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Old 12-05-2016   #376
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

Quote:
Originally Posted by Elgrosso View Post
Ok I think I see, kind of what described subterFUSE then. But mixing nearfield and listening position.
But first, question for confirmation: bandpass = between XO points, stop band = below & Above XO points?

In fact there's a lot of similarities with what I was trying to do with Dirac recently (and APL before).
Meaning focusing PEQ+XO to get to the acoustic slope, on the stop & transitions band, and leave the FIR device focusing on the bandpass.
Well with these actual words it seems much simpler.

But I never used near-field measurements for anything else than just checking the driver.
I'll have to give it a go, it will simplify the process, less steps, less time.
(yesterday with all these sweeps on such a large area I got lost at one time, what to EQ what not)





How close do you measure?
And how do you do for the HF drivers? (for flat)

Also I must say, I'm getting confused.
- after all these readings from Andy on how we should EQ the whole system (drivers+car reflections).
Yet here you're removing some of these effects of the equation.
- but in the same time I can see some value, maybe just trade-offs or for better balance like you said.
- and I'm close to think that these points were the ones blocking me before.

To take what I said and add some common sence in your own way and your own system. Your gain structure will be different than another and you will know how your amps and equipment like to be gained. So use good judgment and steer clear of large amounts of boost when there's already a strong signal going in/out. There's barely any digital headroom, in most recordings post y2k.

So in general when tuning your system for good balance there is a way with all the various in/out eqs.

My method works in my system and makes sence acoustically for my system and previous renditions on how I like things to sound. 1st off I undergain my amps. I think it sounds better and I like all analog signals going in to be there max without clipping. Just how I roll.

But as far as what I meant , if you have let's say a cdsp and you have input eq and output eq.

If your tuning the system as a whole you don't want to turn down any frequency if it doesn't affect all of the speakers on that channel. We're 2ch people so tuning needs be done in 2ch to be balanced. If you turn down let's say 500hz that will affect harmonic structure of the magnitude all the way up and down the spectrum. Haven't you ever turned up or down 20khz? Ever notice it will affect the other frequencies like 10khz and 5khz (I think it effects all the frequencies go but I'll use harmonics to make the point) if you change the harmonic structure of the signal only on part of the signal the harmonics won't be in sync so to speak. So any eq I make to a single speaker I apply it to fix crossover slopes. So when measuring for abnormalities in crossovers I want to eliminate the roomout of my measurements so it more faithfully represents the electrical signal. right in front of the speaker will dictate the speakers closest resemblance to the electrical signal so that's where you want to make measurements for making acoustic and electrical signals match for crossover slopes. If I want a linear crossover I need the crossover acoustic behavior to match the linear slope that is electric so that way it's doing what it says and not something else.

So stop band is everywhere below/above the crossover point. When I make these close measurements I want to flatten the areas below/above my crossover points. Except I will have the crossovers off for this. Now the common sence. If the close measurement isn't manageable within a few db of cut boost on it I won't radically alter the signal. It's like we just want a bit of smoothing so the response is more flat. As long as it sounds good it will work. Meaning again I wouldn't go boost a frequency 10db or something absurd. If the speakers close responce isn't already close to flat I fix the problem to make it more flat . At crossover and the first oactave I try to make pretty flat. Remember this will bean area that will be attenuated , so the louder levels will be heard more so its more important closer up the slope and less important down slope. Depending on how shallow your slope is would also bag for some common sense on how much to use . You just want the responce to be somewhat flat so when you do engage the crossover it will do what you see on your dsp screen and not something else like have a big peak half oactave into the crossover.

Once crossovers are measured and linearized than I apply gloabal eq to actually flatten the frequency response at the listening position.

