[John Casler]

I will have something to post soon.

Whoa!!!

Somehow I haven't been getting "notifications" about posts here.

BIG DAVE . . Glad to see you joined the club.

Someday soon Big B, won't have to inhale those toxic "solder" fumes so much.

I thought the "digital in" would have been the best route and am looking to try that with a 6 channel Preamp to see what it might do.

And I have promoted the TWO equalizations.

1) For CDWG on

2) For CDWG off

The CDWG provides the "anyplace in the room" sonic with wide sweet spot(s), but at the expense of overall volume (since part of each panel is blocked)

Removing the CDWG for those "SOLO" listening sessions will surely reduce the sweet spot, but also increases precision imaging. (my favorite thing)

So since the unit has the capability of memorizing a few equalizations, it is rather simple to have one for both listening modes.

Look forward to more tales and trials.

[Housteau]

And I have promoted the TWO equalizations.

1) For CDWG on

2) For CDWG off

The CDWG provides the "anyplace in the room" sonic with wide sweet spot(s), but at the expense of overall volume (since part of each panel is blocked)

Removing the CDWG for those "SOLO" listening sessions will surely reduce the sweet spot, but also increases precision imaging. (my favorite thing)

I had been listening with the CDWGs off before I went digital for the reasons you mention here.  But, I now find that with the DCX and the EQ I prefer them on and for the same reasons I used to like them off.  I have only done a little A/B listening this way, but so far I definitely prefer them on.  That is good as they do look much better this way.

When I take them off I am just removing the EQ boost present for having them on.  Is there a special setting that you use with the waveguides off?

[PLMONROE]

When I take them off I am just removing the EQ boost present for having them on.  Is there a special setting that you use with the waveguides off?

I am also interested in the answer to this.  Like Dave, I have been listening with the waveguides on because that is what the settings on the Behringer are optimized for. It would be nice to have the flexibility to take one or both waveguides off and retain optimization.

Paul

[John Casler]

And I have promoted the TWO equalizations.

1) For CDWG on

2) For CDWG off

The CDWG provides the "anyplace in the room" sonic with wide sweet spot(s), but at the expense of overall volume (since part of each panel is blocked)

Removing the CDWG for those "SOLO" listening sessions will surely reduce the sweet spot, but also increases precision imaging. (my favorite thing)

I had been listening with the CDWGs off before I went digital for the reasons you mention here.  But, I now find that with the DCX and the EQ I prefer them on and for the same reasons I used to like them off.  I have only done a little A/B listening this way, but so far I definitely prefer them on.  That is good as they do look much better this way.

When I take them off I am just removing the EQ boost present for having them on.  Is there a special setting that you use with the waveguides off?

The other advantage of CDWG "on" is that even with the increased directivity, it is distributed across a broad frequency spectrum and as such the room interaction is smoothed.

That may be part of your preference.

Strangely enough, the development of the CDWG did not begin as it has ended. 

Brian had OTHER driver design ideas that were quite unique, (and which I will not disclose since he may still want to pursue them at some point) but FAR different than the Wave Guide acoustic lenses we now use.

As far as the two differing settings, I don't currently have a D-OXO to play with, but there are many considerations:

1) As you alluded you would simply need to re-equalize the outputs of the drivers.

2) You would also need to take care to maintain the same balance between the woofer section and the Sub if you use one

3) And it gets a bit more sticky here, but removing the wave guides will introduce "beaming" which is actually a desired affect for those who sit with the "head in vice" listening position (ME ) and if you want to broaden this a bit (at the cost of the precision imaging) you may have to adjust phasing, slopes, and orders, so the one to guide you would be Big B.

[John Casler]

When I take them off I am just removing the EQ boost present for having them on.  Is there a special setting that you use with the waveguides off?

I am also interested in the answer to this.  Like Dave, I have been listening with the waveguides on because that is what the settings on the Behringer are optimized for. It would be nice to have the flexibility to take one or both waveguides off and retain optimization.

Paul

Although I have kept B busy lately (with lots of orders considering the economy ) he has said that he is either working on, or has two equalizations (ON/OFF) for some of the speaker models.

