I have big tower speakers at the front. Shouldn't I set these to Large'? Is it OK to change the Crossovers from Audyssey's recommendation? Why is Audyssey setting different crossovers for my identical speakers? Audyssey is setting my crossovers way differently to what I expected. Do I really need to put the Audyssey mic on a tripod or stand?
Do I really need to use all the available Audyssey mic positions? Where should I position the mic for best results? Why do I need to measure where nobody sits? I have two rows of seats at different heights. What's the best mic placement? Can I extend the Audyssey mic cable? Where do I put the mic for the 1st measurement if my listening position is not centred?
Mic cable integrity issue. Is it OK to change the trim levels Audyssey sets? Is it OK to change the distance settings Audyssey sets? Why has Audyssey set my sub distance much greater than it actually measures? Audyssey has set my satellite speaker distances incorrectly - should I just change them?
What do I do if my trim levels are at the limits of their adjustment 'maxed out'? How do I connect and set up two subwoofers? How do I set the controls on my subwoofer before running MultEQ? If I want to run my subs a little 'hot' where should I make the changes?
Since I ran Audyssey everything sounds great - but where has my bass gone? My sub speaker distance setting is closer than the actual physical distance.
How does Audyssey handle complex multiple subwoofer setups? Links to b 10 G. What is Dynamic Volume? What is Dynamic EQ? Why do I need MultEQ? What is the difference between the various versions of MultEQ?
How does MultEQ differ from my old graphic equaliser'? How does MultEQ differ from other room equalisation methods? What does correcting in the 'time and frequency' domains mean? Does MultEQ measure anything else? Audyssey DSX Questions j 1. What is Audyssey DSX and how does it work?
How many channels of amplification do I need to run DSX? Is there any specific content designed for DSX? If I can choose only one — Wides or Heights — which should it be?
I thought Audyssey was all about reducing the impact of unwanted reflections, not creating more? Where should I place my speakers for Wides and Heights to get the best effect? What kind of speakers should I use with DSX? Are there any negatives to using DSX? Are there any other technologies that do a similar job?
What are the differences between DSX and these other technologies? The word 'Audyssey' is often used as though Audyssey was just one thing. In fact, Audyssey have a collection of different technologies which aim to solve different audio or acoustic problems.
These are described very briefly in this Answer and links are given to more comprehensive descriptions which you can find elsewhere in this FAQ. Audyssey MultEQ. Even here, the term 'MultEQ' cannot be used as a generic because there are different 'flavours' of MultEQ, which are discussed in detail elsewhere.
There is a complete FAQ section which explains the differences between the different flavours of Audyssey' room correction software. You will find it by clicking the relevant link at the bottom of this Answer. Audyssey Dynamic EQ. The way that human hearing works means that as the frequency of sounds changes, the loudness of those sounds gets greater or lesser.
As the volume level is reduced, our hearing means that the high and low frequencies diminish more rapidly than the middle frequencies. You may have noticed how the bass, especially, 'disappears' as you reduce the volume level.
Dynamic EQ was designed specifically to solve that problem. When Dynamic EQ is engaged, as you lower the volume away from 'reference' ie master Volume of 0dB , Dynamic EQ continually adjusts the frequencies and surround levels to maintain the balance that the mixing engineer wanted you to hear. Again, there is detailed information to be found by clicking the relevant link below. Audyssey Dynamic Volume. Dynamic Volume is an Audyssey technology which 'smooths out' the fluctuations between softer and louder sounds in your home theatre.
If you are listening late at night and your movie contains a very wide dynamic range' the ratio between the softest and loudest sounds in the content you are playing you may have turned down the volume on the explosions in your movie, only then to find you have to turn it up again to hear the quieter dialogue. Dynamic Volume does it for you! See the link below for details. Audyssey DSX. If this answer helped you, please click here to take you to the bottom of the post where you can leave a 'thumbs up'.
