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No, not at all.
They were/are never warmed-up/heated-up above a few degree-C higher than room temperature in my use case! (It is just same as in @Langston Holland's study on ARCOL 4 Ohm 300 W non-inductive metal-clad power-type resistors operating in much-much higher power loads.) He described there; Heat Neither of the ARCOL resistor setups showed any detectable warming. They remained as cool to the touch after the measurements as before. The water heater elements (rated at 4,500W each submerged) remained on the bench air-cooled (shown below). I did notice a very slight warmth to the touch after the 200W sweep.
No, not at all.
They were/are never warmed-up/heated-up above a few degree-C higher than room temperature in my use case! (It is just same as in @Langston Holland's study on ARCOL 4 Ohm 300 W non-inductive metal-clad power-type resistors operating in much-much higher power loads.) He described there; Heat Neither of the ARCOL resistor setups showed any detectable warming. They remained as cool to the touch after the measurements as before. The water heater elements (rated at 4,500W each submerged) remained on the bench air-cooled (shown below). I did notice a very slight warmth to the touch after the 200W sweep.
Multimeter, heat-melting glue gun, hot-air gun (heat gun); for my DIY benchwork
After kindly visiting my above post #976, one of my dear ASR Friends personally contacted me by PM requesting info on multimeter, heat-melting glue gun and hot gun, I use in my DIY benchwork.
Accordingly, I am more than happy sharing these four photos;
Multimeter, heat-melting glue gun, hot-air gun (heat gun); for my DIY benchwork
After kindly visiting my above post #976, one of my dear ASR Friends personally contacted me by PM requesting info on multimeter, heat-melting glue gun and hot gun, I use in my DIY benchwork.
Accordingly, I am more than happy sharing these four photos; View attachment 418247
I assume you well understand my love and nostalgia on old-style analog needle meters! - My nostalgia and preference for large glass-face VU meters: DIY of 12-VU-Meter Array in multichannel multi-driver multi-way multi-amplifier stereo audio system: #535
I assume you well understand my love and nostalgia on old-style analog needle meters! - My nostalgia and preference for large glass-face VU meters: DIY of 12-VU-Meter Array in multichannel multi-driver multi-way multi-amplifier stereo audio system: #535
O' I do... LoL. I have owned some vintage analogue meters that where very pricy in their day and worked wonderfully and where beautiful to work with. For day to day work I prefer a good DMM like a Tektronix though because they are faster for semi-conductor metering etc.
Very impressive, You have spent a lot of time and effort on getting a system to match Your taste and needs. I would like to do something similar that fits my room and (hobby)budget. I am not familiar with any of Your equipment, but thinking of a system-setup like Yours.
Question - did You linearize the phase response of the loudspeaker boxes?
These might be of interest, sometimes research doesn't agree with common beliefs:
This thesis is about equalization and audibility of low frequency group delay distortion caused by properties of a vented-box type loudspeaker. Various methods available for group delay equalization were examined, and their properties were compared. The audibility of low-frequency group delay...
aaltodoc.aalto.fi
"Based on the listening test results the average detection level of group delay distortion in a vented-box type sound reproduction system at the frequency range of 30 to 250 Hz was estimated to be about 7 milliseconds"
This thesis investigates the extent of the human ability to perceive changes in the direction of low-frequency sound sources, within the range of 31.5 and 100 Hz, in a large, highly damped environment. As it stands, this investigation is the only attempt made at determining the MAA for the...
aaltodoc.aalto.fi
"Results indicate that humans can reliably detect a change as small as 10° in the direction of pure tones with a frequency of over 63.5 Hz, and octave bands of pink noise with a centre frequency as low as 31.5 Hz."
Very impressive, You have spent a lot of time and effort on getting a system to match Your taste and needs. I would like to do something similar that fits my room and (hobby)budget. I am not familiar with any of Your equipment, but thinking of a system-setup like Yours.
Question - did You linearize the phase response of the loudspeaker boxes?
These might be of interest, sometimes research doesn't agree with common beliefs:
This thesis is about equalization and audibility of low frequency group delay distortion caused by properties of a vented-box type loudspeaker. Various methods available for group delay equalization were examined, and their properties were compared. The audibility of low-frequency group delay...
aaltodoc.aalto.fi
"Based on the listening test results the average detection level of group delay distortion in a vented-box type sound reproduction system at the frequency range of 30 to 250 Hz was estimated to be about 7 milliseconds"
This thesis investigates the extent of the human ability to perceive changes in the direction of low-frequency sound sources, within the range of 31.5 and 100 Hz, in a large, highly damped environment. As it stands, this investigation is the only attempt made at determining the MAA for the...
aaltodoc.aalto.fi
"Results indicate that humans can reliably detect a change as small as 10° in the direction of pure tones with a frequency of over 63.5 Hz, and octave bands of pink noise with a centre frequency as low as 31.5 Hz."