So why is it okay to add eq at a specific speaker at crossover and not anywhere else? Because that will be an attenuated spot in the spectrum the summed signals from the Speakers overlap areas will be "in tune" first. Then it's time to address the room and the system as a whole . There are some people who are dead set against anything but global EQ . Saying there's no need for it if your crossovers are good and placement is good, and I am onboard with that a single 30band eq on a system an offense more deadly than the most exotic processor in the wrong hands. And I think that that sentiment is valid, to keep the fidelity of the original signal. Only because environmental issues are so complicated to deal with . That's why I am really interested in Dirac and apl. It's a approach that effects the entire signal at once. It does it just fix phase per speaker he just fixes the phase of the entire signal which would be better on a more grand scale two include timing/phase moreover FR.

im so in love with my speakers I found a song I sing to them

https://youtu.be/VgU6LXY-AjI
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Old 12-05-2016   #377
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

I don't know how important any of that is with Dirac or apl . In fact it seems like it would just fix all that stuff along the way so that might be something to consider.

Obviously the less processing the better, I have to work with these first before I can speak to there ability, so that whole thing might be redundant:/

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Old 12-05-2016   #378
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

Quote:
Originally Posted by oabeieo View Post
To take what I said and add some common sense in your own way and your own system. Your gain structure will be different than another and you will know how your amps and equipment like to be gained. So use good judgment and steer clear of large amounts of boost when there's already a strong signal going in/out. There's barely any digital headroom, in most recordings post y2k.

So in general when tuning your system for good balance there is a way with all the various in/out eqs.

My method works in my system and makes sense acoustically for my system and previous renditions on how I like things to sound. 1st off I under gain my amps. I think it sounds better and I like all analog signals going in to be there max without clipping. *Just how I roll.
Sure, and the gain structure is definitely one of my weak points. I never really bothered to study more this.
Or I think I always under-used my amps in a way. Less gain than optimal probably.
And I kind of used them to simplify my work later on the dsp (to keep all at the same level or close enough), meaning limiting one channel to the highest one.
If it makes sense.
But I know I should, one day I;'ll come back around that.
Also I'm sure I don't listen as loud as many (you probably ) so with stronger amps I was ok so far.



Quote:
Originally Posted by oabeieo View Post
But as far as what I meant , if you have let's say a cdsp and you have input eq and output eq.

If your tuning the system as a whole you don't want to turn down any frequency if it doesn't affect all of the speakers on that channel. We're 2ch people so tuning needs be done in 2ch to be balanced. If you turn down let's say 500hz that will affect harmonic structure of the magnitude all the way up and down the spectrum. *Haven't you ever turned up or down 20khz? Ever notice it will affect the other frequencies like 10khz and 5khz (I think it effects all the frequencies go but I'll use harmonics to make the point) if you change the harmonic structure of the signal only on part of the signal the harmonics won't be in sync so to speak. So any eq I make to a single speaker I apply it to fix crossover slopes. So when measuring for abnormalities in crossovers I want to eliminate the room out of my measurements so it more faithfully represents the electrical signal. right in front of the speaker will dictate the speakers closest resemblance to the electrical signal so that's where*you want to make measurements for making acoustic and electrical signals match for crossover slopes. *If I want a linear crossover I need the crossover acoustic behavior to match the linear slope that is electric so that way it's doing what it says and not something else.
Ok. I totally see the points about harmonics, I keep too some frequencies quite high just because of that. Like I can't hear anymore over 17/18K alone but sure I hear the difference when they're cut in a track. Same for the sub, in the other way I think.
But about the acoustic slope, isn't it counter intuitive to apply some acoustic reference that don't come from the listening point ?
I mean "acoustic slope" should mean the slope that we hear no?
But I see the global point



Quote:
Originally Posted by oabeieo View Post
So stop band is everywhere below/above the crossover point. When I make these close measurements I want to flatten the areas below/above my crossover points. Except I will have the crossovers off for this. Now the common sense. If the close measurement isn't manageable within a few db of cut boost on it I won't radically alter the signal. It's like we just want a bit of smoothing so the response is more flat. As long as it sounds good it will work. Meaning again I wouldn't go boost a frequency 10db or something absurd. If the speakers close response isn't already close to flat I fix the problem to make it more flat . At crossover and the first octave I try to make pretty flat. Remember this will bean area that will be attenuated , *so the louder *levels will be heard more so its more important closer up the slope and less important down slope. *Depending on how shallow your slope is *would also bag for some common sense on how much to use . You just want the response to be somewhat flat so when you do engage the crossover it will do what you see on your dsp screen and not something else like have a big peak half oatcave into the crossover.