It's the only way we can evaluate how useful the FAQ is, so a few seconds of your time would be greatly appreciated - thanks! This is the process that takes place when you run Audyssey: You place the mic at the Main Listening Position MLP and Audyssey will send a series of 'chirps' to each of your speakers and subwoofers in turn.
On this first pass, Audyssey will detect how many speakers you have in your system, so it will attempt to ping non-existent speakers on this first pass only. For example, if you do not have rear surround speakers, Audyssey will attempt to ping them, will not find them and thus will ignore them on subsequent runs at the other mic locations. You then move the mic to the next position from which you wish to measure. Thus, Audyssey will now ping every speaker including sub in your system for each of the subsequent measurements.
There are a few small complications: First, different versions of Audyssey use different maximum numbers of mic positions. But the principles outlined above still apply regardless of the number of available mic positions. Audyssey will still use the first mic position only to measure the speaker levels and distances and to 'discover' the number of speakers in your system.
For all of the subsequent measurements after the first one, Audyssey will ping each speaker in the system, including the sub. XT32 SubEQ HT-equipped systems have the ability to set levels and distances for two subwoofers independently, and then go on to EQ both subs as one, taking account of their interaction with the room and with each other. For these systems, on the first measurement at the MLP, Audyssey will ping one sub, then ping the other sub, then ping both subs together.
But for every subsequent measurement you make, you will only hear one sub chirp, which is both subs being pinged at the same time. New users may wish to start with the 'Audyssey ' to become familiar with the procedures and methods of Audyssey calibration. Always follow the advice in the Guides to the letter, even if you are not sure why. Both the 'Audyssey ' and the FAQ have evolved over a considerable period of time with input from very experienced AVS members and most Audyssey setup problems stem from incorrect measurement procedures.
See Also: Do I really need to put the Audyssey mic on a tripod or stand? Go back to top. First check that the centre speaker is working correctly and that the tweeter is connected and working. Pink noise test tones will be good for this. Put your ear close to the drivers and tweeter in your centre speaker not too loud!
If they are, then try the following before running Audyssey again: Poor dialogue intelligibility is often the result of reflections in your room. Does your room look like it may fall into the 'reflective' category? If so consider adding room treatments, drapes, bookshelves etc to try to damp down the reflections.
When you clap your hands in the room, does the noise continue to 'ring' for a brief moment? If so then your room is definitely too lively and this may affect dialogue intelligibility. Pay especial attention to the 'first reflections' from your speakers - side walls, floor, ceiling.
A simple way to locate the 'first reflection' points in your room is to have a friend hold a small mirror against the wall while you are seated in your Main Listening Position. Have the friend move the mirror around the wall until you can see the speaker in the mirror. The location of the mirror is a reflection point. Remember you also get first reflections from the floor and the ceiling!
Is your centre speaker in a cabinet or on a shelf? If it is, then pull it forward so the front edge of the speaker clears the front edge of the cabinet or shelf by an inch or so. This can make a huge difference. Is your centre speaker angled so that it points towards your ears at the Main Listening Position? If not then angle it up or down, depending on whether it is below or above the screen. If your centre speaker is on the floor, then raise it up on some sort of stand.
Again, angle it towards the Main Listening Position. These are often the cause of dialogue problems. Glass is especially bad.
If you can't remove it, cover it with something to damp down the reflections - eg books or magazines. If you have a hard wooden floor, consider a nice thick area rug to help damp down reflections from the floor. It may be the source material which isn't mastered very well, so try a different source with known good dialogue reproduction check some DVD or Bluray reviews. If you have relocated the centre speaker at all, or made any other room adjustments, run Audyssey again and see if dialogue is now better.
Remember you can raise the trim level for the centre channel by a few dB if you wish and it won't spoil your calibration at all.
