In this system, the goal is to provide a satisfying home theatre without sacrificing high performance 2 channel music reproduction. It is a hybrid system utilizing a Home Theatre digital controller and a separate tube phono preamplifier. I am trying out an Integra RDC7 prepro in order to take advantage of the analog direct mode for my LP and CD systems as well as the multi-channel 5.1 analog input. We'll see if the fuss about DTS Master Audio and Dolby TrueHD represents a worthwhile advancement. Also the RDC7 is reputed to have dual differential PCM 1704 Dacs in the front right and left channels which I will run balanced into the Dreadnaught II.
I have decided to utilize a signal chain that is balanced from the processor through the front three channel amplifier and single-ended to the surrounds and rear subwoofer. The large Magnepan dipoles make for an imposing yet visually attractive statement. They also provide the big sound necessary for a fairly large room. As well as trying to put together a good sounding system, an attempt was made to make the system friendly and comfortable for the spousal unit as well as the pets.
The legendary Linn Sondek LP-12 record playing system is the primary analog source. It was recently acclaimed by Stereophile (11/02) as the most important audio component of the past 40 years. Digital playback source is accomplished by a Denon DVD 756s and a Oppo Universal player for CD,SACD and DVD-A. The analog 5.1 multi-channel outputs of the Oppo are connected to the Integra with a Precision Audio cables DB25 to RCA snake to take advantage of the Oppo s internal decoding of DTS MA, Dolby True HD, SACD and DVD-A formats. Legacy DTS and Dolby Digital are handled by Bluejeanscables coax. Only the superb tube phono section is utilized in the Audio Research SP-14 and the Integra RDC7 is utilized as the active line stage in analog direct mode. The Sp-14 is still sought after for its very musical phono section. The front three channels of the Integra RDC7 is run balanced into the the Theta Dreadnaught II amplifier, which provides 450 wpc to the 4ohm Magnepans. The Dreadnaught II is a muscular amplifier that also reveals the softest musical detail. The Magnepan MG 3.6R is a true world class speaker. It offers outstandingly natural reproduction of both large scale instrumental work as well as the most subtle musical detail. The stereo pair of Vandersteen 2WQ subwoofers blend seamlessly into the system due to its unusual crossover design. The full range signal from the Integra RDC-7 is filtered via the Vandersteen M5 HP Balanced crossover which sends a high pass signal to the left and right channels of the Dreadnaught II amplifier which feeds the 2WQ's.
The heart of the home theatre system (which incorporates the Maggie/Vandersteen/ Theta speaker/sub/amplifier combo for the L/R channel duties) is a Integra RDC7 which offers Dolby Digital, DTS, and Dolby Prologic II processing for legacy surround sound formats. The Integra RDC7 is connected by balanced XLR to the Theta Dreadnaught II for the front 3 channels. This signal is high-passed to the Dreadnaught via Vandersteen M5 HP Balanced filters. The surround speakers are Magnepan's 1.6QR powered by a Classe'25 amplifier providing 500 wpc @4ohms. The theatre subwoofer is the Hsu Research VTF-2 subwoofer. The critically acclaimed Polk Lsi Series speaker handles the center channel duties. The system easily handles the 105db peaks that good home theater systems must achieve. Bluray discs and standard DVD's are handled by an Oppo Digital BDP-83SE. The Oppo also handles internal decoding of Dolby TrueHD and DTS Master Audio surround codecs. HDTV is received via AT&T Homezone Dish Network HD DVR connected with component video cables. The primary seating area is 10 feet away from the Sony 52 16x9 LCD screen. The system is controlled by a Home Theater Master MX-500 Universal Remote Control. Testing equipment include a THX calibrated Radio Shack SPL Meter using AVIA & THX-EX setup DVD audio test tones and ETF Acoustic 5x software (using MLS) running on a Toshiba Laptop PC with a calibrated microphone. Power distribution and AC surge as well as line filtration is provided by a Panamax M5400-pm.