What i have difficulty with to grasp is the fact that those two research result show a time sesitivity difference of a factor 1000., milliseconds vs microseconds. Someone can shed some light on this?
"Based on the listening test results the average detection level of group delay distortion in a vented-box type sound reproduction system at the frequency range of 30 to 250 Hz was estimated to be about 7 milliseconds"
"Results indicate that humans can reliably detect a change as small as 10° in the direction of pure tones with a frequency of over 63.5 Hz, and octave bands of pink noise with a centre frequency as low as 31.5 Hz."
Sorry, but I don't/cannot understand your specific inquiry on my present total audio setup.
What do you mean by "the loudspeaker boxes" and "a vented-box type sound reproduction"?; even though my L&R large-heavy subwoofers are "ported" ones, my main L&R SP "boxes" having woofer midrange tweeter are sealed ones (no venting port), my L&R metal-horn super-tweeters are not in a box, but they are "naked".
You would please find and read carefully the latest system setup, including all the procedures/progresses of my exploration project, inmy post #931.
If you would be interested in pre-historic background of my project exploration, please visit these posts under the below spoiler cover;
- Rather detailed background and preceding history towards my multichannel multi-driver multi-way multi-amplifier stereo project:#030, #128, #178, #015(remote thread), #964
In case if you are focusing on "0.1 msec precision time alignment" all over the SP drivers, i.e. subwoofers woofers tweeters super-tweeters, my posts under the below spoiler cover would be of your interest and reference.
- 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
BTW, you would please find here(on this thread) and here(remote independent thread post) (same contents) the Hyperlink Index for this lengthy project thread.
Nothing more, nothing less, indeed.
What do you mean by "the loudspeaker boxes" and "a vented-box type sound reproduction"?; even though my L&R large-heavy subwoofers are "ported" ones, my main L&R SP "boxes" having woofer midrange tweeter are sealed ones (no venting port), my L&R metal-horn super-tweeters are not in a box, but they are "naked".
Hi.
I was thinking about the phase behavior of different boxes, like a closed box behaves electrically like a second order filter, and a ported box like a fourth order filter. As You have good impulse response, I wondered if You also did linearize this phase behavior in Your filters?
The last two might be of interest, never mind if not.
What i have difficulty with to grasp is the fact that those two research result show a time sesitivity difference of a factor 1000., milliseconds vs microseconds. Someone can shed some light on this?
Without looking at the two "results", I have two comments.
1) Make sure you're comparing apples to apples
2) The shortest time sensitivity I can see actually reproduced, which is, coincidentally, also right where basic psychoacoustics would predict it, is 5 to 10 MICROseconds.
Now, in many, many listening situations, that sensitivity will never EVER show up. It depends on setting, and CAREFUL design of equipment and signals, in a quiet space.
Hi.
I was thinking about the phase behavior of different boxes, like a closed box behaves electrically like a second order filter, and a ported box like a fourth order filter. As You have good impulse response, I wondered if You also did linearize this phase behavior in Your filters?
The last two might be of interest, never mind if not.
At present, I have almost no more interest, however, to implement any further measurements and tunings which you suggested for my present (almost completed) PC-DSP-based multi-SP-driver multi-amplifier fully active 5-way 10-channel audio setup.
I am rather shifting to enjoy "music" with my latest setup (ref. here #931), getting slowly away from fine-tuning the "sound".
BTW, your visits and participation on these threads under the below spoiler cover will be highly welcome;
Audio-Technica MM phono cartridge AT-VM95 and elliptical stylus AT-VMN95E: An Affordable but unexpectedly excellent supplemental (backup, contingency) MM cartridge for the main MC DENON DL-301II
Hello ASR Friends and colleagues,
As I summarized and shared in my post #758, nowadays I seldom perform (less than once in two months) the ceremony of live real-time vinyl LP listening using the revived LP playing setup (ref. here and here) consisting of TT DENON DP-57L together with MC DL-301II, phono preamp Audio-Technica AT-PEQ30, audio interface TASCAM US-1x2HR, in my PC-DSP-based multichannel multi-SP-driver multi-amplifier fully active audio system (ref. here for the latest total system).
I really would like, however, to keep my live LP-listening setup always “ready-for-play” preparing for occasional live vinyl ceremonies by myself and for some audio-enthu guests bringing his/her beloved vinyl discs.
I recently decided, therefore, to purchase an affordable and well-acceptable-performance MM phono cartridge with headshell as supplemental (backup, contingency) cartridge, since I would need preserving my treasure MC DENON DL-301II (comparably expensive) for special and intensive vinyl ceremony occasions.
After having my intensive and enjoyable web search (of course including this amazing ASR thread hosted by @USER) in the past two months, I purchased Audio-Technica AT-VM95E/H which is a set of MM phono cartridge AT-VM95 and elliptical stylus AT-VMN95E with headshell AT-HS6.