Further Reading: Here's a great site for Bluray disc reviews Go back to top. Reference Level is a standard defined for movie studio mixing rooms and commercial cinemas. Every studio mixing room and every movie theatre is calibrated to this same standard level - hence the term 'Reference Level'. The standard calls for an average of 85dB when using band-limited Hz to 2, Hz pink noise at the Main Listening Position. This means that when your AVR Master Volume control is set at 0dB, your satellite speakers are expected to play at a peak level of dB and your subwoofer is expected to deliver a peak output level of dB.
This in turn means that your system at 0dB 'Reference Level' will, in theory, sound exactly as loud as every other calibrated system playing at 0dB, and also the same loudness as heard by the film mixing engineer in his studio.
I say 'expected to' above because in reality only the very best home theatre systems will be able to reach these levels without running into clipping or other forms of distortion. So how does this translate to your Audyssey calibration? Basically, when in calibration mode, your AVR sends a series of 75dB 'chirps' to each speaker and subwoofer in your system.
Audyssey tests for how many speakers you have in your system during the first measurement only , although you may have to tell it how many subwoofers you are using - all of this is displayed on screen during the measuring phase. Audyssey measures the actual Sound Pressure Level received by the calibration mic at the Main Listening Position that is, the No 1 mic position.
If the mic reads a Sound Pressure Level of, say, 77dB for another speaker, the trim value is set to -2dB reduced by 2dB and so on. If the average band-limited pink noise level is meant to be 85dB at the Main Listening Position, then why are the Audyssey 'chirps' only 75dB? Audyssey originally used an 85db test tone for the calibration, but received numerous complaints about how loud the calibration tones were especially since many users performed the calibrations at night when their room was quietest , so Audyssey switched to using a 75db test tone for the calibration perceptually half as loud and much more tolerable.
Finally, a word about internal test tones on your AVR and those you will find on external test discs. The signals recorded on most external calibration discs are usually recorded at 85dB dBFS. Both methods can be used successfully to calibrate a system. However, please note that when you play the internal test tones in your AVR, they bypass all Audyssey processing, including equalization. To get some idea of whether your system is capable of playing at Reference Levels, you may want to play around with these Sound Pressure Level calculators - just feed in the data and they will tell you the Sound Pressure Level you can achieve in your room!
If they all give different results, well, that's because there are a lot of relevant parameters and not all of them are necessarily included in every calculator. Just treat them as a guide. Calculator No. To repeat, reference level is a calibration. It is used for mixing movies so that every sound in the final sound track is at a specific SPL level when played back at Reference.
In the digital age, the maximum encodable level is called 0dBFS full scale. Everything that is not at full scale can be described as some number of dB from full scale. Movie mixing rooms and movie theaters, at least theoretically , are calibrated so that pink noise encoded at dBFS plays back at 85 dB in each speaker surrounds are actually 82 but there are always multiples on a movie mixing stage and home calibration equal to the mains is appropriate.
Using a pink noise signal encoded at dBFS, home speakers are calibrated at 75 dB. It should be apparent upon reflection that these result in exactly the same calibration. A sound encoded at dBFS will sound at 65 dB at reference level under either calibration approach. A sound encoded at 0dBFS would be dB in the room. It's a bit confusing but you can't confuse sound pressure in a room - - dB SPL - - with the encoding levels of movies or other media.
If I set my master volume at dB, that means that a sound encoded at dBFS on disk will sound 65 dB loud in my room, versus the 85 it would be if I were at reference. What happens is that after reading the digital data off the disk, the system turns it up 10 dB so the whole LFE channel is encoded differently from the rest of the channels. There are no rules whatsoever that say how loud anything must be in a movie. Silent passages will be encoded as all zeroes digitally, and will be silent whether you play at Reference or far below.
I've seen it said that dialog runs typically somewhere around the 85 dB SPL range, but that's far far from a hard and fast rule and some movies have it significantly lower. V for Vendetta is an example of a movie with much lower than normal dialog levels. This is a topic which is always fiercely debated in the Official Audyssey Thread. The first thing to understand is that - at least with regard to Reference vs Preference - there are really no 'rights' or 'wrongs' as far as your home cinema goes.