Once crossovers are measured and linearized than I apply global eq to actually flatten the *frequency response *at the listening position.

So why is it okay to add eq at a specific speaker at crossover and not anywhere else? **Because that will be an attenuated spot in the spectrum the summed signals *from the Speakers overlap areas will be "in tune" first. *Then it's time to address the room and the system as a whole . *There are some people who are dead set against anything but global EQ . Saying there's no need for it if your crossovers are good and placement is good, and I am onboard with that a single 30band eq on a system an offense more deadly than the most exotic processor in the wrong hands. *And I think that that sentiment is valid, *to keep the fidelity of the original signal. *Only because environmental issues are so complicated to deal with . *That's why I am really interested in Dirac and apl. It's a approach that effects the entire signal at once. *It does it just fix phase per speaker he just fixes the phase of the entire signal which would be better on a more grand scale two include timing/phase*more over FR.

Yeah here I follow you. Room correct the global response and not abnormalities coming from one driver that is off somewhere.
But it's a grey area too.


Ok so, well and thanx for your time here.
Just to get more synthetic (more as a recap for me here), I'll try to summarize both ways.
Let's remove the measurement methods out of the equation first, or just consider all as near-field, and call it A.
We could consider these two processes as:
- A1 = measure each driver w/1 sweep near field, eq to flat, then apply xo
- B1 = set xo, measure each driver w/1 sweep near field, then apply eq to dedicated target
In this case we shouldn't have any difference right? Maybe here and there but more depending of the choice on what to EQ or not. But the sum of all filters should have very close results, so A1=A2.

Now let's include the two different measurements methods, near-field VS listening position, in B:
- A2 = measure each driver w/1 sweep near field, eq to flat, then apply xo. So A2 = A1
- B2 = set xo, measure N sweeps each driver at listening position, then apply eq to dedicated target.
B2 is much harder to EQ since it's all over the places now, B1≠B2

Then let's add room correction (or what we tried to do in B2):
- A3 = A1 + measure large SPFR in cabin, then apply filters
- B3 = B2 + measure large SPFR in cabin, then apply filters
In A3 the filters are only based on the room effects, and dedicated to the volume measured (1-4 seats for example).
Same in B3, but we tried to fix some of the room effects already in B2, so we might get a cascade of EQ .
Can be ok, can be bad if wrong decisions were made in B2 (like ending with big boosts).
And filters are tied to the position selected in B2.

Just on feelings I think A is better. Each set of filter focuses on its thing, either flat to target or room correction. At least it seems a better baseline.
I just want to try that.
Because everything I tried until now (with ms8, apl etc) did work, was certainly listenable, but almost always brought some artefacts that I didn't want.
But Iím curious to have others feedback... Jazzi?

And also I should consider some kind of room treatments here, like fiberglass panels near the center console, under the dash etc.

Horny Froggy...
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Old 12-05-2016   #379
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

Quote:
Originally Posted by Elgrosso View Post
Sure, and the gain structure is definitely one of my weak points. I never really bothered to study more this.
Or I think I always under-used my amps in a way. Less gain than optimal probably.
And I kind of used them to simplify my work later on the dsp (to keep all at the same level or close enough), meaning limiting one channel to the highest one.
If it makes sense.
But I know I should, one day I;'ll come back around that.
Also I'm sure I don't listen as loud as many (you probably ) so with stronger amps I was ok so far.





