Where to do DSP for mch music vs immersive/surround codecs

[ted_b]

This question is about room correction/bass management, which I'll lump into the term DSP.

For those of us who want to play two sets of files, meant for different processors (one set of standard multichannel DSD and PCM albums targeted for, say, an exaSound multichannel dac; one set of files with specialized codecs like Atmos, Auro-3D, Dolby or DTS film soundtracks targeted for a pre/pro or AVR with those codec decoders) we are presented with an issue of where to do DSP. It sounds like both paths need their own DSP (AVR's come with one version, music server with possibly another). I am trying to determine if one can find a good enough pre/pro that could process both sets and have good DSP for them. It would require me to convert my DXD (24/352.8k) and DSD various mch files to 24/192 PCM in order for most DSP to be able to handle, but a few folks I highly respect say the tradeoffs may be worth it. It's a religious issue as I work (volunteer) as US Tech Advisor for NativeDSD, so converting my precious DSD files is blasphemy is some circles.

I've been a multichannel fanatic for years, and 100% of the time had a dedicated multichannel dac (lately exaSounds) that directly received non-DSP DSD and PCM multichannel files, and sent them directly to power amps. When I wanted to hear files that required a specific codec (like Dolby surround, DTS, etc) I sent the files to an AVR or pre/pro to do the work. And I have a Coleman switcher to deal with the two paths. In NEITHER case did I do any room correction or bass management as I "corrected" the room via physical means (tube traps, bass traps, etc). So...I've not looked at this stuff that way before cuz I never cared about DSP...and I probably should have. Now, with the new room, specifically built and designed for this, with Atmos speakers and a 5.x.4 setup I am asking all questions before I acquire equipment. And that is a huge leap for me. But maybe these Lyngdorfs or Storms or 88015As can play that dual role.

Otherwise, I set up something like DL3 in my music server, for my files headed to the exaSound, and then set up RoomPerfect (or Audyssey, etc) for my pre/pro-targeted files. Argh!!

Thanks in advance for any opinions.
Ted

 

[gene_stl]

To me, it sounds like there is a Trinnov Altitude 16 or 32 in your future.
Or some other talented preamp processor that can decode the afourmentioned (ahem) formats.
I am not positive that DSP correction is necessary. (speaking of blasphemy in some circles)

 

[ted_b]

The conundrum is that if DSP (room correction, bass management) is not needed I won't know that until I buy the equipment. So it's on the table now. Thx

 

[gene_stl]

Let us know your findings.

 

[soundpro69]

This question is about room correction/bass management, which I'll lump into the term DSP.

For those of us who want to play two sets of files, meant for different processors (one set of standard multichannel DSD and PCM albums targeted for, say, an exaSound multichannel dac; one set of files with specialized codecs like Atmos, Auro-3D, Dolby or DTS film soundtracks targeted for a pre/pro or AVR with those codec decoders) we are presented with an issue of where to do DSP. It sounds like both paths need their own DSP (AVR's come with one version, music server with possibly another). I am trying to determine if one can find a good enough pre/pro that could process both sets and have good DSP for them. It would require me to convert my DXD (24/352.8k) and DSD various mch files to 24/192 PCM in order for most DSP to be able to handle, but a few folks I highly respect say the tradeoffs may be worth it. It's a religious issue as I work (volunteer) as US Tech Advisor for NativeDSD, so converting my precious DSD files is blasphemy is some circles.

I've been a multichannel fanatic for years, and 100% of the time had a dedicated multichannel dac (lately exaSounds) that directly received non-DSP DSD and PCM multichannel files, and sent them directly to power amps. When I wanted to hear files that required a specific codec (like Dolby surround, DTS, etc) I sent the files to an AVR or pre/pro to do the work. And I have a Coleman switcher to deal with the two paths. In NEITHER case did I do any room correction or bass management as I "corrected" the room via physical means (tube traps, bass traps, etc). So...I've not looked at this stuff that way before cuz I never cared about DSP...and I probably should have. Now, with the new room, specifically built and designed for this, with Atmos speakers and a 5.x.4 setup I am asking all questions before I acquire equipment. And that is a huge leap for me. But maybe these Lyngdorfs or Storms or 88015As can play that dual role.