It is your equipment, paid for with your money and listened to with your ears. So if you prefer a little more bass after your Audyssey calibration, then turn up the bass trim in your AVR. And if you prefer a little less, then turn it down. But before you do that, it is really important to understand the basic goal of the Audyssey technology: Audyssey has been developed to solve room acoustics problems and the sound degradations they cause.
The goal of Audyssey is not to shape the sound to your preference, but rather to shape the sound to Reference. Audyssey does this by measuring your room and your speakers together, as a system, and then creates correction filters based on those measurements. The reference point for this acoustical correction is based on the only known standard: the mixing room calibration curve used in all film production sound mixing studios. Assuming there are no problems during the calibration process, what you end up with is a Reference calibration.
If you have some personal sound preferences , these are outside of what Audyssey is responsible for. Some people want more bass, while others complain there is too much bass. Some people want flat high frequencies, while others do not. These variances represent the difference between Reference and preference. To be fair though, you should listen to the original Audyssey settings for at least weeks to better appreciate what the mixer intended you to hear.
After that period, if you still wish to make adjustments many choose not to after this period of adjustment , do so to suit your preference. It is important to note that there are some Audyssey settings which are OK to change and which will not affect your calibration - eg the speaker trim levels. But equally, there are some settings that are best left alone - eg the distance settings which result from your Audyssey calibration.
Please read the relevant sections of this FAQ to learn more about which settings are OK to change and which really should be left as they are. If I want to run my subs a little hot' where should I make the changes? Although Audyssey officially recommends that you use Dipole speakers for your surround channels if you mainly listen to movies, it actually makes no difference to MultEQ what kind of surround speakers you use. The calibration mic 'hears' the in-room response of the speakers and makes the appropriate corrections and adjustments.
The mic has no way of 'knowing' what kind of speakers you are using. The purpose of dipoles is to reproduce the diffuse ambient sound that one gets in a movie theater with multiple speakers playing the same content and thus sounding diffuse. Some people who listen to music a lot prefer to use monopoles for their surround speakers, but whatever you use, your Audyssey calibration will not be adversely affected. If you want an in-depth look at the differences between these types of speaker, the article below is an excellent place to start.
Further Reading: Excellent article on speaker types from Bluray. This is possible depending on the brand and model of AVR used. For Onkyo units, follow this procedure: You can save all of your Onkyo configuration settings, including MultEQ, by using the 'Store' and 'Recall' feature found in most all? Onkyo AVRs and Prepros. Use this technique if you have a known good MultEQ calibration you are happy with but you wish to experiment with, for example, different mic positions.
First, Store your current settings. Then run MultEQ again and if you don't like the new calibration as much as the old one, simply Recall the old one. Note that you can only store and recall ONE calibration this way - the last one you saved. Switch unit back on, your settings have been restored. The save takes approximately 10 minutes, after which a message is returned to the browser window prompting you to save the configuration file to your local disk.
Save the file, giving it a descriptive name, e. Once the configuration file has been saved, the will power back on. Using the hex editor, open the configuration file.
If it is a good save, you will see hex code in the file. If it is a bad save, the file will be nothing but zeros. Another alternative is to use Windows NotePad to open the file. In NotePad, a file with all zeros will appear as a blank file, while a good saved configuration will appear in NotePad to be filled with random characters.
However, once you have verified that the network save has been successful, you should return the network setting to "Always On", because unless you do so, any other devices connected to the 's network hub will lose their network connection when you power off.
A typical network load takes approximately minutes. Edit May After installing a new Antivirus program Norton AV , I was never prompted to save the configuration file, perhaps because of the browser protection features of the new AV. After temporarily disabling the AV protection and re-running the network save, I was prompted to save the file as expected. If you experience a similar issue, try disabling the AV. Rather than redoing an entire Pro calibration, you can call up that mic data file and use it to generate a new Audyseey Pro calibration at any time.
