Quiet_Hollow

Wave guides allow propagation of a wave (electric or acoustic) in only one dimension. The horn tapers in two dimensions to facilitate impedance matching at its terminus.

Two HIP, KP-250, or KI-362 tucked into the ceiling corners. A little EQ and a good 15" or 18" sub will have you covered in spades. That 14' ceiling is your best friend.

Performed a few open heart extractions on Whitetail deer over the years.

Heard of him back in the 90's when he was involved with Claypool. Stuff was really out there. Forgot all about him, until this thread. I've been playing some off YouTube at low level the last couple days while working around the house. The GF quickly approved :emotion-21: and just picked herself up a copy of Electric Sea. Thanks bro!

Prost!

...on an acoustic no less. Serious grip.

The other half is just the opposite...post reform I guess. She's quite independent and knows more about good sound than average, especially for not being the musician type. Her car system performs better than most hi-fi show rooms, and she knows exactly when something's amiss with anything. She recognizes there's a difference between things, and I simply help her along. It took her a while, but eventually she has picked it up...ten years of immersion does that. She's the type where she'd rather not mess with the stereo if she didn't have to, but has no problem diving into it herself if she has to. Best of all, she'll be the first to report when she's made a mistake with the system. We're both the same in that regard.

The trick is to keep the signal digital right up to the pulse width modulators. IOW, if the back of the amp does not accept digital inputs there'll be a DAC involved somewhere inside there, which is a compromise. To start off with requires a DSP that can handle strictly digital I/O. Examples would be the DBX 4820, DEQX HDP-4, Ashly NE Series, or the like. From there it's a matter of patching in amps....essentially anything that accepts LPCM as an input (nCore, PurePath, ICEpower, DDFA, etc.) Still doesn't consolidate the mess. Rest assured, I'd be expecting to pay a premium for the the first one that does.

Out of the box, a brand new Elite may or may not live up to the hype. They require some tweaking, mainly because Pioneer (like most Japanese companies) ship the product with almost every whiz-bang feature enabled.....which doesn't necessarily equate to the best sound. So here's some quick pointers, using just the remote control, to get the sound quality of the unit into the audiophile arena (assuming the AVS forum MCACC procedure was accomplished using the All-Channels Adjust feature) and the subwoofer (if equipped) is dialed in: On the remote press MAIN then Audio P which stands for Audio Parameter. This display cycles through pretty much everything that constitutes the Sound Explorer menu if using the mobile AV app. S-WAVE, Standing Wave Control - ON PHASE, Phase Control - FULLBAND PHASE C+, Phase Control Plus - AUTO DELAY, Lip Sync Audio Delay for inputs other than HDMI - 0 ms or whatever it takes to sync to your TV TONE, Tone Controls - BYPASS S. RTRV, Sound Retriever - OFF DNR, Digital Noise Reduction - OFF DIALOG, Dialog Enhancement -OFF A SCALE, Audio Scaler - MANUAL H-BIT 32, High bit 32 Expander - OFF UP SAMPLING - X1 D FILTER, Digital filter - SLOW PQLS - OFF unless you have a Pioneer BR player DRC, Dynamic Range Compression - OFF LFE, Low Freq Effect Channel Attenuation - 0 dB (Keep it set at zero. Don't set it to OFF otherwise it'll mute the LFE entirely) INPUT ATT, Input Attenuator - OFF A. DELAY, HMDI controlled lip-sync audio delay - ON V DEPTH, Virtual Depth - OFF Press RETURN a few times on the remote to back out of the Audio Parameter menu. For CD, DVD, and any other outboard LPCM input my ears tell me that connecting via coaxial S/PDIF sounds the best. FLAC and WAV sound best when played directly off a memory stick plugged into the front of the unit. I have yet to try DNLA. DTS-HD, Dolby True HD, and ATMOS through HDMI naturally. Airplay from either an iPhone or iPad suffers from Apple's embedded high-pass filters (ie. noticeably reduced bass), but is otherwise on par with any other streamed audio quality. These are just my findings. Others may differ. All I know is that how my unit sounds now, is nothing like what it was when I first pulled it out of the box.....and for the better!

