gadgtfreek

Id like to note, when I talk about my system hitting 110+ dB's, it's not quite so cut and dry. With my new setup, crossing fronts at 60 and not 80, I've done a lot of testing and adjusting from how I was previously doing it. Im using a good SPL meter, and when I monitor the higher frequencies, I see around 100-102dB in loud scenes. If I swap over to monitor more low frequency stuff, that is when I hit 110-112db, and those are just quick bass hits from the subs. Previously I ran the subs much more hot, but I've done some testing and I like +5db over what XT32 sets it at. This is close to 75db as well with the test tone and reference volume, with my SPL meter set to be more accurate with low freq stuff. I also think running the fronts at 60hz now will help the sub out with headroom instead of all that front channel 60-80hz stuff going to the subs. After reading some good input from a Dolby guy and a sub designer, I have started crossing the LFE channel at 80hz, not 120. This of course is not a brick wall, but a rolloff, and their theory is that subs running all the way to 120hz are getting distracted from their main job, and the 120hz LFE channel was not the norm. Kinda back to the THX theory of cross everything at 80hz, but I think if your mains can do it and you have the power, crossing them at 60z gives more impact across the front. My Hsu subs offer many different configs. I am using Maximum Headroom mode. This is in the middle between Max Ouput (highest db's from 25-80, but not as good under 20) and Max Extension (best mode under 25, but lacks a few db from Max Output in 25-80). So, I get a little more output from 25-80 than max extension, but it also digs deeper than max output below 25. This mode is also designated for large rooms and high playback, which is me (5300cuft). The Q, or dampening setting I use is 0.5, which is for medium to large rooms. I just watched some material I am used too (Transformers city battle, truck chase and gunboat scene in Act of Valor, and last battle with drones in Iron Man 2), and I think I have it right where I want it. Once I swap the center out, I will run XT32 again, set my speaker trims to each other (including the sub), adjust master volume, and continue with the subs +5db hot once all other adjustments are made. I'll also keep LFE xover at 80hz, the 7ii's at 60hz, and the 64ii at 80hz.

This particular listen was laptop/itunes--airplay--marantz av7702--outlaw amp I have tron legacy on CD today and will be playing it. It is supposed to be good and bass heavy. I will try both modes.

And way more thin and flexible than most any other cable. I changed my whole system out 2 years ago and I am sold.

I've owned a couple of Marantz AVR's and now this Preamp. I think their styling has always been over Denon, I mean they just look classy. Some say they are the same guts, but I have read articles from their employees that say D&M both maintain their own design groups in house. YMMV. Just the short of it, I think Marantz charges about the same or a little more for the same "Denon", but they focus less on goodies like Spotify and more on the guts. My 0.02 cents.. I bought one of their blu-ray players because I had an AVR at the time and I thought it looked stylish as well (UD5007), but using Spears and Munsil to test patterns, it had chroma issues. This is unacceptable to me when the Oppo and even a $100 Sony can pass the tests. All blu-ray players should be able to output a bit for bit image, but not all can. The Marantz also had some odd issue where it was clipping 1-2 rows of pixels off one side of the image. So it went back and I've stuck with the Oppo 93 and now 103D. I imagine the UHD model will be out in October (113D?), and I will buy it too. I've owned: SR6005 SR6007 UD5007 As far their amps, my problem with them is they are overpriced when you look at Emotiva and the Outlaw ATI made amps. Functionality first, looks second.

LMAO. Yep, gotta look at the labeling.

Agree. I like the Monoprice Redmere's though. Super flexible, thin and fit snugly.

I get the whole "no SQ difference" thing, but after ponying up and buying some nice XLR's, it makes you wonder why more stuff in AV isn't "locking" AND flexible. Do I understand correctly that the way the wires are laid out in a XLR, they are immune are almost immune to interference from other sources?

I am burning the tron legacy daft punk cd now a friend sent me. Thats getting blasted via the Oppo tomorrow.

LOL The connection/lock and flexibility beat my RCA's hands down.

LOL

Nice, Ive heard good things about the Cinema Grand series and like the inputs.