For example, to change the satellite crossovers, or to create a custom curve, you simply call up a saved mic data file, calculate the filters in Pro and load them into the processor. See the Pro Installer kit thread for more info. Contrary to popular belief, a target curve that is flat from 20 Hz to 20 kHz is not always the one that will produce the correct sound.
There are several reasons for this. One has to do with the translation required from a large movie theater to a smaller home listening room. The other reason has to do with the fact that loudspeakers are much more directional at high frequencies than they are at low frequencies. This means that the balance of direct and room sound is very different at the high and low ends of the frequency spectrum.
In a typical living room, the acoustical conditions require a flat curve up to a certain frequency, and then a roll-off. This roll-off allows the proper balancing of the direct and reverberant sound at high frequencies. MultEQ creates filters that correct the frequency response of your speakers to a specific target curve. This curve should be used for listening to movies in most cases.
This curve should be used for movies if you are seated in the near field, if your room has a lot of high frequency absorption due to acoustic treatments, if your room is very small or highly treated or if you are using THX Re-EQ which introduces its own roll-off. Audyssey research has found that listeners in most home environments are seated in the reverberant field.
The mixing of most films in post-production studios is completed with the recording engineer seated in the near field. MultEQ works by creating filters that correct the in-room frequency response of your speakers to a specific target curve.
Re-Equalization technologies affect the target curve selection. This applies a high frequency shelf cut filter. This avoids applying a 'double cut'. Some manufacturers have developed proprietary high frequency roll-off filters with various trade names; Denon Cinema EQ, for example.
The selection of Audyssey target curves is performed manually in some products eg Denon, NAD, Marantz and some Onkyos and automatically in others eg some Onkyos. Consult your user manual for details of the method used in your unit. In these circumstances, if the Audyssey mic is off-axis from the tweeters, Audyssey can boost the high frequencies in order to achieve the desired response. So, if your HF is too bright or even harsh after running Audyssey, and your speakers are not angled towards the MLP, try repositioning them and running Audyssey again.
It is also important to make sure that the mic is pointing directly up towards the ceiling and not at an angle as the latter can also induce bright HF as Audyssey tries to overcompensate for the incorrect 'grazing angle' of the mic. Please check the 'See Also' links below for more information on the all-important Audyssey mic technique.
Please note that some speakers are specifically designed to not be toed-in. Check your speaker manual to see if this applies to your speakers.
The following 'case history' from AVS Member D Bone is an interesting example of how experimentation and persistence can reduce harshness: "I have a friend that owns an auto custom install shop, and although he doesn't specialize in home theater, he has forgotten more than I know.
I was at his shop on other business and mentioned the issues I was having with Audyssey and he volunteered to come over and help. He liked everything else though, so that's all we changed. He brought some heavy moving type blankets for a better description, and we placed them over the leather couches and chairs.
Then he asked me to place the mic where I normally do based on my detailed notes of my last calibration procedure, and he made a few adjustments, mainly in the height of the mic.
We repeated that process for all eight locations, and he made small adjustments in either the height or the location, or both. After we were done I showed him the results and I pointed out that the trims were low at They were all balanced close enough, but all 5 were low and that was consistent to every other procedure that I have ran, in which case I raised the speaker trims by db so they were all 75db on my SPL.
Heck, I don't know, but I documented each mic placement so I can reproduce the result if needed. It is also possible that your Audyssey mic might be damaged or faulty. This is harder to diagnose. If you have access to a different mic then you could use the other mic to run Audyssey again and see if the problem goes away - but be sure to use the correct mic for your AVR: see the link Do I have to use the mic that came with my AVR or PrePro?
