(The XMC-1 uses fairly high-end Burr-Brown 24/192 DSD1796 DACs that are hopefully excellent.) The Oppo player (see picture below) can function as a pure transport in the sense that it can send digital audio from either physical media (e.g. The main point of the XMC-1 processor for me is having a DSP stage with Dirac capabilities integrated with D/A conversion. (Unfortunately, the nanoAVR DL requires Windows.) Computer audiophiles with a pre-ripped music library on a server or hard drive can purchase Dirac Live as a generic PC/Mac application that can integrate with various player apps.
Audyssey, Yamaha's YPAO, Pioneer's MCACC, and Anthem's ARC (I believe), perform frequency domain correction only.Īnother option would be to have Dirac Live in its own box separate from the pre-amp/processor, like with MiniDSP's nanoAVR DL (see here). Some competing systems typically found in home theater receivers, e.g. Trinnov is another company that has its own frequency and time domain correction algorithms, integrating an Intel PC into the box, but again at a much higher price point. Dataset's RS20i (see here) also incorporates Dirac Live but is priced 10x higher. Once dialed in properly, the difference between an uncorrected and corrected room is huge and plainly obvious.ĭirac Live is a DSP technology that corrects for both frequency-domain and time-domain (impulse) response. If your music is digital, this is all done in the PCM domain without any extra analog/digital conversion steps. This means you run Dirac Live on a computer, measure the room at the listening position, and download wirelessly the computed filters to the XMC-1's single Dirac preset. However, it needs the assistance of a computer (and an internet connection) at calibration time. The Emotiva XMC-1 processor has built-in Dirac Live room correction. Proper speaker and hearer placement (see relevant Floyd O'Toole articles here and here), room treatment, and digital signal processing methods (aka Room Correction) can mitigate many of these undesirable effects and clearly improve sound reproduction. (See here and here for two introductory articles by Michel Leduc on the topic of Listening Room Acoustics and why it matters.) Loudspeakers interact with the room bouncing sound waves off walls, ceilings, and floors, possibly muddying the sound received at the listening position. All normal rooms have modes that induce standing waves that interfere destructively with sound reproduction.
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