The stylus pressure was adjusted to the recommended 2.0 g, and the TT's Q-Damping and Anti-Skating dials were set in 2.0 position, accordingly.
Here in this post, I dare not go into details of subjective and already measured-and-reported performances of AT-VM95 with AT-VMN95E; you may easily find so many web pages and YouTube clips on them if you would be interested.
During the past three days, I intensively subjectively compared AT-VM95E/H with my reference DENON MC DL-301II live listening to my golden-standard vinyl LP album of pipe-organ performance which I shared in my post #687. Of course, I have also subjectively compared the vinyl cartridge sounds with ripped tracks of the exact CD re-mastering release (in both LP and CD, the lowest pipe keynote is 32 Hz, and the cathedral hall reverberation goes down to 16 – 20 Hz range, as analyzed and shared here);
Let me just very briefly share my subjective listening results on AT-VM95E/H.
I was really surprised and impressed by the unexpectedly excellent performances of MM AT-VM95E/H comparing MC DL-301II as well as CD-ripped digital tracks. This is my very first intensive audition session with MM cartridge in my audio rig, and I could have well noticed the amazing progresses of MM cartridge technology in recent years.
In many audio-related web sites and forums (including ASR) in recent years, vinyl lovers frequently wrote that “MCs are not always superior to MMs; some of the MM cartridges with suitable stylus actually sound very nicely if properly installed in excellent turn-table with distinguished arm and shell together with proper phono preamplifier.”, and now I fully agree with them after testing AT-VM95E/H in my audio setup.
Yes, now I can easily try/play-with all the MM AT-VM95 compatible styli (styluses); since I already have stylus AT-VMN95E (green), the upgrade change would be to AT-VMN95ML (red), AT-VMN95EN (orange), AT-VMN95SH (brown) (ref. here and here); all reasonably affordable.
Hopefully, I will purchase and try all the three above in the near future for my fun and enjoyable comparative listening, even though I seldom perform the vinyl ceremony nowadays (ref. here).
Yes, now I can easily try/play-with all the MM AT-VM95 compatible styli (styluses); since I already have stylus AT-VMN95E (green), the upgrade change would be to AT-VMN95ML (red), AT-VMN95EN (orange), AT-VMN95SH (brown) (ref. here); all reasonably affordable.
Hopefully, I will purchase and try all the three above in the near future for my fun and enjoyable comparative listening, even though I seldom perform the vinyl ceremony nowadays (ref. here).
And your opinions about it will be valuable
I have the green, orange and red styluses ... and in my opinion, the orange is already a no brainier. The red adds some detail / focus in high frequencies and a little better tracking, but the orange is like the 80% at half price tag.
The orange is totally enough (and more) for the standard user. The green is very good, but the difference with the others is greater.
The latest system setup of my DSP-based multichannel multi-SP-driver multi-amplifier fully active audio rig, including updated startup/ignition sequences and shutdown sequences: as of June 26, 2024
Abbreviations in this post; - L&R sub-woofers (SWs),
- L&R woofers (WOs),
- L&R Beryllium-midrange-squawkers (SQs MDs), (I know nowadays very few people use the word "squawkers", but please let me continue using "SQs" for midrange "MD" drivers.) - L&R Beryllium-tweeters (TWs),
- L&R metal-horn-super-tweeters (STs), Each of these is driven directly (with no LCR-network nor attenuator) by dedicated HiFi amplifier; SW has powerful built-in amplifier, and I use four stereo HiFi integrated amplifiers for others.
Edit on January 28, 2025: Also please visit my post #976 on my project thread. - Safe accurate robust 22 Ohm(Ω) 30 W non-inductive non-polar wirewound power-type metal-clad resistor (FHN50-22OHMF, PCN Corporation, made in Japan) for renewal/replacement of so-far-used rather fragile(?) ones:#976
Hello ASR friends,
I shared the total system configuration/setup last time in my post #774 on August 6 in 2023 just after the introduction of BEHRINGER DS2800 XLR Distributor/Splitter for tweeters and super-tweeters in my audio rig.
After that post, i.e. during past almost one-year period, I introduced/implemented several hardware and software changes/improvements in my audio rig, including the 3D reflective dispersion of super-tweeter sound, VB-AUDIO MATRIX as system-wide routing center (complete replacement for ASIO4ALL), slight modification in DSP "EKIO" configuration (as system-wide one-stop DSP center), complete renewal of SP cabling boards, etc.
I assume, therefore, now it is good and suitable timing to share this rather intensive update post of "the latest system setup as of June 26, 2024" with all of you, not only for your reference and interest but also for my own detailed memorandum on present system setup.
In this post, I continue following my style of “one diagram/photo would worth more than 1,000 words”.
As usual, let me start with the total physical system diagram as of June 26 2024: View attachment 379421
If you would like to see inside and outside photos of the four integrated amplifiers, i.e. ACCUPHASE E-460, YAMAHA A-S3000, SONY TA-A1ES and YAMAHA A-S301, please visit my post #38 on a remote thread.