I think you'll see a huge HF rolloff. This is what I encountered with my Onkyo I compared the response with that of my mic from my and the difference was quite large.
I re-ran Audyssey with the old mic and the brightness went away. The mic might have been defective from the start but I think the more likely reason is heat exposure. I believe the Audyssey mic is an electrect and when they are exposed to heat some of the permanent charge bleeds off and the first thing to be impacted is the HF response. Heat of deg F can do this. My was shipped in the middle of July, right in the middle of this summer's heat wave.
I know that the mic had to be exposed to temps in excess of deg during shipping. If the brightness is still there even with Audyssey off, then it is not an Audyssey issue. The Audyssey 'chirps' are sometimes the subject of misunderstanding as to their true nature and how they work.
It starts at 10 Hz and runs out to 24 kHz, but it weighs the frequency sweep logarithmically. In other words, the lower octaves get more energy than the upper ones. Sound familiar? In fact, if you take the time domain test signal it's called a log chirp and transform it to the frequency domain you will get the exact same spectrum as full range pink noise.
During measurement, the initial chirp is approx. The chirp repeats several times per speaker and this has the benefit of increasing the signal to noise ratio in the measurement. Also, Audyssey listens to the background noise in between chirps. If it's above the required minimum then it repeats the sequence of chirps at a higher level to make sure it gets meaningful measurements.
Using the Audyssey Pro Installer Kit, you can sample more points in your room up to 32 as opposed to XT32's 8 for example , customise the sound more precisely to the specific problems in your room, and tailor the sound to your personal preferences. The kit comes with a professional-grade microphone and preamp that are calibrated to the highest industry standards for the most accurate measurements.
Just click the link for 'Further Reading' below. There is also a dedicated, 'counterpart' FAQ to this one, designed specifically for users of Audyssey Pro. The latter, GEQ, is a simple 7 band equaliser for each speaker in the system - a very crude and primitive form of frequency adjustment. In all forms of 'consumer' Audyssey MultEQ, note that there is no way to view a 'graph' or any form of result of the Audyssey calibration. So when you go into the Equaliser menu, whatever may be shown there is nothing at all to do with Audyssey.
If you have Audyssey enabled, it takes priority over the Equaliser settings. So you can set the 7 bands in the Equaliser any way you like and you can switch between the Equaliser and Audyssey. However, the two cannot exist simultaneously, so when one is enabled the other is disabled. If you have set up the Equaliser and have it set to On, then disabling Audyssey will automatically engage the GEQ settings.
Similarly, if you switch Audyssey on, any settings in the GEQ will be automatically disengaged. The first option turns Tone Control on or off. If Tone Control is set to on, then bass and treble options are configurable. If Audyssey is turned off, the Tone option disappears.
Yes, Audyssey works fine with external amps. Many Audyssey users run a prepro plus external amps or use the pre-outs on an AVR to run external amps.
Audyssey doesn't care about the amps or where they 'live' and your calibration will be exactly the same as if you had a typical AVR with internal amplification. Note that if you have an AVR that has been successfully calibrated by Audyssey and then later on an external amp is hooked up via pre-outs if available , I would definitely suggest re-running Audyssey.
The internal power stage of the AVR compared to the external amp may have a different gain structure which means even though the correction filters will not be affected, the reference level of 0 dB Master Volume setting will produce a different sound pressure level, thus throwing off Dynamic EQ. Also note that should the external power amp have a user adjustable volume control or gain control many have it should be adjusted once prior to running Audyssey and never ever touched again.
If the amp's own gain control is moved then the same issue described in the paragraph above will also occur. If, for some reason, you do need to change the gain control on the external amp, then run Audyssey again. While I have endeavoured to ensure that the data is correct, prospective buyers are advised to check with the manufacturers' websites prior to purchase.
