- DSP-ed L&R analog level stereo signal from DAC8PRO going into L&R sub-woofers which have powerful amp in it, ____- L&R high-level SP-out signals from the four amplifiers driving woofers, midranges, tweeters, super-tweeters; after level-down to line level.
For details, please refer to #535.
If you would be interested in the details of my latest multichannel multi-amplifier audio system, please visit my post #931.
He further requested that such new video clips will hopefully show while the reference/sampler music track is; 1. played by JRiver MC32, 2. played by on-spectrum player of ADOBE Audition 3.0.1's 3D (gain-Fq-time) color spectrum, and thereafter analyzed the whole track by its "Frequency Analysis", 3. played and analyzed by MusicScope 2.1.0
and using two typical and suitable audio reference/sampler music tracks; A. for mainly checking and tuning of high Fq (treble) transient music sound, B. for mainly checking and tuning of low Fq (bass) transient music sound as well as total tonality Fq-SPL balance all over 15 Hz to 22 kHz
I agreed with him that such my new video clips, if properly prepared, will be nice reference (and interest) of many people in our "multichannel active audio league".
During last weekend days, therefore, I brought (from my upstairs office to living/listening room) my rather powerful Xeon-CPU workstation and two of EIZO FlexScan EV2750 PC monitor to enable wide desktop area of 5120 x 1440 pixel for fully spreading the relevant software tools with no overlap at all with each other; the any portion of the wide desktop area can be video captured by in its native resolution.
I also set my Canon EOS5D Mark IV DSLR camera on a tripod for video shots of my dancing 12-VU-Meter Array; the obtained video clips will be cropped and overlay incorporated in the final HD (High-Definition) video clips to be shared through YouTube channels.
Using a video-audio preparation-editing software, I prepared the final HD mp4 video files to be uploaded onto YouTube with these specs;
MPEG-4 video encoding, 3242x1323 pixel, 60 fps, 30000 kbps, AAC audio encoding, L&R stereo, 44100 kHz, 192 kbps.
Just for my present video production, I set 0 dB output gain for all the 10 output channels in DSP EKIO, but you would please note that I have flexible gain (tonality) tuning/adjustable features in analog domain using the four HiFi integrated amplifiers as shared here #931, and the Fq-SPL at my listening position remain unchanged even during these video sessions;
please also note, however, the audio tracks within the following new video clips are not microphone-recorded air sound but they are digital domain stereo audio capture of DSP-EKIO's DSP-ed output channels (to feed into stereo VB-Matrix VAIO channels) heard and recorded by the screen video capture software I used.
Sorry for above rather long introduction background story and explanations...
Now, in this Part-1 post I, like to share the three new video clips using a typical and suitable audio reference/sampler music track of; A.for mainly checking and tuning of high Fq (treble) transient music sound.
For the details of the music track I used, please refer to my posts here, here and here.
I highly recommend you viewing and listening the video clips on YouTube site (not on embedded YouTube windows in this post) in the maximum video quality on full screen mode.
You would please do not comment/argue on the sound quality of the below linked my YouTube videos since they have gone through several video/sound encoding processes by screen video capture tool, by video editing tool, by YouTube's unknown (to me) encoding procedures, and so on. The soundtrack of the video here is only for observation/confirmation of complete synchronization between the ballistic movement of meters and the sound.
Since I know nothing about your YouTube viewing/listening environment and quality, you would please simply PM me, if you seriously would like to have and view/listen to the native HD mp4 video files for your reference.
Firstly, the reference track was played by JRiver MC32;
Next, the reference track was played by on-spectrum player of ADOBE Audition 3.0.1's 3D (gain-Fq-time) spectrum, and thereafter analyzed the whole track by its "Frequency Analysis";
Thirdly, the reference track was played and analyzed by MusicScope 2.1.0;
In my next post coming very soon, I will share the similar videos using a typical and suitable audio reference/sampler music track of; B. for mainly checking and tuning of low Fq (bass) transient music sound as well as total tonality Fq-SPL balance all over 15 Hz to 22 kHz.
New video clips of dancing 12-VU-Meter Array (IEC60268-17 compatible) together with all the on-screen Peak Meters of audio software tools while playing reference/sampler music tracks by JRiver MC, ADOBE Audition 3.0.1 and MusicScope 2.1.0: Part-2: using a typical reference/sampler music track suitable for mainly checking and tuning of low Fq (bass) transient music sound as well as total tonality Fq-SPL balance all over 15 Hz to 22 kHz
This post is a follow-up of above my preceding post #974.
(If you would be interested in the details of my latest multichannel multi-amplifier audio system, please visit my post #931.)
In this Part-2 post, I like to share the three new video clips using a typical and suitable audio reference/sampler music track of; B.for mainly checking and tuning of low Fq (bass) transient music sound as well as total tonality Fq-SPL balance all over 15 Hz to 22 kHz.
As for the specific reference/sampler music track, you would please refer to my post here; - A nice smooth-jazz album for bass (low Fq) and higher Fq tonality check and tuning: #63(remote thread)
I highly recommend you viewing and listening the video clips on YouTube site (not on embedded YouTube windows in this post) in the maximum video quality on full screen mode.
Again, you would please do not comment/argue on the sound quality of the below linked my YouTube videos since they have gone through several video/sound encoding processes by screen video capture tool, by video editing tool, by YouTube's unknown (to me) encoding procedures, and so on. The soundtrack of the video here is only for observation/confirmation of complete synchronization between the ballistic movement of meters and the sound.
Furthermore, my YouTube Studio page told me that the following three YouTube video clips would be blocked in only one region (Russian territory?) due to a minor IPR issue on the reference music track I used, even though the track can be heard here on YouTube (maybe a profit producing video clip for YouTube and/or Sony Music Entertainment Inc.).
In anyway, since I know nothing about your YouTube viewing/listening environment and quality, you would please simply PM me, if you seriously would like to have and view/listen to the native HD mp4 video files for your reference.
Firstly, the reference track was played by JRiver MC32;
Next, the reference track was played by on-spectrum player of ADOBE Audition 3.0.1's 3D (gain-Fq-time) spectrum, and thereafter analyzed the whole track by its "Frequency Analysis";
Thirdly, the reference track was played and analyzed by MusicScope 2.1.0;