The signal configuration for the DIY-built 12-VU-Meter Array (ref. #535) remained unchanged: View attachment 379422
I shared video clips of "dancing" 12-VU-Meter Array in my posts #750, #751, #752 and #753. Edit: Also in my post #974 and #975.
As for the revival of vinyl LP player (TT) DENON DP-57L in my DSP-based digital multichannel audio rig for on-the-fly listening to vinyl LP, please refer to my post #688 and #697.
The latest total signal path with JRiver MC32 as master volume controller: View attachment 379423
I had slight modifications in DSP EKIO’s EQ and gain settings for which I will touch on later in this post.
My DAC8PRO's firmware is ver.1.32, and the DIYINHK ASIO USB driver is ver.4.59.0 provided by OKTO when I got DAC8PRO in May 2020; still working perfectly fine on Windows 11 Pro.
Please refer to posts #248 and #251 for the fine tuning parallel 22 Ohm resistors in SQ (MD), TW, ST speaker-high-level signals. Edit on January 2, 2025: Also please visit my specific post #976 on my project thread. - Safe accurate robust 22 Ohm(Ω) 30 W non-inductive non-polar wirewound power-type metal-clad resistor (FHN50-22OHMF, PCN Corporation, made in Japan) for renewal/replacement of so-far-used rather fragile(?) ones:#976
You would please refer to my posts #245 and #901 for protection capacitors in SQ (MD), TW, ST speaker-high-level circuits, and also refer to post #402 and #485 for the 1.5+1.5=3 microF high-pass (low-cut) capacitors in SP high-level signal for ST.
The details of incorporation of BEHRINGER DS2800, HiFi-grade active XLR balanced line-level signal splitter/distributor (ref. #769): View attachment 379424 Note: You would please be reminded that Even Greg Timbers uses "reasonable and budget" small integrated amplifier Pioneer Elite A-20 (low THD, high S/N, RCA unbalanced input, 30W+30W [20Hz-20kHz, THD0.05%, 8 ohms]) for ultra-high Fq compression drivers (super tweeters) in his extraordinary expensive multichannel stereo system with JBL EVEREST DD67000 which he himself designed and developed: please refer to my post here #435.
In DS2800, I leveled-up the gain +3 dB going into YAMAHA A-S301(dedicatedly driving STs) to compensate slight gain loss (at my listening position) due to the 3D reflective dispersion (will touch soon in this post) of ST super-tweeter sound, so that I have no change in default volume position of A-S301 driving STs.
Here in this post, 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, XOEQGainPhase 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.
In November 2023, I intensively tested and decided to utilize VB-AUDIO MATRIX as system-wide ASIO/VASIO/VAIO routing center which has fully replaced ASIO4ALL I have been using until then.
After the introduction of VB-AUDIO MATRIX, it also provides Virtual Audio I/O device, VAIO, in Windows 11 Pro audio configuration where I can select VAIO4 as Windows’ default sound play device so that all the sound signals can be handled/processed with VB-MATRIX and DSP “EKIO”: View attachment 379425
In this update post, I believe that I should share the details of VB-AUDIO MATRIX behaving as system-wide ASIO/VASIO/VAIO routing center; I hope the following four diagrams would be self-explanatory for your easy understandings: View attachment 379426
VB MATRIX and DSP EKIO are also fully active even for live (on-the-fly) vinyl LP listening: View attachment 379429
Next, let’s move on to the latest DSP “EKIO” configuration after the introduction of VB MATRIX; hereinafter in this thread post, 88.2 kHz 24bit configuration in VB MATRIX, DSP “EKIO” and JRiver MC32 will be shared.
- 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
For I/O to/from EKIO, now I can select VB MATRIX’s VASIO-64A I/O channels: View attachment 379430
The latest details of I/O panels in EKIO; View attachment 379431
As for the 0.1 msec precision "group delay settings" or "time alignment" over all the SP drivers, please refer to posts #493, #494, #504, #507, as well as these two posts under the spoiler cover:
- 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
Now I added very mild +3 dB Q=1 at 84 Hz Bell EQ for woofers which gives slightly better sound in SW (sub-woofers) to WO (woofers) transition/overlap Fq range, even though the gain and relative-gain of SW and WO can be further flexibly controlled in analog domain.
In the EKIO’s output panel, now I set +8 dB for KORG DS-DAC-10 monitoring the whole-sum signal gain into physical VU-Meter 01 and 02 through headphone out under the volume control dial of DS-DAC-10 for flexible VU swing gain adjustment.
I also set +9 dB for SWs in EKIO’s output panel; please note that my L&R heavy-large SW YST-SW1000 has its own volume control can be increased/reduced by remote controller from my listening position.