$1.30-$1.60/gal here. Gasoline prices haven't been this low since 2002. Today was the first time in 14 years that it took all of $20 to fill up the car. But like you guys have already said, I'm not about to go out and see how far or fast I can drive. I'll still keep it reasonable, driving the 'ol 90's Accord with 1/4 million miles, averaging 34 MPG in the process. Meanwhile we've got more Volts, Leafs, and Prius than I can shake a stick at here. The motorcycle guys are lovin' it right now but that's about it. Disposable income, for very many, is still quite elusive.

Active suspension (a form of hydraulic control) is not new and has roots dating all the way back to the industrial revolution. Popularity in vehicular applications, like everything else, stems from the progressive reductions in cost and packaging. What's not shown in the videos is the interior of the cars laden with so much telemetry and sensory gear that the driver hardly has any room. Yes, this stuff was very hot in the 90's...along with Pamela Anderson and Cindy Crawford.

Via hydraulic or electronic failure. Which in a fully-active system, like the Bose depicted, not only terminates any damping capability, but also ride height. Critical to maintaining any semblance of control. For compare, when adaptive systems like Magnaride and other similar implementations fail, damping is only partially impaired and ride height is fully maintained. One of the single biggest hurdles in the adaptation of high performance linear actuators by industry is not how they perform, but rather how they fail.

There are few things more harsh to the ears than a cooked vocal track. DTS..cough...cough.

There's certainly a lot going on in the center channel.

+1 Guidance provided to consumers is very poor in this regard. That's why I run my center channel arranged the way I do. See #4 below. Aside from Toole's extensive research, I'd wager these four things also add to the fire:1. Boom mic'ing technique vs. studio mic'ing technique 2. Dubbing practices 3. The current design of the average home center channel speaker 4. Traditional implementation of the average home center channel speaker

When they're built correctly Fc is 22-25Hz depending on width and driver used. In a typical living space, usable in-room response can dip down to 16-18 Hz and accepts mild EQ boost below Fc. Acoustic output varies according to construction and setup, but they can get scary loud. The one I built does 117 dB SPL (from 20Hz to crossover) at the listening position all day long....from a single 12" driver into a 4600 cu foot room. The wider versions produce even more output.

Nope. It's a folded, front-loaded horn....like the K-Horn, La Scala, Belle, and MWM.

Some serious bang for your buck. 1. An optical cable (and mini adapter) to plug the laptop into the amp. That or a re-clocker if you're insistent upon using USB.2. A pair of high quality subs.

Well said.

3 hours of listening to some idiot screaming "Whooooooooooooooo! Whoooooooooooo!" from my left channel. NFL audio 2016 = FAIL

K400 is truncated by design and the K77 operates under 60° in the vertical. That's why I don't fuss over surface mounting either.

The failure modes of a fully-active suspension are typically spectacular and catastrophic. The systems employed in cars of the last decade are a cost/safety compromise.

It's all in the wavelengths. All three designs have similar low frequency cutoffs, packaging, and sensitivity. Acoustic problems take into account a lot of variables. There is no such thing as "the very best," even among products that would claim so. See the Glossary of Symbols on pages 1 & 2 here: http://users.ece.gatech.edu/mleach/papers/HornPaper/HornPaper.pdf Applied acoustics. All the features of the bass bin are no finer than required for the intended pass band for instance. I'd recommend getting in touch with Greg Roberts at Volti and bounce some questions off him. The solution to a better performing La Scala is not a modified La Scala....it's entirely different design.

That "corrected back" piece is . It's a vibrating mass inside there, not flowing water. What the OP speaks of has already been done, here: http://www.billfitzmaurice.com/DR280.html and also here: http://www.danleysoundlabs.com/danley/wp-content/uploads/2012/04/SH-46-spec-sheet11.pdf I wouldn't mistaken the simplicity of the La Scala's construction for simplicity in it's design.

Thanks for the tip Carl. We'll check it out.