Ok. I totally see the points about harmonics, I keep too some frequencies quite high just because of that. Like I can't hear anymore over 17/18K alone but sure I hear the difference when they're cut in a track. Same for the sub, in the other way I think.
But about the acoustic slope, isn't it counter intuitive to apply some acoustic reference that don't come from the listening point ?
I mean "acoustic slope" should mean the slope that we hear no?
But I see the global point






Yeah here I follow you. Room correct the global response and not abnormalities coming from one driver that is off somewhere.
But it's a grey area too.


Ok so, well and thanx for your time here.
Just to get more synthetic (more as a recap for me here), I'll try to summarize both ways.
Let's remove the measurement methods out of the equation first, or just consider all as near-field, and call it A.
We could consider these two processes as:
- A1 = measure each driver w/1 sweep near field, eq to flat, then apply xo
- B1 = set xo, measure each driver w/1 sweep near field, then apply eq to dedicated target
In this case we shouldn't have any difference right? Maybe here and there but more depending of the choice on what to EQ or not. But the sum of all filters should have very close results, so A1=A2.

Now let's include the two different measurements methods, near-field VS listening position, in B:
- A2 = measure each driver w/1 sweep near field, eq to flat, then apply xo. So A2 = A1
- B2 = set xo, measure N sweeps each driver at listening position, then apply eq to dedicated target.
B2 is much harder to EQ since it's all over the places now, B1≠B2

Then let's add room correction (or what we tried to do in B2):
- A3 = A1 + measure large SPFR in cabin, then apply filters
- B3 = B2 + measure large SPFR in cabin, then apply filters
In A3 the filters are only based on the room effects, and dedicated to the volume measured (1-4 seats for example).
Same in B3, but we tried to fix some of the room effects already in B2, so we might get a cascade of EQ .
Can be ok, can be bad if wrong decisions were made in B2 (like ending with big boosts).
And filters are tied to the position selected in B2.

Just on feelings I think A is better. Each set of filter focuses on its thing, either flat to target or room correction. At least it seems a better baseline.
I just want to try that.
Because everything I tried until now (with ms8, apl etc) did work, was certainly listenable, but almost always brought some artefacts that I didn't want.
But Iím curious to have others feedback... Jazzi?

And also I should consider some kind of room treatments here, like fiberglass panels near the center console, under the dash etc.


Okay these scenarios hurt my brain.

Yes a1 and a2 have similar outcomes , but I would add "eqflat" meaning just the stop band not the pass band , the pass band will be used with gloabal eq.

A1 and a2 are similar ways to do it. except a1 (my method) makes it so you don't have to try to count down a imaginary slope on a RTA screen that is hard to do. And A1 can be done real time with RTA , so could A2 but againone crossover is engaged you'll have to draw an imaginary line to follow . Unless your RTA has filter targets

Either way is acceptable, yeah we just want the acoustic slope to match the electrical, my way sounds better to me , I can't explain why and I've done both.
Maybe someone else can .
Anyway you said b2 is harder because all over the place....not if your using separate eqs and that's the point. Input eq for global eq output/channel eq for speaker related issues and those are small adjustment that barely make a difference but a difference that can mean a lot


I tryed Dirac . Got the free download , it works , I'll post in my build page to not thread hijack .

im so in love with my speakers I found a song I sing to them

https://youtu.be/VgU6LXY-AjI
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Old 12-05-2016   #380
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

Quote:
Originally Posted by oabeieo View Post
Okay these scenarios hurt my brain.

Yes a1 and a2 have similar outcomes , but I would add "eqflat" meaning just the stop band not the pass band , the pass band will be used with gloabal eq.

A1 and a2 are similar ways to do it. except a1 (my method) makes it so you don't have to try to count down a imaginary slope on a RTA screen that is hard to do. And A1 can be done real time with RTA , so could A2 but againone crossover is engaged you'll have to draw an imaginary line to follow . Unless your RTA has filter targets

Either way is acceptable, yeah we just want the acoustic slope to match the electrical, my way sounds better to me , I can't explain why and I've done both.
Maybe someone else can .
Anyway you said b2 is harder because all over the place....not if your using separate eqs and that's the point. Input eq for global eq output/channel eq for speaker related issues and those are small adjustment that barely make a difference but a difference that can mean a lot


I tryed Dirac . Got the free download , it works , I'll post in my build page to not thread hijack .
Yeah those scenarios were more for me to build the idea. I need to think like that.
Ok I forgot the stop band only, it would work with both, with same effects, and I tried that with good results.