- Reproduction and listening/hearing/feeling sensations to 16 Hz (organ) sound with my DSP-based multichannel multi-SP-driver multi-amplifier fully active stereo audio system having big-heavy active L&R sub-woofers:#782 - A nice smooth-jazz album for bass (low Fq) and higher Fq tonality check and tuning:#63(remote thread)
As for the -48 dB/Oct low-pass (high-cut) filters at 25 kHz for SQ(MD), TW, ST drivers…
- "Near ultrasound - ultrasound" ultra-high frequency (UHF) noises in improperly engineered/processed HiRes music tracks, and EKIO's XO-EQ configuration to cut-off such noises:#362-#386, #518, #532
I usually use JRiver MC32 (as of July 1 2024 ver.32.0.55, 64-bit) as my default music (and AV) player with on-the-fly conversion of all the audio signals into 88.2 kHz (or 96 kHz) 24-bit PCM format, and JRiver’s audio output device is “VB-AUDIO VASIO-64A (ASIO)”; View attachment 379433
Even though I have above mentioned several changes/modifications, the best tuned room air SLP curve (in my standard/default setting) measured at my listening position remained unchanged while all the L&R SP drivers sing together; View attachment 379434
As for the cross-calibration profile of my specially selected measurement microphone BEHRINGER ECM8000, you would please refer to my post #831.
Of course, I also measured/checked Fq responses of audio signals at various “stages” in digital domain, analog domain, and real room air sound at my listening position.
Please refer to this summary post and the linked posts thereof; - 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
The below Fig.15 shows the standard/default software layout on audio dedicated 27” PC monitor screen for daily music listening sessions. In this layout, I can see/monitor all the peak bar meters of JRiver MC, VB-AUDIO MATRIX main panel, VB MATRIX Routing Grid, and DSP EKIO. Furthermore, as also shown in Fig.15, the DIY-built 12-VU-Meter Array monitors gain of the whole sum line-level signal, line-level input into L&R active sub-woofers (SWs), and each of the amplifiers’ SP high-level output signals driving woofers (WOs), midrange-squawkers (MDs/SQs), tweeters (TWs) and super-tweeters (STs). View attachment 381969
For occasional further intensive measurements (using cross-calibrated BEHRINGER ECM8000 microphone, ref. #831) and fine-tuning sessions, I bring my Xeon CPU (ES-2630 v3) PC-workstation from upstairs office into the opened sound deadening space (room) behind my listening position (ref. #687) together with two of 27” EIZO EV2750 monitor (2560 x 1440 pixel) giving 5120 x 1440 pixel desktop area; on the wide-large desktop area, I can spread with no overlap all of the relevant software tools/utilities like DSP EKIO, VB-Audio MATRIX (Main Panel and Routing Grid), JRiver MC32, MusicScope 2.1.0, Adobe Audition 3.0.1, many ASIO control panels, etc.
The major and only modification during past one year is/was the reverse wide-3D reflective dispersion of sound from STs (metal horn super-tweeters) by using random-surface hard-heavy-thick crystal-cutglass bowl which gives better stable and robust "sound image" as well as wider/larger "sweet spot/sphere" around the listening position, even if we considerably move 3D around the center of my usual listening position.
- A new series of audio experiments on reflective wide-3D dispersion of super-tweeter sound using random-surface hard-heavy material: ___Part-1_ Background, experimental settings, initial preliminary listening tests:#912 ___Part-2_ Comparison of catalogue specifications of metal horn super-tweeter (ST) FOSTEX T925A and YAMAHA Beryllium dome tweeter (TW) JA-0513; start of intensive listening sessions with wide-3D reflective dispersion of ST sound:#921 ___Part-3_ Listening evaluation of sound stage (sound image) using excellent-recording-quality lute duet tracks:#926 ___Part-3.1_ Listening evaluation of sound stage (sound image) using excellent-recording-quality jazz trio album:#927 ___Part-4_Provisional conclusion to use Case-2 reverse reflective dispersion setting in default daily music listening:#929
The details of ST FOSTEX T925A metal horn super-tweeter and the sound reflector, i.e. heavy-hard-thick Bohemian crystal cutglass bowl with random outer surface; View attachment 379439
You would please note that I have nice open space (actually our dining room) behind/between the L&R SP system (no sound reflex port in rear of the SP system), and I also have preferrable sound deadening space (actually Japanese style tatami floor room) behind my listening position.
- 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
As I shared in my post #311 and #111 (remote thread), the ceiling of our living/listening room is covered by microporous diatom panels carefully selected with proper sound absorption performance, and on the floor we have carpet reducing/minimizing sound reflection and resonance/standing-wave.
Please refer to post #84 and #497 for the cabinet and drivers of YAMAHA NS-1000 (not NS-1000M). Also in posts #497 and #782, you can find spec info on SW YST-SW1000. Please refer to #485 for overhaul maintenance of ST T925A.
As for the unique positioning of ST T925A (beneath the WO), please refer to my post #27.
