Pre/Pro Advice for ATC Active HT

Long time Lurker, first time poster - that I can recall!

Gear: ATC C5CA, 2 x ATC 20ASL, 2 x ATC 10-2a, Denon 3803, some blu-ray player or another, Panasonic ae700, home made screen, PSB subsonic 3i. Dedicated room (light controlled) 11'w x 23' deep x 8' high.

I went with the ATC's because I wanted to get as close to live music as I could. I love live recordings. Listen to Jazz/Blues/Vocals/Classical - basically anything that demonstrates the artist's passion.

While I would like the best of both worlds, I would state my preference as awesome 2 channel with great HT capability.

My next upgrade is processor. I've checked out AVS forums regarding the Cary cinema 11a - great reviews for both 2 channel and HT; however, there are issues that have apparently been solved by the upgrade.

After the processore, acoustic room treatment, next would be OPPO 95, then Projector (Panny 4000? don't need/want 3d), followed by screen (stewart 130?)

Does anyone have experience with the Cary 11a feeding ATC actives? Heaven on earth?

Based on buying "previously loved", within that price range are there any other viable alternatives that I should be considering?

Currently only running projector through this system, but will eventually set up cable TV with gaming a long shot except on rare occasions; therefore, I do not believe that the "only 2 hdmi" slots will be an issue.

Appreciate your expertise
Live recordings are almost always captured with and recorded already amplified sound. I've some in studio recordings that I have compared to various recordings of the same music captured 'live'. Never is the 'live' better then the studio version.
I didn't know that; however, I like the sound of live recordings so apparently I like the "amplified sound" sound! Thanks for the input. I'll keep an eye open for studio sessions of life stuff I own as I'm curious to hear the difference.
Complex. Live recordings that reproduce the sound that was heard at the live event may be "better" if that experience is what the listener wants to hear at home.

OTOH, the relatively unamplified sound from a studio session may not be subject to PA and arena acoustics but is something that will never be heard live by nonprofessionals. So, what is your reference?

BTW, this does not apply to classical music where, even live, the sound is rarely amplified.

Would a pre/pro with room correction be something you want to explore? While I cant really advise on your question to any degre usable I can say if you have a good room and space to place that gear you your gonna have a great setup. The Pan 4000 is a great value just pay attention to your throw distance because at 130in it can get dim if not optimal. Welcome to the show (((ding ding ding))).
Thanks KR. Ironically, I don't go to that live events so perhaps I like recording of live events because it gives me the sense of having been there. I like to hear the crowd's response to the music. Most of the live stuff I have enjoyed on two channel has been jazz trio although my all time favourite is probably Neil Young's "live at massy hall 1971". You make a good point, that unless you have the benefit of being in the studio, one wouldn't know what that sounded like.

In terms of room correction, the smatterings I've read about it on Agon and AVS seem to be of two minds not unlike the subjectivist/objectivist dicotomy.

I love the ATC's. Apparently not because it's as close to live music as one can get, but because it's the type of sound I prefer. It touches me.

Does anyone have any experience using the Cinema 11a in an active set up?
In terms of room correction, the smatterings I've read about it on Agon and AVS seem to be of two minds not unlike the subjectivist/objectivist dicotomy.
But if you have it, you can decide for yourself by listening to the alternatives. If you do not have it, how do YOU know?

Does anyone have any experience using the Cinema 11a in an active set up?
I do not see why passive or active would be any determinant in choosing a pre/pro.

I bought a used Cary 11a because of its audio quality. As you probably know from reading the 11a/v thread at AVS, the room correction on the chip Cary uses has been a major source of complaint. My 11a manual recommends a tape measure and SPL meter. Cary does provide for manual equalization. I use a Velodyne SMS-1 to manage my pair of HGS-15s. I think the LF region covered by the subs is the most critical for room correction, but if I find a used Aydessey (sp?) with XLR at a reasonable price I'll add it to my system.

Valid point regarding room correction, Kal. I'll search the forums to find out how to go about that - based on your experience, where does that slot into the mix in terms of priority?

Valid point, again, on active/passive, I think. Just showing my inexperience/ignorance on the topic. So what you are saying, is that the cinema 11a, which has received solid reviews as a 2 channle pre/pro in a passive system, would be equally adept in an active set-up. Sounds like common sense to me, thanks. So then one of my main determinants is balanced connections.

Next question, what is the downside to going with an older pre/pro with balanced outs but with no HDMI. Any downsides to connecting the projector directly to my player?
IMHO, HDMI is essential today. Audyssey (or other effective EQ) is very important.

The Cary 11a has balanced outputs for 7.1 and a balanced input for analog that can be either passed through our digitized.