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For quick measurements, I also use the Scarlett 2i2 mic preamp though for more extensive measurements I pull out the MOTU 1248 mic preamp.
 

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My system that I am building will use the Sony RSXGS9 as the source. This means I need to use the analog RCA outputs from the source.

Does the APL1012 have adjustable input gain?

Why is digital preferred?

The Sony RSXGS9 has an optical out but it is lower quality than the analog out, and the digital output has no volume control. It is 0 dB FS always. No headroom for processing.
The input gain is adjustable in hardware - +4dBu, -10dBV
The Volume controle is working as gain as well. Becouse it is close to the input in the units structure.
The gain of input equalizer stage can serve this function as well (as Hanatsu mentioned).
The post crossover gain (pot on PCB) is also avilable to adjust overall gain of the system.

The digital is prefered becouse it reveals all the beauty of APL1012.
It removes two converters and pretty long (usually) cables (with respective noise)
which require advanced engineering skills to make connection right way to exploit balanced properties of it.
But, if your particular setup requires to use an analog in, you are welcome to use it.
It is almost best available.

There is no problems with full scale digital signals because the Volume control is right after the input.


This thing is incredibly cool but unfortunately, due to the complicated tuning process and price. Im not sure how many people can actually afford/have the know how to use this.
It is time to ask your friendly car audio shop for help in that.

Regarding measurement mic and sound card.
Yes, one of my mics is ECM8000 for almost 20 years ...
It requires phatom power but no problem.
Such very small sound card serves all the needs:
https://www.thomann.de/intl/lv/the_tbone_micplug_usb.htm?ref=prod_rel_190404_0
There are lot of other mics offered.
Any of them should work, especially, if the correction file is available.
 

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For quick measurements, I also use the Scarlett 2i2 mic preamp though for more extensive measurements I pull out the MOTU 1248 mic preamp.
Can I use the "Focusrite Scarlett Solo USB Audio Interface (2nd Gen)"?

Should the USB not work, then it looks like could also come out of the Headphone jack to a 1/2"to 3.5mm and then into the mic port on the MacBook...
 

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Can I use the "Focusrite Scarlett Solo USB Audio Interface (2nd Gen)"?

Should the USB not work, then it looks like could also come out of the Headphone jack to a 1/2"to 3.5mm and then into the mic port on the MacBook...
The Scarlett Solo would work just fine. I took a quick look at the specs and they were basically the same. I bought the 2i2 because sometimes I do a hardwired loopback to compare the signal output (if analog) to the mic measurement.
 

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So. Whats the total price on this thing to have a fully running set up? Someone said earlier $1800 euros so thats $2k and then how muxh for tda and whatever else?

Sent from my XT1710-02 using Tapatalk
 

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So. Whats the total price on this thing to have a fully running set up? Someone said earlier $1800 euros so thats $2k and then how muxh for tda and whatever else?
One could always start out with the software and see if it was to their liking?
It is more significant in cost than just sticking a toe in the water... more like the whole foot. But it could be a way to ease into it. Maybe it would also work for miniDSP FIRs?

As far as the DSP part....
I found three or four units that were FIR based.
All pass filters go a ways towards addressing phase, as well as speakers that are well behaved and crossovers that do not have wild phase excursions. However FIR based DSPs are techicnically a more straight forward and better approach than IIR based DSPs.

... whether one can actually hear the difference, is another discussion.
There are undoubtedly good IIR based systems, and also systems running no DSP. So a FIR based DSP is not exactly required.
 

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One could always start out with the software and see if it was to their liking?
It is more significant in cost than just sticking a toe in the water... more like the whole foot. But it could be a way to ease into it. Maybe it would also work for miniDSP FIRs?

As far as the DSP part....
I found three or four units that were FIR based.
All pass filters go a ways towards addressing phase, as well as speakers that are well behaved and crossovers that do not have wild phase excursions. However FIR based DSPs are techicnically a more straight forward and better approach than IIR based DSPs.

... whether one can actually hear the difference, is another discussion.
There are undoubtedly good IIR based systems, and also systems running no DSP. So a FIR based DSP is not exactly required.
Doesn't answer the question

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Doesn't answer the question
If you reread it, you find it does answer a lot towards the question.
2) understanding whether there a particular issue that a FIR would work toward fixing.
1) working towards using the software, before committing to a FIR-based DSP... or with a current system.

These can be somewhat decoupled, and if the software indicates that nothing is to be gained over the current system, then spending up on a different DSP may not yield much.

As I was starting from scratch, it was an easier commitment than for someone who already has a Helix for example.

I cannot say it is a good or bad idea for anyone else unless I know what their goals and issues are, so as to determine whether it could address their needs.

These are the questions that could precede the question of whether it is the best value approach towards those meeting those needs.