This list is believed to be correct as at 10 October It doens't matter if the sound came from a straight decoding of a Dolby Digital container, or was an analog 2ch signal converted to digital through a DAC and then matrixed to 5. All that matters is how the sound that comes out of your speakers interacts with the room. This is a term you will come across several times in various answers in this FAQ.
A useful definition of F3 is: The roll-off frequency at which a driver's response is down -3dB from the level of its midband response. It's a standard term in loudspeaker design. Every speaker starts to roll off decrease its output at a certain frequency depending on the size of the speaker driver and the enclosure.
The F3 point is the frequency in Hz where the speaker response has dropped by 3 dB. It is a convenient way to compare the low frequency performance of speakers by having a point to look at. The AVR typically uses this frequency as the crossover point to the subwoofer.
It assumes that the subwoofer response is rising at a similar rate and will take over below that frequency. Output is the level you hear at every frequency. So, yes, related to volume. Frequency is related to tone. Low frequencies are deep tones bass. The reasons Audyssey works this way are explained in other FAQ answers, which are linked below. MultEQ detects absolute phase for each speaker during the measurements.
Occasionally it may report an 'out of phase' error. If this happens to you, the first thing to do is to check that the physical wiring of all your speakers is correct, both at the speaker and at the AVR. They should all be connected positive to positive and negative to negative. If they are, and Audyssey still reports an out of phase condition, then it is probably because some speakers are deliberately designed with intentional phase reversals internally usually to address Crossover problems.
MultEQ detects that and reports an error. If this happens to you, and you are sure all your wiring is correct, just press 'skip' and carry on with your calibration. Doing this does not affect anything - MultEQ only reports the possible reversal of wiring - it does not automatically switch the phase. This error message usually occurs if Audyssey detects a level of background noise in your room which would preclude a correct calibration. When running the measurements, be sure to turn off anything which can contribute to the background noise.
I just seem to prefer the sound with the EQ off, and Audyssey not running, thus applying my own channel balance and crossover points What do you all think? Is Audyssey something that should definitely be run and applied, even if it's the basic 2EQ version?
I don't like the fact that no matter how many times you run the routine, you get back different results; it just doesn't seem to be something to trust. Will a system definitely sound better with Audyssey's EQ curve on rather than leaving it off, as I do? What are your thoughts? Something I recently heard from a rep- when using Audyssey, leave the mic in the same position for the first two tests- one tests for distance and the other tests for phase. Then, move the mic and do the rest of the tests.
If you never use more than a few seating positions, keep the mic close to those and don't move it far from the primary position if you want it to sound good. Audyssey EX on my Denon made decent improvement over none. Use your ears. It doesn't matter what anyone else thinks. PearlcorderS said:. With Audyssey, it seems to leave a "blanket" over the sound of my speakers, applying the cinema filter that seems to choke out all the high frequencies For music, I run pure direct mode and my fronts are run full range.
I've run it three times, one for each curve; "flat, natural, and front speaker emphasis". The last doesn't eq the fromt speakers but the center and surrounds arfe eq to match the fronts.
I thought that was kind of cool. I can't tell much difference between natural and flat curves to tell you the truth although the eq settings are quite different. Back to your basic concern, there is a reason for what you are noticing. You can do this and still leave Audyssey in play.
If I remember correctly, Onkyo XX5 Series do not use the flat curve, and as you know, there is no way to select another curve. MultEQ creates filters that correct the frequency response of your speakers to a specific target curve.
This curve should be used for listening to movies in most cases. In a typical living room, the acoustical conditions require a flat curve up to a certain frequency, and then a roll-off.
This roll-off allows the proper balancing of the direct and reverberant sound at high frequencies. This curve should be used for movies if you are seated in the near field, if your room has a lot of high frequency absorption due to acoustic treatments, or if you are using THX Re-EQ. Audyssey research has found that listeners in most home environments are seated in the reverberant field. The mixing of most films in post-production studios is completed with the recording engineer seated in the near field.