Otherwise, I set up something like DL3 in my music server, for my files headed to the exaSound, and then set up RoomPerfect (or Audyssey, etc) for my pre/pro-targeted files. Argh!!

Thanks in advance for any opinions.
Ted

Hi, Ted:
So what did you end up doing?

Greetings,

Gabe

 

[ted_b]

Hi, Ted:
So what did you end up doing?

Greetings,

Gabe

Gabe,
So I ended up with three (3) signal paths:
1) 2 channel, switched via my 2 ch preamp (from Roon to HQPlayer to fitlet NAA) with Holo May dac
2) multichannel DSD and PCM via my exaSound S88 (LAN input and/or local USB drive) and switched via both 2 ch preamp (for fronts) and a 3 way XLR balanced switch (for surrounds, rear surrounds, center and LFE)
3) multichannel, Atmos and Auro-3D via my Lyngdorf MP-40 (7.1.4) via HDMI ins and the same 3 way XLR switch (and fronts via 2 ch preamp). The heights are powered by a dedicated 4 channel height amp. My HDMI sources are Xfinity cable, Sony bluray, Zidoo Z9X local file streamer (MKVs and full bluray backup rips), and Apple TV 4K.

Pictures of my room are in the "show us your gear" thread. Thx

 

[MTB Vince]

Hey Ted, like you I have a dedicated space that has been thoroughly acoustically treated. Like you I run two parallel signal paths that share one common amplifier/speaker/subwoofer system via (12v relay triggered) switchers. However in my case one signal path is a 5.1.4 immersive system and the other a "pure analog" 2.1 setup which includes a high-end analog subwoofer crossover.

After optimally implemented acoustic treatment, loudspeaker, and MLP placement- I've found broadband DSP EQ to be redundant on balance. As things stand with my dual duty system, the only meaningful gains to be made with DSP based correction at this point are on the quad subwoofer array- at frequencies where passive treatments become less effective. So I don't bother with the built in broadband room correction in my Anthem pre-pro. Instead I insert a DSPeaker AM2.0 operating in its multi-sub mode between the .1 feed from ARX switcher dedicated to the subs. Restricting the additional A->D->DSP->D->A cycle to just the subwoofer pass-band appears to have no sonic downsides. However the corrective time alignment between front and rear subwoofer pairs and DSP PEQ to notch out some modal peaks proves very worthwhile.

 

[par4ken]

Hey Ted, like you I have a dedicated space that has been thoroughly acoustically treated. Like you I run two parallel signal paths that share one common amplifier/speaker/subwoofer system via (12v relay triggered) switchers. However in my case one signal path is a 5.1.4 immersive system and the other a "pure analog" 2.1 setup which includes a high-end analog subwoofer crossover.

After optimally implemented acoustic treatment, loudspeaker, and MLP placement- I've found broadband DSP EQ to be redundant on balance. As things stand with my dual duty system, the only meaningful gains to be made with DSP based correction at this point are on the quad subwoofer array- at frequencies where passive treatments become less effective. So I don't bother with the built in broadband room correction in my Anthem pre-pro. Instead I insert a DSPeaker AM2.0 operating in its multi-sub mode between the .1 feed from ARX switcher dedicated to the subs. Restricting the additional A->D->DSP->D->A cycle to just the subwoofer pass-band appears to have no sonic downsides. However the corrective time alignment between front and rear subwoofer pairs and DSP PEQ to notch out some modal peaks proves very worthwhile.
View attachment 91464
View attachment 91465

Is that an Oracle turntable? Very cool looking whatever it is!

 

[MTB Vince]

Is that an Oracle turntable? Very cool looking whatever it is!

Yup. Originally a Delphi V, returned to the factory and upgraded to Delphi VI Reference a couple years back...