Don't forget jazzi's spreadsheets for the crossover targets, really handy to see the XO curve to reach.
Especially used with auto EQ, really powerful!

I said B2 harder, but only on driver Eq, because you tune the average in this case, and it can be real crazy. Especially with spfr method.
But yeah I never really used input eq before (always had the apl too for this).
Or barely to finetune L/R, and if I went out of peqs per driver. But I see that in your method it should not be used for one driver.
Another use was to quickly try different targets too while driving.

But bigger point I didn't realized: you use RTA. I use sweeps only.
Rta kind of includes some effect from the room already.
That will push the tuning into the grey zone, mix of both methods.

Grey zone that I was talking about, that each method use some bits of the other one too in a way.
don't know why but I didn't like the results with rta. Like if too many dips and peaks were masked.

Horny Froggy...
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Old 12-05-2016   #381
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

Quote:
Originally Posted by Elgrosso View Post
Yeah those scenarios were more for me to build the idea. I need to think like that.
Ok I forgot the stop band only, it would work with both, with same effects, and I tried that with good results.

Don't forget jazzi's spreadsheets for the crossover targets, really handy to see the XO curve to reach.
Especially used with auto EQ, really powerful!

I said B2 harder, but only on driver Eq, because you tune the average in this case, and it can be real crazy. Especially with spfr method.
But yeah I never really used input eq before (always had the apl too for this).
Or barely to finetune L/R, and if I went out of peqs per driver. But I see that in your method it should not be used for one driver.
Another use was to quickly try different targets too while driving.

But bigger point I didn't realized: you use RTA. I use sweeps only.
Rta kind of includes some effect from the room already.
That will push the tuning into the grey zone, mix of both methods.

Grey zone that I was talking about, that each method use some bits of the other one too in a way.
don't know why but I didn't like the results with rta. Like if too many dips and peaks were masked.

Actually jazzi spreadsheet got me on this whole new way (for me) and some reading on diy

im so in love with my speakers I found a song I sing to them

https://youtu.be/VgU6LXY-AjI
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Old 12-05-2016   #382
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

Do you have TA? The untreated response curve suggests, that the sub and the mid bass may be out of phase and hence your dip from ~80-160, two octaves around your Sub to mid xover of 120. Also that the sub and mids may be on shallow slopes. I'd look at the timing and then lower the sub to mid xover to about 60hz.

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Old 12-06-2016   #383
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

Maybe I am wrong, but the idea of apl-method was to separate results measured at near field from other reflections, which will be anyway separated by our brains due to longer arrival time. This idea seems to be hidden in the calculation algorythm.

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Old 12-06-2016   #384
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

Yeah , I agree ^
It's almost like you can turn crossovers on for safety and separation and almost ignore everything else and just let it do its thing.

You would get a stronger signal as well being your not duplicating any eq or letting apl undo any eq you did cause it can do it a different way

im so in love with my speakers I found a song I sing to them

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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

Quote:
Originally Posted by Alextaastrup View Post
Maybe I am wrong, but the idea of apl-method was to separate results measured at near field from other reflections, which will be anyway separated by our brains due to longer arrival time. This idea seems to be hidden in the calculation algorythm.

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Hey Alex, long time.
Not sure I understand, are you talking about the "on axis'' measurements as coreection with APL?

Horny Froggy...
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Old 12-07-2016   #386
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

No. Exclusion of interference from messurement results. It is nothing to do with on-axis test.

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Old 12-08-2016   #387
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

I am focusing now on application of the apl-technology on all my android devices. It sounds great without apl-hardware. Just measurements from the Workshop. This means a big step forward on the caraudio marked for android headunits.