Keep in mind, that it also depends on if you use the "digilog" bridge and bi-amp, or run DIRECT DRIVE and Triamp.

Also as soon as I can, I intend to set up the "DIRECT DIGITAL" trial (bypassing the D-OXO's ADC) by using the following:

1) Digital Sources (CD, DVD, Media Server) outputs to

2) Zektor CV-s4 Digital switching device -since I am a ZEKTOR dealer and know their quality over lesser switchers (allowing the ability to switch all digital sources)

3) Through a special AudioQuest Falcon Digital Cable I have custom built with Coax digital on one (switcher) end and XLR (to connect to D-OXO' digital input) on the other.

4) TO D-OXO to

5) 6 channel Preamp

6) to amps

Theoretically that would make the weak link the D-OXO DACs and maybe whatever preamp I use.  There are a few from cheap to expensive.  ALL high quality PRE/Pros have 6 and 8 channel analog inputs which would work fine for this function with UNITY gain.

I am considering the NuFORCE AVP17 initially (inexpensive) but the BRYSTON SP2 as a very high quality option.

[Brian Cheney]

The EQ without the waveguides is the same with the exception of the 5.08kHz boost setting which is not used.

Owners can program themselves settings with or without the treble boost and toggle between them easily.

[PLMONROE]

My wife of 52+ years delights in poking fun at my audio addiction by remarking that it is ironic that  I should be so paranoid about my  sound system when I can't hear worth a hoot! Although neither of her allegations are totally correct I sadly must admit that there is some small merit in what she says. All  of which, in my circuitous manner, brings me to a question about the Digilog for Brian. Since VMPS speakers come suppllied with Analysis + wire jumper cables, some quality in these must be merited. This being the case, would it not also follow there there would be argument for the use of Analysis + in the Digilog as well? Although I want to retain the ability to do so, I am NEVER going to revert to the yesterdays of sound without the active crossover. I do not know if there would be a noticable difference in sound but I would like the option to purchase a Digilog made of the best sounding cable and terminated with the same ring lugs as come on the jumpers.  aa 

Paul

[Brian Cheney]

The AP wire is 14 gauge and designed for bass frequencies.

The digilog wire is 18 gauge and designed for the mid frequencies.

Yes it does make a difference.

[Housteau]

The digilog wire is 18 gauge and designed for the mid frequencies.

In the set-up instructions this Digilog jumper connects the mid terminals of the V60 back to the passive OXO mid input to get the high frequency feed out.  That is assuming that the output from the mid/high amp is connected directly to the V60 terminals.  If the jumper is actually maximized for mid frequencies, wouldn't it be better to connect the amps output to the OXO first, then jumper the mids to the V60?

In my case I followed the set-up instructions, but don't have the official Digilog jumper.  Instead I am using a speaker wire known for excellent high frequency transmission.

[Brian Cheney]

I haven't tried it both ways, so do it and report back.

[PLMONROE]

Ah, the joy and bliss of being an early adopter.  aa

Paul

[Housteau]

I was finally able to get around to working with my phono section through the DCX.  What took me so long is that I was in the middle of switching to something else when the DCX arrived.  I had been using an Audio Research full preamp taking the Phono Output from the Tape Out to bypass the high level section.  This was feeding my previous preamp built into the Monarchy NM24 DAC.  It worked well, but was not what I would call a stellar performer.

To take a big step up from there I actually took a big step backwards in time.  I was able to get a hold of a new in the box old stock item, an original Mitchell A. Cotter PSC-2, sometimes called the old blue brick.  One would think that after all these years and newer technologies older designs would be at a distinct disadvantage.  It doesn't seem so in this case at all.  It is a simple device intended to be used along with their moving coil transformer.  As such it needs to be externally loaded for MM cartridges.  Doing that correctly is essential to getting the most out of it.