System edited: I just took delivery of my upgraded BDP-83 direct from Oppo this morning. I played the SACD versions of The Who's Tommy and Pink Floyd's Dark Side of the Moon plus track 12 of Hugh Masakela's CD Hope "Stimela". The SE version is like the '83 on steroids. I felt the regular '83 hyperdetailed but a little bit clinical in its presentation. The SE version is much more harmonically rich. There is a lot more texture to horns in the Masakela track in particular. Bass lines in Tommy track Sally Simpson are punchy, articulate, and very dynamic. Pinball Wizard was simply exquisite. Detail was revealed that I had never heard before and it was as exciting to listen to as the very first time I heard it in 1969. These are first impressions, but straight out of the box I found the SE to be very listenable in my system. Bravo to Oppo for a very cost effective mod to those of us that do not have HDMI 1.3 capability but want to experience lossless encoded multichannel audio. Also, I have to commend Oppo for delivering the mod on time as promised.
I dropped off my Oppo BDP 83 at the Oppo Service Center for the SE modification, since I am using the Oppo's internal decoders for DTS/MA, Dolby TrueHD, SACD, & DVD/A.
I have also installed the battery-biased Vandersteen M5-HP balanced crossovers as part of my latest system upgrade because the system as it is now configured lacks the internal crossovers with the proper slopes needed to send a high-pass signal to the front speakers.
I am trying out an Integra RDC7 prepro in order to take advantage of the analog direct mode for my LP and CD systems as well as the multi-channel 5.1 analog input. We'll see if the fuss about DTS Master Audio and Dolby TrueHD represents a worthwhile advancement.
Also, the transition of the Maggie 3.6 to the 2WQ subwoofers is now unbelievably seemless. The Casanova's internal crossovers do a much better job than the passive Vandersteen X2 filter.
After 6 weeks with the Dreadnaught II in my system, I'll have to say that it really elevated the overall performance of both movies and music. I should not have been surprised that Theta's Casanova would work so well with their own amplifier. Removing the Vandersteen X-2 passive filter and using the Casanova's own high pass filter has allowed me to be precise in the application of a 6 db filter instead of using trial by error in selecting the proper capacitor setting for the passive high pass. Secondly, the lively nature of the Casanova is a good match with the somewhat forgiving nature of the Dreadnaught. It is a synergistic match. The greatest area of improvement is in the overall coherence of the Maggie 3.6's. With the Classe'25, the tweeter, mid-driver, and woofer seemed to speak with separate voices at times. They would disappear at times, but not consistently. With the Dreadnaught, the 3.6 almost always matches the wonderful coherence that the 1.6QR has in spades. In addition, I am able to run the front three channels fully balanced as Theta designers intended.
System edited: Unfortunately, the Casablanca II arrived DOA. The folks at Cherry Creek Audio were very patient. We ran through a number of diagnostics on the phone but could not come up with a solution. So the CBII did not work out for me and is being returned.
System edited: The mighty Dreadnaught II arrived on Fedex today. I have utilized the crossovers in the Casanova to send a high pass signal to the Dreadnaught with Bluejeans Cables Balanced interconnects.
System edited: The Audio Research LS16 MkII is exiting my system after a very glorious stint. I am consolidating control of analog and digital sources with the upcoming acquistion of a Theta Casablanca II.
System edited: I was getting some obnoxiously dirty ac the other night. The Panamax eliminated all noise in the ac. Also was able to clean up my power management with the 10 outlets.
Big changes to come. I am finding that I am spending much more time watching movies and high def tv than listening to two channel audio whether it be vinyl lps, CDs, SACD, or DVD-A. Therefore, I am in the middle of consolidating my gear. My Rotel CD player, Genesis Lens, and Theta DS pro Basic IIIa have already left the building. Stay tune for further developments.