As a result, it is usually beneficial to use a high frequency roll-off Audyssey or Audyssey Reference curve to tame brightness. Therefore, it may prove beneficial to try listening without a roll-off Audyssey Flat curve to see if there is an improvement in sound quality.
Re-Equalization technologies affect the target curve selection. The selection of Audyssey target curves is performed manually in some products e. Denon, NAD, Marantz and automatically in others e. For products with manual selection follow the guidelines above. For products with automatic selection, the following rules apply: i. Note: Music content is not produced with the same standards as film, so, it is difficult to predict which target curve to use.
In some cases, the "Audyssey Flat" curve might be preferable for music. BWG Audioholic. I use the 2EQ in the Onk Do I still need to choose an 80 Hz crossover point for my setup? Also, is there a point in upgrading to speakers with more powerful bass if I do cross them over at 80 Hz?
And it should be able to do so with a good degree of accuracy. In that situation, your money would be better spent in upgrading your sub to a model with better extension and more powerful output capability. The sub filter used to have higher resolution than the speaker filters. This is no longer the case with XT With XT32 the speaker and sub filters are of equal resolution.
Also, the paper specs of your speakers do not apply to your HT room. Factors such as having carpet or hardwood floors for example can affect a speaker's bass output. Audyssey is measuring your speakers real bass based on your room acoustics. Griffin, I am confused by this statement in your answer to Mr. The benefit of doing that is that the subwoofer channel filters in MultEQ and MultEQ XT have much higher resolution and so you will get smoother bass response.
You will have to make sure that all speakers are set to Small for this to work correctly. Audyssey is not allowed to make this determination. The AVR manufacturer makes it based on the info it receives from the Audyssey measurements.
This goes for XT32 also. Also in Mr. Kumin's review of the Integra, he says that Audyssey set his crossovers for his speakers when that is contradictory to what Audyssey says. So am I missing something here?
Lastly, something that I don't see referred to often is the setting of the LFE channel. In that same Audyssey thread, Chris also talks about the crossover settings for LFE are typically incorrectly set at 80hz also. While this may be a proper setting for blending subs and sats together, LFE extends up to hz. So an 80hz setting will actually cut out some LFE content. Could you please elaborate on this more. This sounds like I need to have 2 separate settings for movies and music.
I thought you sent lfe to subs and the full left right and center channels played full range with everything but LFE I thought left and right and center got full bass effects,Lfe was just for effects not the whole sound track if I keep talkin i'll be goin in circles if I ant already :- CD. By manually change the speaker's x-overs, to our much better choice than Integra, we won't lose anything EQued by Audyssey. That is if we don't go higher than the the crossovers chosen by Integra.
But for example if Integra decided of a Hz crossover for a certain pair, by changing it manuyally to say 80 or 60Hz it won't affect anything at all just don't change it to Hz for example - then you'll lose the EQ between and Hz. And we should be able to edit our comments; for typos etc.
That is the minimum respect in on blogs and forums of the Internet. LordoftheRings, from my understanding of Audyssey, this part of your statement is only partially true: "By manually change the speaker's x-overs, to our much better choice than Integra, we won't lose anything EQued by Audyssey. But for example if Integra decided of a Hz crossover for a certain pair, by changing it manuyally to say 80 or 60Hz it won't affect anything at all".
So in your example, if the Integra chose a hz crossover point, then Audyssey will have calibrated those speakers down to hz. If you choose to select a lower crossover point, say the 80hz "standard", that's fine but understand that the Audyssey calibration stopped at hz and the range between hz and 80hz is now unprocessed therefore not optimized by Audyssey. Audyssey does not recommend you reset your crossovers lower after calibration because of this.
But they also point out that if you believe this to be in error, then you should rerun Audyssey, adjust speaker locations, make room adjustments, or all the above. Now as far as adjusting the crossover higher than what your processor selected, you are right that you will lose that calibrated portion of the frequency range, but that is all you lose.
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