Again, as for the 0.1 msec precision perfect time alignment between all of the SP drivers, please refer to my posts #493, #494, #504, #507 and #520.
You would please find transient characteristics objective measurement data of 30 cm WO JA-3058 and SW YST-SW1000 in posts #495, #503 and #507.
We can easily move/rotate, thanks to the DIY-ed big rubber casters with stoppers, the PANASONIC 55” 4K OLED TV TH-55HZ1800 in our dining room so that it faces to the listening room between the L&R SP system; it can serve as second full-color PC monitor of audio (audio-visual) dedicated PC of 4K (3840x2160 pixel) resolution, refresh rate 60 Hz, by using single slim 10-m-long optical HDMI cable. View attachment 379441
You would please refer to my post here #509 (remote thread) regarding a kind of “reverse thinking” utilization of 4K OLED TV connected to PC in DSP-based multichannel audio rig for viewing and listening TV program and other video (YouTube, etc.), DVD movie, blue-ray-Disc movie, and so on.
Up on the very rigid and heavy almost antique cupboard cabinet in my left-hand side when I sit on listening sofa, you can find these audio gears; View attachment 379442
I assume you need gear identifications like in this photo; View attachment 379443
Again, if you would like to see inside and outside photos of the four integrated amplifiers, i.e. ACCUPHASE E-460, YAMAHA A-S3000, SONY TA-A1ES and YAMAHA A-S301, please visit my post #38 on a remote thread.
As I recently wrote again here #89 (remote thread), I do not use audio rack (regardless of luxury expensive one or not) at all, but I do “the way” shown above.
The large heavy and physically slightly warm (around my body temp) ACCUPHASE E-460 (24.4 kg, directly driving midrange SP drivers) and DENON DCD-3500RG (22.0 kg, seldom powered-on nowadays) serve as very stable and rigid base for my TT (turn table) DENON DP-57L in 1,430 mm above the floor for occasional (once in two months, or less) vinyl LP ceremonies (ref. my post #758); the position/height of the TT is very nice to "see and check" the stylus of the MC cartridge going down automatically to the surface of LP (I am 173 cm tall). YAMAHA A-S3000 (24.6 kg) is also large and heavy.
Several of my ASR friends repeatedly requested the backside wiring view, and this is “it” as of January 1 in 2024; View attachment 379445
After that, I recently renewed all the Y/R-lugs (crimp Y/R-terminals) of the SP cables together with heat-shrink insulator covers (ref. #895); View attachment 379446
Consequently, here is the latest view of SP binding posts of the four amplifiers; View attachment 379447
I also recently fully renewed (ref. #906) the L&R SP cabling board having the protection capacitors, HP (low-cut) capacitors for STs, tuning 22 Ohm resistors, and 100W 8 Ohe dummy SP resistors. This diagram Fig.28 shows that “SP cabling board portion” in the total signal path already shared in above Fig.03; View attachment 379448
The fully renewed SP cabling boards placed behind the L&R SP system are shown in this Fig.29; View attachment 379449
And the angle view/shot of the new SP cabling board; View attachment 379450 Edit on January 2, 2025: Also please visit my specific post #976 on my project thread. - Safe accurate robust 22 Ohm(Ω) 30 W non-inductive non-polar wirewound power-type metal-clad resistor (FHN50-22OHMF, PCN Corporation, made in Japan) for renewal/replacement of so-far-used rather fragile(?) ones:#976
I carefully measured/checked these protection capacitors are transparent (inaudible) as shared in my posts #402 and #485. For the “needs” of these protection capacitors, please refer to my post #901.
Several of ASR friends also repeatedly requested wiring view in backside of SP system; View attachment 379451
I still keep the currently-not-in-use "LCR passive network in outer-box " (ref. #5) for easy and smooth role back of the whole audio system into my reference single-amplifier (ACCUPHASE E-460) passive configuration together with the connection changes on the "SP cabling boards".
I once have tested “Multi-Terminal Electromagnetic Relay” and “Multi-Terminal Snap-Toggle Switch” for this purpose (i.e. switching the wires between passive and active SP modes), but I found they gave some “uncleanliness and/or distortions” to the total sound. Consequently, I believe that the “physical screw-up cabling connections” like in these SP cabling boards should be the best way to go with. I carefully and completely eliminated, therefore, any magnetic susceptible (magnetizable) metal, such as screws, Y-lugs, metal plate on terminal straps, etc. in SP high-level signal wiring; please refer to my post #4, #250 and posts #013(remote thread), #023(remote thread) and here #9(remote thread).
You would please be reminded "the typical issue case" in this regard (even with no relation at all to my project thread) happened with first version of BUCKEYE 3 Channel Purifi Amplifier in which measurable (and I think audible) distortion was caused by iron (steel) plates at the SP binding posts, then BUCKEYE quickly and nicely replaced the parts with brass plates by a kind of recall announcement; please refer to the specific thread on that amplifier, amirm’s first review pointing the issue, as well as his second preferrable review on the fixed/revised amplifier.