System edited: Took delivery of the Oppo BDP-83 Blu-Ray player. Played some excerpts of BD's (Band of Brothers, A Bridge Too Far, Rattatouile, The Who at Kilburn) and DVD's (Battlestar Gallactica-Pegasus, Valkyrie and Grand Prix). The BD discs load very quickly (just about as quick as DVDs) and the picture quality is stunning. Oppo packaging is quite impressive for a $499 player (it is well packaged in a sturdy cardboard box with ample styrofoam and comes in a cloth bag!) and the apparent build quality of the player gives you a solid impression. They even printed the operating manual in expensive paper with a cardstock cover.
Thanks! I love your system too. Its hard to go wrong with the 3.6r and the latest Sony LCD flat panel displays.
Your next move could be a blu-ray player. Sony LCD flat panels are awesome with up-converted DVDs but you will be surprised by how good 1080p24 looks. Check out the Ironman Blu-ray disc. It is simply stunning.
System edited: The old Toshiba Rpt finally gave up the ghost after nearly 6 years of service. It has been replaced by a Flat-panel LCD Sony Bravia KDL52v4100. It is mounted on a Verge steel tv stand with enough shelving for the center channel, my surround processor, and my video source components. New pictures of the revamped system will follow.
Sonically, It does not seem to do any harm. Only front-end components are connected to it to protect them from brownout. The Tripplite makes audible clicking noises during situations when the line voltage is rapidly fluctuating.
I added a 6 foot Bluejeanscables HDMI-DVI-D cable to take advantage of the Denon 756s'HDMI/DVI scaler. After making adjustments with Video Essentials DVD, results in a stunning picture in the 1080i HDMI setting. The picture was detailed without much noise. Color saturation and skin tones were much more natural than DVD's through the component inputs. The Toshiba 50HDX-82 rear projection CRT's DVI/HDCP input was designed for best performance with 1080i HD signals according to the owner's manual and it proved a synergistic matchup with the Denon 756s DVD player.
System edited: On Saturday afternoon two weeks ago we said goodbye to Peewee, our good companion of almost 17 years. Yesterday, I installed Theta Casanova to replace my faithful DC-1. I admit that it was partly because I needed a project to take my mind off of Peewee. Theta processors are notorious for being a challenge to program and the Casanova was no exception. However, I think the preliminary results are quite satisfactory. With the Lexicon, I could not use a digital input for the Comcast Cable signal. It would lock up the DC-1. It presented no problem for the Theta. Dolby Digital sound with HDTV programs is really a big improvement over analog. There are endless setup options to tweak and tune. The Lexicon was child's play to get it so sound at its best. I certainly wouldn't recommend Theta to a person trying to set up his first surround sound system. Sonically, the Theta is more detailed than the DC-1. But I really had to work to get it to sound very good at all. With the Lex, you calibrate your levels once and you are basically done. With the Theta, after you calibrate the global levels, you have to tweak the levels and delays for Dolby Digital, DTS, and Circle Surround in turn. This can result in surround steering even better than the Lexicon can achieve but after much more work. I probably spent 5 times the amount of time setting up the Theta than the Lex.
After burning in the NOS tubes for a few hours this weekend I confess that I was mistaken. There is a big difference in performance. CD's and lps that were just on the verge of being dull are now more precise and in some cases even borderline edgy. In other words bad recordings perhaps sound worse in the treble range and good recordings are phenomenally good. The overall presentation of music is more alive and dynamic. It is a much more realistic presentation. In conclusion, I found it a worthwhile upgrade.
System edited: I replaced the tubes in the LS 16MKII with NOS 6H30-DR tubes with Duende Criatura tube rings. My old tubes were functioning fine but I had no idea how many hours they had left in them. So far I have not noticed any significant performance differences. But I have gained peace of mind knowing I have fresh tubes installed.
System edited: I finally got a pair of X-2 crossovers for my 2Wqs after four years with the WX-2 temporary unit. Yes, it is better than the temp unit and perhaps the pricy battery-biased HP5-SE should be in my system's future.
System edited: I added a second Vandersteen 2WQ subwoofer to the system for stereo subwoofing of the main channels. This improved the coherence and imaging of the system in 2-channel mode.
