Quiet_Hollow

Emma Stone.

Yup. USB adds another layer to the process (conversion of LPCM unbuffered data, to buffered, and back, along with any associated error), which happens to introduce an audible distortion at the DAC. I don't know specifically what that distortion is, but it is quite easy to discern with the ears. This is very case specific. I'm not talking asynchronous file transport here (like pulling something off of a memory stick or hard drive). Rather, it's USB audio out from a computer where the problems start. Same hardware, but different protocols. For a primer see here: http://www.edn.com/design/consumer/4376143/Fundamentals-of-USB-Audio

The source of the confusion earlier in the thread lies in lumping all the hardware under one term "digital" for use in the logic argument, "all digital is the same." They are not, and it is not..particularly the various resultant forms (and subsequently perception) of any distortion(s)...an entirely different topic. The audible difference at play here is largely the conversion between transport layers, which frankly doesn't need to take place.

No, it's because horns are big...even at 1/4 wave length.

For the love of Pete, try a different amp.

Another one. Turn it up until it sounds like he's right beside you. What an experience! THIS is why I do stereo.

Go ahead, play it back stupid loud. Set 1080pHD and tempt fate with your volume knob! I swear Obi-Wan himself mixed this one.

I see some people are posting their cat pics... so might as well join in. Here's a couple of our current fuzzy loaf:

No problem. Just keep all the measurements close together like others have mentioned, and it'll be fine. Contrary to their advertising literature and no matter how powerful the DSP algorithm employed, all commercial single mic methods are ultimately limited by the inability to determine azimuth and declination. So, mic'ing all over the place typically yields less-than-stellar results. Hence the fancy "closed loop" mic Trinnov developed and the jig included with some Yamaha YPAO receivers.

It means the on-board DSP has a limited amount of digital offset to work with, but just because it maxes it out, doesn't mean that all other DSP functions cease to operate.

There is no problem. Avoid the groupthink.

Not audio, but still tube-related porn:

Whatever Klipsch designers set out to accomplish in the horn assemblies of the recent RP line, they nailed it. Last I demo'd them, they sounded excellent. Surprisingly so. I gather whatever research they put into the Palladium design had to have spilled over into their value lineup as well. Worth at least checking out in person.

Not really. See what Efzauner said above. However, getting a CD player with digital output (either coaxial or optical) certainly could.

Imaging? Heritage? Without any modifications or help from electronic processing, my top pick would be the Heresy.

I'm currently nursing a pair of Frazier CAT 40's back to health with a blown tweeter. I paired them up with the NAD C390DD for our "bedroom system." Still have to find that ideal-sounding location / high pass filter sweet spot for these...and how to possibly integrate a horn subwoofer into our platform bed. Been also tossing the idea around of pair of Klipsch RP160, RP150, or possibly even the Pioneer SP-EC73 driven by an SA-XR57 and a Rythmik Servo sub or BFM T18, for the guest bedroom. Done tweaking the main system for a while. Just kickin' back with it, and enjoying the fruits of our labor in that regard. Can it do better? Of course. Could anyone else but me tell otherwise? Very unlikely.

I had to wait for the amp technology to catch up with my library. One word described the transition: LIQUID Water, juicy, creamy, smooth, milk, syrup, viscous, flows effortlessly...yup, that's digital, done right. "Aw, digital is gritty, harsh, lifeless, flat.....blah blah blah..." Sounds impossible, until you experienced it. Then the real journey begins. Some stuff sounds freaking amazing, while others not so much. Just like digital video, some native 4k stuff will leave your jaw on the floor in comparison to early cell phone videos floating around on eBaum's World that are barely watchable. Then you start to experience all the "shades of gray" in your source material. Lossy? Nope. 320? Still not enough to hide the warts for serious 2-ch. Lossless 16/44.1 LPCM ? The bench mark to measure all others. Sounds great when done right, but can sometimes hear the low-pass filter artifacts at volume. Completely underrated. 16/48? DAY-yum!! This can't be digital?? So smooth!! 24/96? Simply put, Reality.....limitless playback volume, dynamic range can tap out ANY system, without fault. DTS-MA? Great potential, so long as the soundtrack isn't squashed up against the rafters...unfortunately it usually is. Dolby True? Usually kick ***. Dolby ATMOS? Holy Crap. Now THAT is lossless surround sound! Object orientated is no joke. Will wow you even when downmixed. Digital FM? Sure....if they weren't broadcasting 128K MP3 all the time on 5 odd sidebands. NPR and a smattering of others are the only ones that have kept it close to real. Ideally, one station, one or two frequencies, full bandwidth...playing FLAC, CD or vinyl. HD radio? Can sell only because regular FM is so god-awful since the change to digital broadcast and subsequent overuse of lossy compression in support of multiplexing. It's a real trip to listen to a file and you can clearly discern when a track was pulled from a tape or record.

Perhaps...but really when it's only too small. 12 foot ceiling is a BIG plus, and 20X20 won't hurt so bad as long as your not digging around 40 Hz or so. With a big enough room, the shape becomes much less of a factor.

There's incredible differences. Two completely different topologies running two completely different protocols. One was designed expressly for the transport of digital audio by the AES, the other by computer manufacturers for networking peripherals . It has nothing to do with cost as the hardware for either can be had for peanuts. Try getting rid of the DAC all together. But you didn't hear that me.

They sell these right next to those $2000 USB DACs.

I'm bumping this thread simply to reaffirm the importance of recognizing and diagnosing error in your system. These tools will help a person along that path. Got some "new-old" speakers in this past week. Clearly there's a problem after plugging them in, and without this trusty suitcase of diagnostic tools we'd be up a creek trying to figure out what's wrong.

Depends on the available hardware. Some have it, some don't. No. It's just a fancy pipeline to carry the LPCM.

Agreed.

"Can silence actually drive you crazy?" City slickers....