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Old 12-31-2016   #388
 
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

Well, I finally have mine installed and so far it's totally frustrating.

Signal chain: iPhone --> HDMI Dongle --> HDMI audio de-embedder --> digital coax(2 channel) --> APL1 --> 800PRS

It's clipping the inputs of the 800PRS. I need to turn down the outputs somehow. The problem is, APL Config refuses to connect to it. I get a confirmation that the computer sees it when I plug in the cable, but the software just won't connect.

It's running on a MacBook Pro with the current on and Windows 10 running on the latest version of VMware Fusion.

Also, when I ran sweeps with APL Workshop it would get to about 170 sweeps, then start counting over again. No matter how many sweep I do, when I stop recording, I get an error that the file isn't long enough.

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Old 12-31-2016   #389
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

It might be a problem with the drivers under windows10. Rajmonds knows how to fix it. I am still using XP and never had issues with it.

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Old 12-31-2016   #390
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

Typically clipping is the result of no or little headroom. I have the same problem when trying to force small computet speakers to play the full range. At moderate volume it is ok. But if playing loud it sounds very bad due to clipping. Try to change the target curve in a first turn.

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Old 12-31-2016   #391
 
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

Quote:
Originally Posted by Alextaastrup View Post
Typically clipping is the result of no or little headroom. I have the same problem when trying to force small computet speakers to play the full range. At moderate volume it is ok. But if playing loud it sounds very bad due to clipping. Try to change the target curve in a first turn.
The clipping is there at all volume levels, so it's coming from before the headunit. Since the signal going into the APL1 is digital and the setup disables the volume control on my phone. That leaves the APL1 as the culprit. Unfortunately, since I can't get the software to connect to it, I can't adjust anything.

Quote:
Originally Posted by Alextaastrup View Post
It might be a problem with the drivers under windows10. Rajmonds knows how to fix it. I am still using XP and never had issues with it.
I took Raimonds advice and installed the software to a USB drive, so I'll dig up my older Windows 8 computer and see if I have any better luck.

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Old 12-31-2016   #392
 
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

I can't get the driver to install on my Windows 8 computer.

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Old 12-31-2016   #393
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

Can't help with w8, sorry. With regard to clipping: when I connect CD-changer to the apl1 through toslink, it plays very loud. Rajmond has suggested to reduce the level in correction files by -6dB. As soon as I got a switch with 15 pisitions for presets, I made kind of digital volume control. Using 6 presets ranging from -6 til -18 dB. That helped as otherwise no volume control was possible. Connecting using analog signal is another solution, just loosing some sound quality, but enhancing functionality.

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Old 12-31-2016   #394
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

There has to be a correct procedure for setting gains through a system running an APL1 and a DSP. It would be helpful to post it.

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Old 01-01-2017   #395
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

It is an important thing. Let`s discuss it. Please give us more information about your setup!

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Old 01-01-2017   #396
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

Quote:
Originally Posted by LumbermanSVO View Post
I can't get the driver to install on my Windows 8 computer.
Windows 8, Windows 10 64 bit versions do not allow (silently, no information) to install drivers that are not signed by Microsoft.
Such procedure must be followed to overcome that:
https://learn.sparkfun.com/tutorials...t-on-windows-8

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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

I was able install the drivers on both computers, but Windows 10 still refuses to connect to the ALP1. However the Windows 8 computer connects now, I guess I know what computer I'll be tuning with, lol.

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Old 01-01-2017   #398
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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

Isn't it possible to create image of w7 or w XP when running more advanced os? How this will influence application of the apl drivers? JUST ASKING...

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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

I have no idea, I'm a Mac guy and only have two computers with Windows 8 and 10 on them to run some work software. I haven't had Windows on a computer I use daily since shortly after XP SP2 came out.

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Default Re: Comprehensive Review: " APL1 " - Advanced DSP / EQ / Phase Correction Unit

Try holding the SHIFT key while right-clicking the APL1 application and select Open With Administartor (or similar, not in front of PC). This will give elevated privileges that might overcome the issue.
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