I use the Radioshack 1 ohm 10w 5% wirewound resistor. These have done the job for me although I am sure there are better resistors available. The 1 ohm resistor gives you about 2db attenuation for the ribbon tweeter. In my room with my gear, that provides just about the tweeter level. They are $1.79 for a pair at your local Radioshack. Magnepan recommends using non-inductive resistors although they don't specify any particular brand.
System edited: The ESP "The Essence" power cord stays in the system. Slight softening of the top end is a plus for digital sources although it diminishes the sheen for my lps.
System edited: Added ESP THE Essence power cord to Classe'25. Moved the Acoustic Zen El Nino to the ARC LS 16 MKII. Initial impression is that no harm has been done to the system. Will make further observations when it burns in a few days.
The only more expensive digital interconnect I've tried is BEL's The Wire which is $212 for 1 meter. The Bluejeans Digital Cable was only $15 for 6ft. Ok, the BEL was a bit better. A bit more body, a bit smoother up top. Maybe I'll go with BEL's The Wire in the future. For now, the Bluejeans Cable is so cost effective and does do the job pretty well. Currently, I am also using the Bluejeans Digital Cable from the Rotel RCD1070(which I am using as the transport) to the Genesis Lens. From the Genesis Lens to the Theta DS PRO BasicIIIa, I have a 3ft BlueJeans Canare/Belden RCA single ended digital cable and a 3ft balanced Bluejeans Neutrik/Belden AES/EBU cable as well. I found the balanced connection to sound a bit fuller.
System edited: Acoustic Zen El Nino power cable initially installed from wall to Classe'25 power amp. First impression is very positive. More dynamic and muscular sounding than stock generic 14 gauge cord. A step towards a more lifelike presentation. Also more three dimensional. Brought the image a bit more forward but not excessively so like the Z-Cord II (before it was broken in; it mellowed out a lot after a couple of days but was still not a lot better than the stock cord). The El Nino definitely improved the performance of the amplifier.
System edited: I was not entirely satisfied with Z Cord II on the Classe'25 power amp. The effect was to push the soundstage further forward than I prefer. The mids and upper midrange ended up a bit too aggressive. Especially apparent on vocal material. I had read on other forum posts that the Z Cord was very good on front end digital components so I installed the Z Cord II on the Genesis Lens. This produced a much better tonal balance and opened up the soundstage considerably.
Added a new member of the family. Paddington Bear is a one-year old Jack Russell male. He keeps our other young puppy Lucy very busy. Photos to follow.
If your two-channel preamp has an external processor input set to unity gain, you connect the left and right outputs to the processor input and use the volume control of your surround processor. If your two-channel preamp doesn't have one, simply connect the left and right processor outputs to one of your high level inputs and set the volume at around 12 O'clock which on a lot of preamps is close to the unity gain setting or is at least the sweet spot on your volume control for high level sources. And once again use the prepro to control overall system volume for your surround sources(CATV,SAT, DVD, etc.). After you calibrate your prepro you are ready to go. Examples of some preamps available with processor inputs include all the current ARC models including the SP16L, the Quicksilver line preamp can be ordered with the HT bypass, the PSE HL-1, and the wonderful Aesthetix Calypso. Y2K was about the time two channel preamps began to be available with this feature. I don't know all of the models which come with this feature. I believe there are some Audiogon forum threads on this topic.
The main speakers are currently about 4 feet from the back wall and are pretty happy there. I've only done limited experimentation. I've tried them at different distances from 3 ft to 5 ft. Closer to the wall makes them a bit too bass heavy and I didn't feel like I gained much in perfomance at 5 ft. I believe that the biggest limitation are the cabinets and RPTV between the Maggies. I think that the absence of the furniture and RPTV would allow the speakers to breath better and reproduce a deeper soundstage on two channel sources. Interestingly, this not a limitation with 5.1 channel sources as the prepro synthesises the soundstage. If great depth is encoded in Dolby Digital or DTS, the system reproduces that information. The main reason I went to planars in my room was the tremendous cubic space of our living room/dining room/kitchen which totals more than 4500 cubic feet! I felt I needed a system that could move serious air.