Since it replaces a complete preamp I didn't just loose the high level section that I was not using, but also a passive switching center which I could have.  Without it I needed to physically change interconnects between my DAC and that phono section.  I was given a warning that the analog board mod in the DCX does not like the changing of cables, or simple moving them too much between it and various sources while powered up.  But, to power that down I first need to power down all of the amplifiers plugged into it, then reverse the procedure.  It was becoming too much of a ritual and besides I hate to keep power surging components like that if I can avoid it.  So, I put together a simple switch box:



It has two line level inputs and one output to feed the DCX and uses a DPDT mini-toggle switch with a center off position.  The toggle leans towards the pair of cables being sent to the DCX.  It does add more connections into the circuit path and another short interconnect, but so far I can't detect any negative sonic effects.  It may not be a purists approach, but like the DCX, any negatives seem far outweighed by the positives.

How does the phono section sound through the DCX?  In a word, glorious.  As Mike Galusha mentioned in one of his posts, my phono section sounds like a phono section.  The ADC and DAC conversion is pretty darn transparent.  I could tell the difference between my original AR phono section and my new old Cotter instantly.  What the DCX has done for my digital music seems multiplied for my new phono stage, but part of that is the new phono stage itself.

[Housteau]

3) And it gets a bit more sticky here, but removing the wave guides will introduce "beaming" which is actually a desired affect for those who sit with the "head in vice" listening position (ME ) and if you want to broaden this a bit (at the cost of the precision imaging) you may have to adjust phasing, slopes, and orders, so the one to guide you would be Big B.

I listen to music in pretty much the same way you do.  There is one chair in my dedicated room, with the entire room designed around where that chair sits.  To take that one further, the room itself is separate from the house being its own structure.  I used to think that if I had a system set-up in an actual domestic livingroom my listening habits might be a little different, with more thought given to multiple listening positions and background music, along with that within the sweetspot.  In such a system I thought the waveguide theory would be an optimum choice to hit those multiple targets.

However, in my room from the sweetspot the choice became obvious that the best presentation of everything I valued was there with the waveguides off.  Now with the modified DCX this has all changed.  Brian's EQ setting for having the waveguides on actually sounds better than when I had them off.  That setting fills in that void in the music created by the waveguide.  That precise imaging I value is there, everything is there and it is better overall.

Given some time and the desire I am sure a new setting could be found to bring listening with the guides off more interesting once again.  But, that is a project for another day, or month.

[John Casler]

3) And it gets a bit more sticky here, but removing the wave guides will introduce "beaming" which is actually a desired affect for those who sit with the "head in vice" listening position (ME ) and if you want to broaden this a bit (at the cost of the precision imaging) you may have to adjust phasing, slopes, and orders, so the one to guide you would be Big B.

I listen to music in pretty much the same way you do.  There is one chair in my dedicated room, with the entire room designed around where that chair sits.  To take that one further, the room itself is separate from the house being its own structure.  I used to think that if I had a system set-up in an actual domestic livingroom my listening habits might be a little different, with more thought given to multiple listening positions and background music, along with that within the sweetspot.  In such a system I thought the waveguide theory would be an optimum choice to hit those multiple targets.

However, in my room from the sweetspot the choice became obvious that the best presentation of everything I valued was there with the waveguides off.  Now with the modified DCX this has all changed.  Brian's EQ setting for having the waveguides on actually sounds better than when I had them off.  That setting fills in that void in the music created by the waveguide.  That precise imaging I value is there, everything is there and it is better overall.

Given some time and the desire I am sure a new setting could be found to bring listening with the guides off more interesting once again.  But, that is a project for another day, or month.

Yes, it is the ole, trade off adage.

What with all the "things" the D-OXO can do in a "designer's" hand I think we will be seeing little tweaks and adjustments for some time.

B, has a new PALLETTE, and a new CANVAS.

Since Brian is somewhat different in his approach, this just allows him more freedom to play.

First we have a rather unique group of drivers in most ways.

A ribbon tweeter, a planar ribbon midrange, a custom made woofer set, and on most of the line, a mass adjustable Passive Radiator.

Add in the Constand Directivity Wave Guide acoustic lens, and you have some very interesting experiments to perform.

Strictly speaking the speaker should sound the BEST with the CDWG on.  Primarily, that is because the planar driver surface is "clamped" off at the edges, and the more pure reproduction is from the less restricted radiating surface areas (CENTER).

This is the portion of the Neopanel that is exposed through the CDWG.