Mogami 3106 or 2947?

I did consider that however the dealer (obviously) suggested the superiority of the 40s and unfortunately they no longer had a demo pair of 19s anyway.

Hopefully it all works out and the match between my room and the 40s is in some magical conjunction, at least I’m sire thays what I’ll convince myself of once they are in the room, then starts the negotiation with the boss of the household…

Thanks Danny, it’s something I’m going to try for myself one day. I’ve got a couple of BK XXLS400 subs in my home cinema system that would make for an interesting day or two to try in the HiFi setup in the near future. I’m not sure they’ll integrate all that well with my Kudos Super 10’s (with the Kudos speakers being ported) but I could drag my ATC active 19’s in there for a play. Being sealed speakers I think the 19a’s would work better with the subs.

Very nice! I quickly looked up that Ayre pre-amp … gulp. Out of my price range sadly, but did you ever listen to ATC’s own flagship pre, the SCA2?

I also run ATC 40 actives from my Auralic Vega G2, and I was given the balanced lead by The ATC rep who installed them, which was free.
I think it’s studio mic cable, screened.I get the impression ATC are not into cables as ex Naim or current Naim people are.
Just ask ATC, then enjoy the bliss !!

I currently have a single xxls400, unfortunately don’t have room for a second but with auddyssey xt32 the response is wonderfully flat, id love to replicate it from the hifi, im not sure how id connect it though, id need a sub dsp with selectable inputs

Definitely worth asking the question! Thanks

I did consider the top ATC pre but I chose the Ayre for a couple of reasons.

First, I had bought a used Ayre KX5 20 pre a couple of months before just to try and I liked it a lot…so I had a good feeling that I’d like the top of the line Ayre pre.

The Ayre pre can handle the 6 volt output of the Rossini which many say sounds the best of its 4 different output voltage choices. The Ayre uses a unique way of adjusting the volume - it changes the output voltage of the preamp with each click of the remote… so perfect channel matching at low volumes even with the 6 volt output of the Rossini. The ATC I believe uses a traditional volume pot which would be super loud with the Rossini’s 6 v setting at 8am or 9am position on the volume control and might exhibit the slight channel imbalances at low volumes even with the 2v output setting on the Rossini.

I’m in the USA where Ayre is made so they appear in the used market more than the ATC preamps. Although the Ayre KXR 20 is very expensive new ( same price as the 552 in the USA) I was able to pick one up used for a little less than half price.

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I see, makes perfect sense.

It’s published in the spec sheet: 10μS+ the filter time constant, hence compared to the group delay of the sub, it’s insignificant.

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It’s easier to look for discontinuities in the minimum phase response.

Current IRR of ovators in their current position, ill do the same tests on the scm40 when they get settled in

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That doesn’t look too bad. If you click on “Graph” at the top and select 1/3rd Octave smoothing you’ll get quite a nice looking graph which gives a better impression of what your “perceptual” in- room response is.

10u.sec.does indeed sound insignificant but I was sure it was greater than that. It does sound unrealistically small, so I had a look at the spec sheet and couldn’t find a figure there. I did a Google search for “minidsp 2x4 latency” and got plenty of hits. Here’s the second hit which shows a really useful table of the measured latency for various frequencies and slopes

The results are anywhere between 1.25 and 30+ milli.sec’s. A typical figure might be for a 24db/octave slope at 40Hz, which is 10.3ms. However, subsequent discussion in that thread indicates that the inherent delay caused by the miniDSP itself is only 1.08 ms. The additional delay is that caused by the filter itself and exactly the same as an analog filter.

So, in conclusion, maybe you should bring your sub about another foot closer to the listening position if possible?

Yes overall pretty good but they definitely don’t sound very filled out in the bottom octaves due to the suck out in the 80-120 region. it does highlight the 35hz node when you get programme material in that range, when that happens it just makes me miss the midbass being of a similar level. I’m sure I can get the bottom fuller by having them closer to the rear wall but I lose imaging and that liveliness that I fell for with the ovators in the first place, currently they sound great apart from a lack of bottom end, hoping the 40s can better them in this regard.

The latency is as I pointed out dependent on the time constant of the software filter(s) in use,

IIRC these typically include the buffer for the filter - even if no processing by that filter is actually set; when I looked at the programming system buffering length can be shortened, again IIRC, by default this is 1ms; 1.08ms - 1ms buffer so 8μS from his measurement.

In my case the optimal position for the sub is 1.2m closer to the listener than the main speakers. This includes the miniDSP’s inherent minimal latency, the filter processing (including buffering), the amp response of the sub and the speed of response of the driver. If you can independently and accurately determine the last two, then the end to end latency of the miniDSP may become a significant matter if you intend to rely purely on theory. Without that precise knowledge, the best approach is still to place a microphone at the listening position and adjust to get a reasonably small and progressive phase change through the crossover region.

If you’ve got it covered that’s fine. Yes, I guess the optimal way is to get measurements of the end result, taking all elements in the chain into account.

Have you got your cables for the ATC’s made up yet?

I’ve just finished making my cables to the spec posted in my first post in the thread. The Van Damme installation cable is quite thin, but makes a neat job at the DIN end.

Mogami 2549 makes a really good balanced cable. It’s what I normally use for fully balanced (XLR to XLR) cables. A bit big for two cables into one DIN plug though. You’d need to strip the jacket and screen back 4 or 5 inches and just bring the two cores from each cable (heat shrunk) into the DIN plug.

Anyway, here’s my freshly made DIN to 2 x XLR cable

Here’s the in-room frequency response of my Kudos standmount speakers. Lack of baffle-step correction stands out quite clearly, plus quite a bit of room gain at the bottom end.

No not yet, I’ve a home demo coming this Friday, if I decide they are staying then I’ll make arrangements to wither ask atc for some or get some made up with recommendations from this thread

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