Although we obviously won't win any awards for interior decorating, it is a comfortable enough setup. We've been married for eighteen years and she understands my audio/video addiction. The most important feature of this system for my wife is the Hometheatermaster Universal Remote which replaced 8 different remote controls. System integration and some simple macros make it possible for her to watch television even if I am not around. I'd be up the creek without it!
The ARC LS 16 MkII has turned out to be an incredibly revelatory acquisition. The degree of improvement over the performance of the already excellent ClasseDR-5 was nothing short of astonishing! The insertion of the new linestage brings my system miles closer to the truth in dynamic shadings, correctness of instrumental timbre, vocal nuances, three dimensionality and lifelike realism to the human voice that is simply uncanny. I had as a goal simply to add remote capability, a true home theater processor bypass, a balanced line input, and a tubed linestage to tame the upper octave hardness I sometimes experience in some older CDs. I was not prepared for the total transformation of my system. It is now far more musical with all of my signal sources including CD, SACD, analog vinyl, and video/audio sources.
System edited: System Update. I am expecting delivery tommorrow of a Audio Research LS-16 MkII to replace my Classe'DR-5 as the linestage preamp in my system. The LS-16 MkII adds remote switching, power, and volume control to my two channel sources as well as a processor loop. Will report on its sonics when it burns in.
I had an opportunity to audition a BEL 1001 MK V as well as BEL digital cables, interconnects, and speaker wire in my system. Fellow Audiogoner MikeJ was kind enough to lend his gear for a day. I was initially skeptical that one BEL 1001 rated at 100WPC into 4ohms would be enough to make the 3.6R sing, but boy was I in for a surprise. Auditioned sans subwoofer with the ARC SP-14 as the controlling preamp, we were truly in for a musical evening. The system with the BEL was very dynamic, extended in both frequency extremes, and capable of playing as loud as we needed. It had a very inviting sound that simply drew you into the music. Our listening included some James Taylor, Peter Gabriel,Wilson Phillips and Eric Clapton, as well as some light classical by Scarlatti and Vivaldi. I would certainly recommend that owners or prospective owners of Maggie 3.6's seek out an audition of this remarkable amplifier along with the associated cables.
The crossovers arrived in a separate box. The kit to directly attach the crossovers to the speaker panel was included but I elected to use jumpers for several reasons. First, I did not like the way the boxes hung off the back. It did not look very physically secure even with the little bracket. Secondly, the little steel pins did not like they would conduct current as well as separate wire jumpers. Finally, the installation of the pins via a tiny allen wrench with virtually no working room to secure the allen bolts looked like a hassle I didn't want to deal with.
Oh yes indeed. I originally purchased the Classe'25 from a former Apogee Dealer to power a pair of original issue Calipers, which have greater current and power demands than my 3.6R's. The 25 is a 68 lb beast rated at 500 wpc into 4 ohms. The 3.6R is a true resistive 4 ohm load, so it is a very good match. As for its performance in action films, it is stunning! I just watched the "Day after Tomorrow and Van Helsing this past week and both were tremendous. I have cranked the system to thunderous levels with many different blockbusters including Terminator 3 and the Matrix. The sound always remains clean and undistorted.
Yes, I did try tweeters without the resistor utilizing the stock jumpers. With ETF 5.8 software run on my laptop measuring system, I measured a slightly upward tilt in the treble referencing flat at 1khz and rising up 2db at 20khz. I would prefer an inroom response of minus 2db at 20khz. In my room a slightly downward tilt sounds best. So for now the resistor stays. The sound was certainly more open and detailed without the resistor but I couldn't live with the upwardly tilted frequency balance. I do have some Infinity Audio Silverbridge jumpers on hand that I could try. As for tweeters inside or out, I felt that the sound was just a bit better focused on the inside. I may try tweeters outside again someday as the 3.6R's have certainly broken in A LOT since I first installed them 6 months ago. They are a very different speaker than they were. They just continue to improve. A friend of mine owned Tympani's for 14 years and he said they continued to get better throughout his ownership of the speakers.