Furthermore, in my post #9 on a remote thread "Ferromagnetic materials in audio connectors", I also wrote as follows; If you take a look inside some rather high-end HiFi amplifiers, you'll see that the SP output wiring (and power wiring?) uses non-magnetic terminals and screws made of brass (no iron at all) or pure copper. However, this is also a common-sense measure to prevent sound quality deterioration in HiFi amplifiers. I remember it being pointed out and explained in interviews with a Yamaha amplifier designer and a Rotel engineer. It is frustrating when working with magnetized screwdrivers (screwdrivers) because you can't catch the screws, though. Yamaha's and Rotel's amplifier designers had a hard time persuading the assembly workers at the amplifier factories, but in the end, they convinced them to use non-magnetic terminals and screws, giving priority to sound quality; I've also heard that the screwdriver, which uses a chuck to fix screws and bolts to the tip, was devised so that it could be used in factories. In my DIY audio setup, I have the same thing; I strictly/completely eliminate/avoid any magnetizable metal/screw in my SP cabling/connecting.
Oh, I have not yet shared in this post the signal path for live (on-the-fly) listening to vinyl LP by JRiver MC’s “Open - Live” listening to the specific ASIO input from audio-interface TASCAM US-1x2HR; here the master volume role of JRiver MC is still alive, and of course DSP EKIO serves as system-wide one-stop DSP center; View attachment 379452
Please note that I (we) can connect not only LP player but also any of (old?) "analog line level output only" audio devices to US-1x2HR for on-the-fly listening with my multichannel multi-amplifier setup (and for digital recording, if needed). As for digital recording, I can use any of recording software which can digitally hear the US-HR ASIO Line-in, such as Audacity and Adobe Audition.
I continue using two of rather outdated “completely silent” dedicated PC in my audio(-visual) rig; Fig.33 shows the latest info on the two PCs which are just backup PC with each other; I can change/switch the PC within less than 5 min, the sound quality, of course, is excellent and identical in both of the two PCs having exactly the same OS and software configurations. View attachment 379453 Edit on Nov. 25, 2024:
The version of Windows OS in the two PCs is Windows 11 Pro (x64) 24H2; please refer to my post here for the Windows update from 21H2 to 24H2 in these rather outdated PCs.
Nowadays, I comfortably use two of COOIDEA USB2.0 Volume/Track-Jump Controller connected to the PC using two of slim 12m-long USB 2.0 repeater-extension-cable coming through under the floor carpet. View attachment 379454
As shown in the above Fig.34, one controller is on the listening low table, and another one on my ergometer workout bicycle usually set just behind the listening sofa so that both me struggling on the ergometer bike and my wife relaxing on the listening sofa (true for vice versa) can control the master volume and/or jump back/forward the album tracks, of course regardless of the mouse cursor position on the monitor screen. (I usually do not like Bluetooth and other wireless connection of USB devices, except for keyboard and mouse.)
The latest "startup/ignition sequences" and "shutdown sequences" as of June 26, 2024
Having the latest system configuration as of June 26 in 2024 shared above, I also would like to update my post #776 dated August 7 2023 on “Startup/Ignition Sequences” and “Shutdown Sequencies”.
A few of my dear ASR friends have contacted me asking about standard startup/ignition sequences and shutdown sequences in the multichannel multi-amplifier system together with JRiver MC (or Roon) and software crossover EKIO running on Windows 11 PC.
They were a little bit concerned about the maximum protection of speaker drivers from possible unexpected accidental pop damage, and I fully understand their worries even though I have the protection capacitors for midrange Beryllium-dome-squawkers (MDs), Beryllium-dome-tweeters (TWs) and metal-horn-super-tweeters (STs).
Although I daily perform these very familiar (to me) sequences almost unconsciously, I believe it would be worthwhile sharing the sequences with all of you visiting this thread.