Yeah, any Audyssey unit "reference" theater volume will be 0.0db on the volume setting. Since my center is 2 db hot, and I had to make the fronts and center match, it changes my actually reference volume to -2.0, I can still listen at 0.0 if I want, but technically I would be 2db over reference since my speakers are all set to 77db's, not 75db's as they should be. The audyssey test tone is a -30db signal (down from the 105db reference number), and then Audyssey runs the sub channel +10db hot to allow for that 115db peak on the LFE. Ill be curious to see how the 64II finishes audyssey and how it's trim level ends up compared to the 62II. I'll say one thing about the XLR connections and cables, they are sturdy as hell, more flexible than my RCA's were, and hearing that lock "click" is pretty reassuring you have an great connection, especially since some RCA inputs are lose and others are tight. My opinion would now be changed to, even though there is no SQ improvement to be had, the locking connection is well worth it and the Belden 1800 from BJC is highly flexible.

That was Airplay from laptop to Marantz. Itunes will send those files over airplay at 320kbps, so the sq is pretty good.

I still can't get over how the 7ii's were kicking my chair with bass. Crazy.

Yes.

Well, got the XLR cables in and ran XT32 again. Center was still -12, fronts now became -11 and -11.5 (XLR connection made things 2db hotter). So after everything was said and done, I level matched. LF was -11 (made it -9) C was -12 (77db at that setting) RF was -11.5 (made it -9.5) All were then 75db as they should be, with -2.0db volume setting. So, i boosted my subs from -6 to -4, and I noted my new "reference" volume as -2.0 and not 0.0. Also got this up

I cycled thru the modes a lot, and pure was better by a long shot. I mean the bass was there fine in 2.2 mode, but the overall sound was better in pure.

So, with my smaller Klipsch RF82ii's I always run music in 2.2 (towers and subs). Last night I went thru all modes on the preamp, and was utterly shocked how much the 7ii's thumped my chair and how clean the sound was. I will not be using subs any more when I listen to music, it actually sounded worse! "Pure" mode for me. 7ii's+AV7702+Model 7500 = Bliss for me It's always a shame when you realize what you have been missing...

All I gotta say is that tonight, once I got Airplay going and jammin, and then realized I was in pure direct (2 channel) with no subs...My jaw dropped. I have never heard 2 channel sound like that, and I will not be running subs any more when I listen to music.

I just found out, and was totally unaware, Dolby recommends selecting the Atmos track if you gear can do it regardless of your speaker setup. In other words you do not have to have an Atmos speaker layout to enjoy the benefit of the mixing tools. Thats pretty cool. I am in the middle of a 49 minute FW update, and then will try airplay.

When Chad B was in last Feb, right after I got my second sub, he did an audyssey pro cal for me, and then did his own tweaking. Was really nice. Once I am done with all this, he will be due back in around July for my plasma touchup, I will probably go ahead and let him do the audio again. He can also just do REW with a nice mic he has. Im pretty OCD about my audyssey process. The trim levels and distances are usually the same, if not close, and the test tone levels are always right at 75db (0.0 volume). I bought one of these to be able to do that without the radio shack meter offsets. http://www.amazon.com/gp/product/B0007XH9PY/ref=oh_aui_search_detailpage?ie=UTF8&psc=1

My situation with the one recommended in the thread at avs is, it has the 3 legs that fold out. My chairs are up on the wall, so is my table in between us. That thing wont fit. I found this round base one, ordered it, and just put it together. It fits in beside and behind, and then can be properly placed out of the way of the test tone. The one with the wide feet pretty much had to go in between the chair and the speaker, which is not preferred so I have been using my little tripod. http://www.amazon.com/dp/B00BQOFG6W/ref=sr_ph?ie=UTF8&qid=1430349489&sr=1&keywords=PylePro+PMKS15+Universal+Compact+Base+Microphone+Stand+with+Adjustable+and+Extendable+Boom Of course you need this adapter for the end: http://www.amazon.com/CM01-Camera-Digital-Recorder-Adapter/dp/B001GWCC4I/ref=sr_1_1?ie=UTF8&qid=1430349570&sr=8-1&keywords=On+Stage+CM01+Video+Camera%2FDigital+Recorder+Adapter

Im glad I went with that model instead of the canare, which were over kill. They are way more flexible than my current rca cables.

Pretty!

I guess another requirement to get on that list is "most ugly".