The sound is adequate DBL. Life is full of compromises. By the way, the room is way larger than it looks in the picture. Think in three dimensions. See post on 11-10-2003 for further details.
System edited: Yesterday was a sad day. My wife and I had to say goodbye to Tinker, our little Jack Russell who had just turned 15 on July 20th. She was very ill with multiple complications and it was time. It was a big loss to our family.
Last Saturday, High Definition TV arrived to my neighborhood Cable. Currently receiving HD programming on CBS, NBC, ABC, HBO, PBS and Showtime. HD signals really vary depending on individual programs. So far, the best HD signals have been on PBS and CBS. The TV film "Homeland Security" was visually stunning. I think it was broadcast in full 1080i with a true 1080i source. The 5.1 Dolby Digital was not bad either. The video processor in the Comcast/Motorola HD cable box is not that good so digital artifacts do show up from time to time. It is certainly not Faroujda quality, but still a distinct improvement for an extra 5 bucks a month.
Added Infinity Audio Silverbridge Maggie Jumpers. Replaced 24" lengths of lampcord. A hugh improvement. Presentation is fully fleshed out. Now I see what the excitement is all about when people rave about the 3.6R.
I decided to try tweeters inside to achieve a warmer overall balance. There is a some sacrifice in top-end detail but the upper midrange is smoother. Female vocals are more naturally rendered but, the high hat and other cymbals are much more subdued in presentation. Still experimenting with toe-in and distance between the speakers and the front wall.
Well now! It certainly helps to remove the protective backing on the ribbon tweeter so that it acts like the dipole transducer that it is. Highs are certainly attenuated now. Tweeters will remain on the outside for now. The balance is much improved.
Actually, I was lucky enough to obtain a pre-owned pair through Audiogon. They should already have enough hours on them to be broken in, but you never know. I just wanted to say that you just can't drop a major new piece of gear without some elbow grease to properly intergrate it into a system. The journey has just begun. I'll probably try putting the tweaters on the inside next.
System edited: The Maggie 3.6R has arrived. Initially, they are set up with the tweeters on the outside. In my room and system, I had to pull them 4 inches further from the wall than the 1.6's to avoid overloading the room with bass. I also had to adjust the subwoofer level and Q. In addition, I'll need to attenuate the tweeter. This will take some work to optimize.
A friend of mine brought over a Levinson 37 transport and it was unbelievable how good it made the CD playback. It did show just how well the Theta Dac can perform with a first rate transport. The 37 straight into the Theta Dac was much better than the Rotel into the Genesis and/or TLC into the Theta. And it put to shame SACD's played through my Sony DVP NS900s. Playback of good cd's were just so musical and natural. It is clear to me that a first rank transport looms sometime in my future when I can afford it.
The Theta Timebase Linque Conditioner was added to the system between the Rotel CD transport and the Theta DS Pro Basic IIIa DAC. Initial impression after a short warmup of about an hours time was an increase in liquidity. The system no longer has the slightly dry character. The bass is bigger and the overall effect is more dynamic and powerful. There was also a an increased transparency effect. The sound of voices and instruments now have a quality of floating in a three dimensional space instead of just being presented as a wall of sound. I was quite surprised at how the addition of the TLC changed the overall sound for the better.