(Or if your system is already stunning, then it will not make 1800 euros worth of difference, or whatever the price is... it will make no difference)
 

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Or if your system is already stunning, then it will not make 1800 euros worth of difference, or whatever the price is... it will make no difference
Sorry for misunderstanding... If you are glad for your existing setup and have 100% satisfaction with the carsound quality, why you spend your time on this forum instead of having pleasure by listening your stunning system?

APL technology has changed mind of many enthusiasts despite their pervious experience in the audio World. Carsound is not an exclusion.

Sure, 1800 euros is a lot of money and one has to think about before investing in new components... But let listen first to what APL technology could make before final decission.

APL1012 for sure is not for newbees, but with the help and support from Raimonds, nothing will be impossible even for them.

But again, perhaps it is simply a wrong timing to change the stunning system. Especially if you made it by yourself and now it is time to enjoy it. Fully understanding you in this point. Good luck!
 

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The APL1 instantly makes my soundstage wider in my car with Helix DSP Pro2, and I am an expert tuner of the Helix.

Before the APL1, my stage boundaries are pillar to pillar.

With the APL1, instantly the stage goes to the inside edges of the side mirrors, outside of the pillars a good 6 inches on each side.

I don’t know why or how, but it certainly works.


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Sorry for misunderstanding... If you are glad for your existing setup and have 100% satisfaction with the carsound quality, why you spend your time on this forum instead of having pleasure by listening your stunning system?

APL technology has changed mind of many enthusiasts despite their pervious experience in the audio World. Carsound is not an exclusion.

Sure, 1800 euros is a lot of money and one has to think about before investing in new components... But let listen first to what APL technology could make before final decission.

APL1012 for sure is not for newbees, but with the help and support from Raimonds, nothing will be impossible even for them.

But again, perhaps it is simply a wrong timing to change the stunning system. Especially if you made it by yourself and now it is time to enjoy it. Fully understanding you in this point. Good luck!
If you think that we are "understanding each other in this Point", Then My post must have been poorly worded...

1) I already got an APL - it appears that I must think it was worth having.
2) as the APL is my first DSP, then maybe it is occasionally for noobies? (or... One has to start somewhere, so why not with this DSP?)

With that in mind, perhaps my thoughts directed to Jscoyne2 may be perceived as being in the spirit of a helpful discussion towards his questions? (I can only try to give my perspective of reasoning on the subject, which I may have failed to do in a clear fashion)
 

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Discussion Starter #154
So. Whats the total price on this thing to have a fully running set up? Someone said earlier $1800 euros so thats $2k and then how muxh for tda and whatever else?

Sent from my XT1710-02 using Tapatalk

All software are included.
 

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General question; Since I am using a ported subwoofer my port tune is 33Hz, so I have the SSF on the amp set around 27Hz.

When using Workshop, the measurement I assume will reflect the percieved bass slope and try to compensate to match an EQ curve, which usually keeps a flat response to 20Hz, thus defeating the purpose of the ssf? So am I wrong in thinking when making my own custom EQ curves, I should build a high pass about 25Hz into the curve so APL doesnt try to boost below my ssf?


Also, the APL1012 the clipping lights on the output panel - what exactly does this indicate (aside the obvious), and how to fix should it be clipping?
 

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General question; Since I am using a ported subwoofer my port tune is 33Hz, so I have the SSF on the amp set around 27Hz.

When using Workshop, the measurement I assume will reflect the percieved bass slope and try to compensate to match an EQ curve, which usually keeps a flat response to 20Hz, thus defeating the purpose of the ssf? So am I wrong in thinking when making my own custom EQ curves, I should build a high pass about 25Hz into the curve so APL doesnt try to boost below my ssf?


Also, the APL1012 the clipping lights on the output panel - what exactly does this indicate (aside the obvious), and how to fix should it be clipping?
You should direct the Workshop not to touch (equalize) the curve in your SSF region. It means - set to "flat" that region with some gain. That is avilable by use of "low frequency limit" parameter in Workshop which is setting the gain for LF region and making curve flat.
You should add the post crossover gain in case of clipping at outputs of crossover`s filters (leds on APL1012 front panel). It is available by use of the potenciometer on PCB and can be set from 0 to +18dB. The default setting is about +10dB.
 

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Please correct me if I’m misunderstanding. But from what I gather, the measuring technique has one painting the mic across the front of the dash while sweeps are run...

Does this mean that the final APL 1012 tune is a viable 2 seat tune? Or is it still 1 seat orientated?
 

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APL measurement/tune are not seat (place) orientated in general.
But there is option to add some kind of a final tune (after everything is done) for particular position/seat in case if some drivers have an explicit directivity which must be taken into account.
 

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APL measurement/tune are not seat (place) orientated in general.
As in when your done with the workflow described in the manual, and performed measurements as uniform as possible, the soundstage will sound equivalent whether one is sitting the the driver seat or passenger seat of a car?
 

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As in when your done with the workflow described in the manual, and performed measurements as uniform as possible, the soundstage will sound equivalent whether one is sitting the the driver seat or passenger seat of a car?
Stage will also depend on distance (time alignment ) values you input relative to seating position.

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