Standard "Startup/Ignition Sequences": 01. Wake-up the ACCircuit Breaker (100V/15A if it has been shut-down) 02. Power-on the root switch of 24-port AC power strip (series of four 6-port strips) ______This automatically wakes up DIY-12-VU-Meter-Array, KORG DS-CAC-10, BEHRINGER DS2800
03. Power-on YAMAHA A-S3000 after making sure the volume is at -infinity dB (no sound) 04. Power-on ACCUPHASE E-460 after making sure the volume is at -infinity dB (no sound) 05. Power-on SONY TA-A1ES after making sure the volume is at -infinity dB (no sound) 06. Power-on YAMAHA A-S301 after making sure the volume is at -infinity dB (no sound) 07. Power-on L&R sub-woofers YAMAHA YST-SW1000 by remote controller (preset volume 13:00 O'clock, 1 p.m.) 08. Power-on OKTO DAC8PRO; make sure the volume (master gain) is less than -75 dB 09. Power-on Windows 11 Pro PC
10. Check & confirm wake-up and running of VB-AUDIO MATRIX at taskbar 11. Check & confirm wake-up and ready of DIYINHK ASIO at taskbar 12. Check & confirm all the Window's sound I/O (KERNEL, WASAPI, WMD, Mic, etc.) are muted-off 13. Launch DSP EKIO having default preset configuration 14. Launch JRiver MC (or Roon); make sure the master volume is at about 5 % (-77.5 dB) 15. Properly layout VB-AUDIO MATRIX, its Routing Grid view, JRiver MC32 and EKIO’s I/O Panel on PC monitor screen so that all the peak bar-meters can be seen/monitored (as shown in Fig.15) 16. Start playing JRivere.g. the 6th track of my music sampler/reference playlist (piano solo) 17. Slightly volume-up JRiver to around 10 % (-55.0 dB); check the JRiver's small VU-EQ meter is properly dancing 18. Start “playing” EKIO
19. Check and confirm that all the EKIO's I/O VU meter bars and all the VB-AUDIO MATRIX Routing Grid VU meter bars are properly moving in exceptionally low gain 20. Volume-up A-S3000 to 11:55 o'clock (-18 dB) 21. Volume-up E-460 to -19.0 dB 22. Volume-up TA-A1ES to -17.0 dB 23. Volume-up A-S301 to 09:45 o'clock (ca. -19 dB) 24. Volume-up DAC8PRO to -4 dB; check to properly hear the sound in small volume 25. Carefully and slowly volume-up JRiver MC (as master volume) to usual listening volume using mouse wheel or COOIDEA USB volume controller
Standard "Shutdown Sequences": 01. Stop playing JRiver MC
02. Volume-down the "Master Volume" of JRiver MC to less than 5% (-77.5 dB) 03. Stop playing DSP EKIO
04. Volume-down OKTO DAC8PRO to -99 dB 05. Volume-down YAMAHA A-S301 to -infinity dB (no sound) 06. Volume-down SONY TA-A1ES to -infinity dB (no sound) 07. Volume-down ACCUPHASE E-460 to -infinity dB (no sound) 08. Volume-down YAMAHA A-S3000 to -infinity dB (no sound) 09. Power-off A-S301
10. Power-off TA-A1ES
11. Power-off E-460
12. Power-off A-S3000
13. Power-off L and R active sub-woofers YAMAHA YST-SW1000 by remote controller 14. Exit/Shutdown JRiver MC
15. Exit/Shutdown EKIO
16. Shutdown VB-AUDIO MATRIX
17. Shutdown Windows 11 Pro PC
18. Soft-shutdown (Mute-off) OKTO DAC8PRO by remote controller 19. Switch-off the root switch of 24-port AC power strip (series of four 6-port strips) ______This automatically shutdowns DIY-12-VU-Meter-Array, KORG DS-CAC-10, BEHRINGER DS2800
20. Down the ACCircuit Breaker (100V/15 A, if needed for prolonged shutdown; longer than a week or so)
Although these sequences may look somewhat complicated at your first glance, I usually complete the startup/ignition sequences in less than 3 minutes, and I complete the shutdown sequences in less than 1 minute. I believe you can agree with me that triggered simultaneous startup/power-on with pre-fixed audible gain/volume levels should be definitely avoided at least in my multichannel multi-amplifier audio setup.
Appendices
For your convenience, you would please find Hyperlink Index for this lengthy project thread in my post #444 and the same on independent thread here.
I assume the posts under these spoiler covers would be also of your reference and interest:
You would please refer to my post #21 on a remote thread.
I wrote there; It is really heart-a-pain hearing about your experience of flooding. I too am living in the land of typhoon, earthquake and tsunami; I keep multiple backups, therefore, of my entire digital library in several HDDs and NAS at my home and also in remote at my daughter's home and son's (300 km and 100 km away!). Of course, I periodically update the remote backups at least once in 6 months.
Fortunately my current iron-frame house is on a little hill with solid ground, but no way to avoid possible mega earthquake (once in 600 years?) which might happen any place in Japan...
Well I will be looking at your earlier posts in the future and as for my situation I am just going to see what I get when the other sub gets hooked up and if it doesn’t sound “better” I will look into using a microphone and tuning program to see what is actually happening. Quite an impressive setup you have and I’ll be looking into your earlier posts thank you
I do hope it would be allowed sharing the below five photos also here on this project thread.
This fifth photo below was generated by HDR (compressed High Dynamic Range) image-processing (Canon Digital Photo Professional 4) using three photos of same angle/perspective in three different shutter speeds (of course I used tripod and cable shutter-release). The whole brightness and contrast of the HDR image were tuned so that simulating eye-view in dark/faint ceiling-lights for relaxing music listening.
If you would be interested, please find here #931 details of the latest setup of my PC-DSP-based multichannel multi-SP-driver multi-amplifier fully active audio rig.