The Theta DS Pro Basic IIIa was inserted into system yesterday. Using the Rotel as a transport with the Theta DAC, cds sound more like analog than Rotel CD player by itself. Presentation has slightly greater clarity on both regular cds and HDCDs. With the Theta, there is better leading edge definition but overall is a tiny bit drier. Bass with the Theta is somewhat tighter and just as deep but possibly not as strong as Rotel by itself. Jury is still out on the bass. Big plus with Theta is that I am finding I want to hear more and more music with it. It is very difficult to stop listening to music! I found myself wanting to listen to "just one more song." The system definitely is improved by the addition of the Theta. However, the little Rotel is a might fine budget player. As a stand-alone player, it definitely did not embarrass itself against the much more ambitious and expensive but much older Theta(1996). The Rotel is a big beneficiary of modern digital engineering(2003). The differences, although musically quite significant were more subtle than you would have suspected. Careful and extended audition(about 6 hours worth) was needed to define the differences. A quick A/B could lead you to believe that the Rotel reveals as much information as the Theta, which is not the case. Thumbs up, then for adding the outboard Theta DAC. Finally, switching to the Linn LP12/Akito/Blue Point Special combination still revealed that listening to records is a more musical experience. For me, there is still a better emotional connection with lps.
I know that it breaks common practice to listen to dipoles in the near field BUT there are exceptions. One of the best demonstrations of high end gear I ever experienced was my introduction in 1988 to an Apogee Diva system powered by a Threshold S/500 amplifier,Threshold Fet10 preamp with an old Stax CD player. The track was Dazed and Confused from Zep I and the sales guy sat me in the near field not more than 6 feet away from each speaker and he turned it up to "eleven". I was blown away and a dipole convert ever since. I could never afford Divas but I'll never forget the experience. Common practice is to listen to dipoles in the far field but some rules are meant to be broken!
Before I had a center channel speaker, sitting on the ends of the couch really was not very good for dialog. Most films are dialog intensive and with the hard center channel handling dialog, the wide stage of the Maggies are not too distracting even from the end seats of the couch. Of course, the center seats are better. As for the couches being in the way for 2 channel cash seat, it does not seem to be too much of a negative factor. As you notice, the hardwood floors are uncovered. The room does need something to breakup reflections and provide some absorption to aleviate the liveness of the room. Of course, dipoles like Maggies do better in acoustically "live" environment than direct radiating speakers. I measured RT60 of the Maggies with the microphone placed above the back of the couch with ETFacoustics 5.8 software and the reverb rate from 800ms @ 200hz to 400ms at 20kHz which is about ideal. It stayed about 800ms from 200hz up to about 4khz and started a slow rolloff to 400ms @ 20kHz. So I believe that the couch doesn't hurt the setup to much at all. I suppose the big test is how the system performs at night with the lights off and one of your favorite movies is playing. I watched the Matrix Reloaded DVD last week and let me tell you, I was NOT at all aware of sound coming from speakers. It was Agent Smith and Neo emanating from all directions, period!
Upgrade for Redbook CD is coming soon. I will be adding a Theta DS Pro Basic IIIa with HDCD option. CD transport duties will fall to the Rotel RCD 1070.
Astute observation! This was actually a bit of a compromise. 8 feet is the optimal distance for the video presentation to preserve the 26 degree THX specification for screen width. With the DC-1 controlling the time delays for the 5 speakers, this setup works pretty good for theatre. The best sound for 2 channel sound is 3 feet further away. Not shown in the picture of the room is a 6x2.5'table behind the couch with 2 chairs. One of those chairs(with the listener about 11 feet away from the Maggies) is the "cash seat" for critical listening.
Thanks for your kind words. It was the third seating arrangement we tried in this room. Initially we had a small couch that was too small for the room. Then we tried two recliners but that didn't work because our two Jack Russells like to watch movies and video with us. We finally settled on the home theatre style couch and it fits in the room quite nicely. The room is actually a combined living room/dining room about 25 ft in total length. The photo shows the low side of the sloping cathedral ceiling in the living room portion and it is an already about 12 feet tall. It vaults to about 24 ft high. The ceiling over the dining room portion is only 8 ft high but total cubic ft of the listening area is over 4500 cubic ft. That's why its nice to have powerful amplifiers in this setup. That's also the reason I chose the Maggies. They have a reputation for sounding best in large rooms.
