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Bill
Kensington, NH
Posts 117
Joined on 03-15-2010
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Post #:
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25
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Post ID:
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27252
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Reply to:
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27250
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To follow up on Romy's latest broadcast on his visit to my house.My left and right speakers consist of Jl Audio 113 revision 2 subs to 70 Hz., Edgar 50 Hz. 6 foot Straight horns with two 12 inch electravoice drivers each to 500 Hz, Edgar round mid horns with Romy's Vitavox S3 drivers to 9000 Hz and the Tannoy red 10 inch drivers using only the tweeter part from 9000 hz.
These mids and tweetersare driven by highly modified Yamaha B2 amps and the woofers by modified Yamaha B3 amps, both vfets. The side, back and overhead speaker are Klipsch, Yamaha ns1000 m and VMPS towers. All of these are controlled by a Trinnov Altitude 16 preamp processor, which acts as the fourth order active crossovers for the left and right speakers, digital room and speaker correction, and Auro 3 d Decoder for ambiance recovery.
The auro 3d processing is far superior to Dolby or dts in that it was originally developed for music rather than movies. It can either decode the 5.1 channel information from multichannel recording or recover the ambiance information from two track recordings. With two track, it decodes the signal in such a way that the left and right channels only receive the direct information from the musicians, while breaking down the vectors of the ambient information to send it to the proper surround and overhead channels, thus attempting to recreate the information of both the direct and hall sounds to mimic what one would hear in the hall if one were to sit where the microphones were placed and it was r3corded. It works best with multichannel and next best with simply miked rexording, but decreases in effectiveness with multi mike and multitrack recordings.
From what I’ve heard over the years trying to recreate what I have heard in the several concert halls in both the US and Europe, it works far better than the Hafler effect, Dolby digital and atmos, all of the DTS iterations and hall reverberation recreations, all of which I have used over the years,because it’s doing ambiance recovery of what was recorded in the concert hall, rather than trying to add the ambiance of a different concert hall to the recording while leaving the original concert hall ambiance from the main speakers.
I use the pre-pro on all channels because of the Trinnov's ability to do the speaker and room correction and active crossovers while aligning the individual drivers to less than 1/10 of a millisecond. For those, like Romy, who have superior main channels, and don’t want to spend the 20,000 dollars for the Trinnov, there is another option to experiment with. As the surround do not need to be of the quality of the mains, one can use a pre-pro or receiver with Auro3D decoding only on the surrounds. One can either run the analog or digital outputs of the sources to the main processor, then out from there to the auro processor, or if the sources have two outputs, run them concurrently.
For setup, one would have to run the front speakers through the auro processor, and afterwards run them separately through to original preamp. If you have separate speakers around the house, and possibly an auro processor, I highly suggest tryiny this out. The listening through a window effect of stereo cannot be returned to when this is done, so beware.
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