TapouT Theater is a Mixed Martial Arts Knockout

“”“Steve, I don’t know where you get this from. I’ve met with Audyssey I know the system well and you have to realize that nothing replaces real room correction done through a properly designed theater. EQ is a band-aid to a common problem.”“”

Wrong, the only thing you can not correct is standing waves which require a physical treatment. And you should have known that physical treatments can not correct in the same way that audyssey can but you don’t even know what version of audyssey you used.

“”“"Obviously you don’t trust your ears because you’ve never auditioned a piece of equipment and have no idea of how to listen.  Music is subjective; some people like heavy metal, some people like jazz. The choice of equipment is also subjective. “”“”

Here we go, you can no longer defend your wrong opinions so you resort to this. Classic high end snake oil defence.

“”“"For the record I’ve also tried the Anthem ARC too and got different results with it too. I’ll be writing about the Anthem pre/pro soon and the story will probably post.”“”“

What version of ARC and in what unit? They do differ from the low end on anthem to the top end.

“”“"Your comments about the amp and not the speakers are the point here. In this system there is a pre/pro not a receiver and a B&K electronics combo can effectively drive this.

Sensitivity is also only part of the equation. The impedance of the speaker through the audio band is harder on an amp than it’s sensitivity. Sensitivity will only tell you how loud it will play relative to the signal. The impedance of the speaker is another story.”“”“

I think it was obvious since the B&K amp was listed. And what is the worse we see now days from 99.9% of speakers, 4ohms, I would hope the B&K would be able to handle a simple 4 ohm load.

“”“"You should really take the class by the Home Acoustics Alliance. It is open to consumers. You can look it up if you google it. You will learn about acoustics, these programs and how to use measurement tools.”“”“

You seem to miss the very basics so why would you say this? You are the one who does no understand the most simple design of a processor/amp.

“”“"Finally, when it comes to a product like Bryston and Krell. Those were two random names I just threw out there.

If you are going to bash those brands in particular I think you should do your research, especially in the case of Bryston. There is a reason why so many professional recording engineers you its amps and there’s also a reason why its amps are backed by a 20-year warranty.

Bryston makes powerful, neutral sounding, transparent amps that are highly reliable. You pay for those traits, but that’s the difference between an entry level receiver and a premium product.”“”“

What differences? The only difference I see is the warrenty, if bryston is so good why do they not have a decent processor out? Why is the SP3 taking so long?

@Dave Stevens

“”“"Am I missing something here, or is your post a typo due to the fact that the optic nerve has no capability of transferring/transmitting sound to the brain?”“”“

Wow, you took that as literal? How dense does one have to be to think in this way. You better keep those cable elevators in youe system. Hahaha.

“”“"Lastly, I did use 2 different mikes when setting up the Anthem D2v. One was from the original ARC kit that was sold separately for the older model, and the other is what now comes included with the new D2v.

Mind you, we are not speaking of, “huge or ultra dramatic differences,” between each room correction process, but it’s there. Since sound is created by, “moving air,” could it be a change in weather occurring just like a barometer detects difference in air pressure levels? Is it the same difference why video manufactures use and offer different settings for their video displays when a display is to perform at high altitudes?

I don’t have the answer, but I assure you, after performing at least 100 room corrections procedures beginning with the earliest versions of Audyssey to their latest, and the latest Auralex room correction programs, I know what I’m doing and know these systems like the back of my hand. Not to mention, I attended both of their training classes before I ever set up my first microphone.”“”“

Oh so now you are not blaming the room correction. What differences were these at what FQ and what DB difference?

@Steve B: To answer your question directed at Bob Archer, older Anthem ARC kits were specifically designed and ordered for a specific model number in order to determine which one was designed for that particular unit or lot number. The latest D2v version includes the kit for that specific unit.

As far as calling me dense and drawing first blood with insults, I’m not the one who’s last name ends with an, “sky,” which stereotypically explains your ignorance. 

@Steve and Dave: Please get each other’s email or twitter of facebook addresses and finish your conversation there please. The installer used a product line he sells and represents. No dealer has access to every line on earth, and I would be suspect of anyone who did.

Who is the AV installer (I know, Audio Video Evolution)? Where can I find them? they don’t show up ANY-where on the internet.

I think the installers and designers should be given a little more credit, or at least a mention with contact info in these articles.

@Dave Stevens

So what were the “differences” in the measurements you were doing in the same room?

@Steve B:
With both the Audyssey and Anthem room correction systems, (moving the mic into at least 6 or 8 listening positions to complete the procedure properly), the distances of the speakers were always exactly the same and right on the nose.

However, (and this is typical and well known with all Audyssey software versions), the subwoofer equalization was way off and different every time, (using JL, Paradigm, and B&W subs). The upper frequency equalization curves did vary, but it was minimal.

Yet, the Anthem ARC system was far more accurate & consistent, and IMO is still the best built in room correction system on the market. Variations were extremely minimal.

Again, I still believe this to be simply a starting point. More importantly, any room correction system will need to be tweaked again if either the amp or speakers are brand new to the system in order to allow sufficient break-in/burn-in times to get the best results.

Thus, (considering all components are new during the first room correction procedure), when you go back the 2nd time, (I recommend at least 100-150 hours of playing time), you will see the sub and upper frequency curves are indeed lower than the initial set up.

However, the variations I was speaking of were all performed on the same day and using the same equipment so burn in time had nothing to do with the variations I’ve experienced.

Bottom line, hearing/listening is subjective and there is no, “absolute,” or perfect solution. It only has to please the listener. If that were not the case, there would not be hundreds of different speaker & amplifier brands in the marketplace with only one exception- Bose will always suck no matter what room correction system, (be it software or room treatments), or technician you use.