SMS-1 Questions

Kal,

If you were going to go the way you suggest (full bass management) how would you proceed with true full range speakers?

Full range is, already, contentious since there are different definitions for it. In addition, without measurements, there's no assurance that they will perform as "full range" in any particular setup.

With the B&W 802Ds in my city system, I use them as full-range, no sub, for casual stereo listening. Sometimes, I invoke bass management (40 or 80Hz) but I always do it for multichannel.

With Paradigm Studio/60s in the country system, I always bass manage at around 40-50Hz (varies per speaker).

All that said, I am unfamiliar with almost all the equipment you have in your main system.

Kal

The only point I'd add to the discussion is that the concern with latency may be more theoretical that real with regard to subs. I have done a physical A/B test on this one. With a pair of Verity P/E's I bi-amped and EQ'd (woofers only) via the SMS with the monitor in its usual position on top of the woofer box (time aligned), then moved the woofer cabs to the corners, put the monitors on stands, and compared.

I really did this to see whether I could improve some behavior in the woofer boxes by moving them to the corners, so the latency issue wasn't my primary focus. However, I did a fair bit of focused listening and can say that no imging/smearing artifacts were audible to me until I adjusted the x-over point way up to 150hz (Verity's choice for the on-board passive).

I don't compensate for delay and don't hear a need to.

Of course, you might.

Marty

Marty,

If one did not consider latency to be an issue, why would one need to introduce a cross-over in front of the Audessey unit?

Eric

Eric, you need an x-over in front of the SVS/Audyssey box because it doesn't include a x-over function. I'm pretty sure it was designed with the (non-Audyssey equipped) HT market in mind, so - since pre-pros and HTRs have the x-over built in - it was omitted.

As far as the SMS-1, I just don't like the sound or the limited flexibility, (fixed frequency, fixed slope) of the built-in high cut function.

Marty