Mines never worked with "Garbage collection on" even in version 6. I just put it down to laptop under powered.

I didn't rate garbage collection as important but having never heard the difference what do I know. "Memory org error 2" comes up.

Is garbage collection important?

I would be happy to Beta test!!!!!

I've gone back to SFS430 but no not as good soundwise. I'm currently at 40 SFS so good so far.

You are right Brian we all need to be put out of our misery and load up z7. The problem is once I've heard a sonic improvement I don't want to go back.

Its a worry we are needlessly wasting time on settings for  z6 that may be redundant with the new version.

Thanks to Peter for his latest updates on the inner workings of XXhighend it does help to understand what is happening.

Robert

When I apply 4096, Q14, SFS 2 it stops after 4 tracks and a box comes up "No Track Data". I can only push out the stopping by raising the SFS to say 20. Disappointing as it sounds better at this setting.

Peter your settings are much better after doing lots of comparisons. I've gone back to 4096, 14, 2 SFS and its definitely more musical and detailed. Now I need to make a decent computer and throw away the laptop, buy a Phasure Dac and hope I can afford the next software version "z7".

Under Pressure as Freddie Mercury once sang!!!!

Gerard I'm running the Young Hi-face driver now in Kernel Streaming with Hi-face M2tech with Engine 4. I had no problems with standard Hi-face drivers. Check my settings although I'm currently trying new settings as Peter suggested which I have updated on my postings.

Make sure you have the Hi-face KS driver/player highlighted in Device output of XXhighend when using engine 4. I find I have to reboot computer after changing major settings in XXhighend as well.

Perhaps go back to Hi-face manual its got all the relevant instructions for setting up for Kernel Streaming.

I've tried these settings and yes found them to be more musical but suffered from the same result as stefanobilliani.

I have changed SFS to 20 and it now plays all the tracks on an album.

Received my dongles in 2 weeks in NZ. Cautiously waiting to apply them.

I need to purchase an Android device. I'm thinking cheap and basic to only perform remote tasks for XXhighend. Can get Archos by mail order but have noticed cheaper devices in discount computer shops.

Is there any minimum requirements or traps I need to watch out for?

To be honest judging by all who contribute to this forum we want it all, no half measures. I certainly do!!!!!!!!!!!

Perhaps release beta to your close trusted supporters to assist you in writing instructions.

I can see the issue, first for a newcomer to get there head around what you have created then to write it into understandable instructions is tricky. It is better from you but this task is almost to big alone.

Or just release it and let everyone go mad.

If the sonic difference is big then V2 is in order new fee.

I would purchase the devices but what device can I use as the remote? I refuse to buy any Apple devices. I do own a Blackberry phone but its getting old. Would I have to buy an android device whatever that is?

Or to make your issue bigger can you supply a remote device?

Is there a cheap remote device that would do the job?

High Resolution Audio: Is the future really low resolution?
Article By Ryan Mintz of Core Audio Technology


http://enjoythemusic.com/magazine/manufacture/0512/

This is one comment of interest:

A piece from "The Soundoctor" white papers, of interest re ports(This is from an article integrating subs but is still relevant to all loudspeakers):
http://www.soundoctor.com/whitepapers/subs.htm

TYPES OF "MAIN" SPEAKERS

In addition to all the above, there is the complex issue of the "main" speaker you are coupling to. There are essentially 6 types of speakers that exist:

1) sealed
2) port in the front
3) port in the bottom
4) port in the back
5) a dipole, which is a flat panel such as an electrostatic (Sound Lab, Magnepan, Quad, Beveridge, Martin Logan, etc.)
6) an true omnidirectional system such as the MBL or the BEOLAB 5.

Each of these speaker types couples somewhat differently to the room, and certainly to a sub.

A port is ALWAYS nothing more than a cheap way to attempt to get free bass out of an enclosure and /or driver that's too small. It's a holdover from the 1930's when because of driver inefficiencies (especially when compared to today's units) you had to do everything possible to increase the useable output over the desired range of frequencies.

At one level, all the guyz want 9 foot speakers in the living room (read "man-cave"). All spouses, of whatever gender, want tiny 3" speaker cubes that disappear, but expect 9-foot results from them. Since they haven't repealed ohms law or any other laws of physics while we were sleeping, the only way to get correct sound is to move a correct amount of air.

Lets examine ported speakers. We'll start with the worst case, the port in the front. At mid bass frequencies, say 50-80 Hz, the LF driver moves IN the cabinet, the air in the cabinet is elastic, and the port air moves out of the cabinet. Because of the frequency at which the cone is moving, by the time the cone moves back out again, the port air is now moving out, so in front of the cabinet the two air pressure sources sum together and you get a fake bass "bump" or "boost".

As you go lower and lower in frequency, at some low frequency the air pressure from the LF driver and the air pressure from the port are exactly opposite each other, so they cancel, and there is no more audio at that frequency: it disappears. This defines the -3dB "cutoff" point of the cabinet in question. When the manufacturer of a speaker cabinet defines the frequency response (i.e., 37 Hz - 20kHz +/- 4dB) this is what is defined by the entire arrangement of the port and the air in the cabinet and the driver.

You must understand that ANY driver goes down to 0 Hz, or DC. If you put a battery across a speaker, the cone moves out and stays there. If you were to have a DC coupled power amp feeding a speaker - ANY speaker, from a 1" dome tweeter to an 18" rock n roll stage bass driver - and you put 4 Hz into it, it would simply move back and forth at 4 Hz. Of course in order to actually "hear" the audio it would have to be in the generally accepted passband of 20-20,000 Hz and the cone diameter would have to be enough to actually move some air in the room. So it is the overall combination of the driver size, the excursion, the box size, (therefore the air back pressure) and many other factors that determines the overall response of that "speaker" AS AN ENTITY.

That means IF you were to simply put those same frequencies through the mains and the sub (that means with no crossover, and this is the mistake that nearly everyone makes) you would now have 3 sources of LF energy and differing phase: the 'main' LF driver, the port, and the sub, all fighting with each other. A further corollary is that since the air inside the [mains] cabinet is elastic, the phase relationship of the port air to the driver air is also a sliding one; that means it's "out of phase" — and smearing — over a wider range of frequencies than you might think.

If the port is on the back, again a cheap attempt to use the back wave bouncing off a wall to give 'additional' bass, you have the ADDITIONAL issue of the transit time it takes for the back port pressure (already delayed because of the elasticity) to leave the cabinet, travel back, hit a wall, and bounce back around the front of the cabinet again; therefore this LF wave MIGHT be "in phase" with the front driver BUT BE 360 OR EVEN 720 DEGREES LATE; therefore it sounds like the bass frequencies are ok in the frequency domain but the IMPULSE RESPONSE is now muddied.

Also, in the case of back ported or (type 5) dipole speakers, since the path length from the back of the speaker to the wall and bouncing back around to the front of the speaker is a fixed physical entity, at some frequencies you are adding and at some frequencies you are canceling: you have simply made a physical/mechanical frequency comb filter that you can't do anything about. Sound Lab's answer to this (for use with their flat panel electrostatic speakers, which are dipoles) is they sell you a "Sallie", which is an absorber to absorb the entire back wave output of the electrostatic panel. Since now there is no comb filtering; all you are therefore hearing is the front signal.

Sorry to be a downer but ports are a constant source of problems. Inherently designed in the old days to make up for deficient bass or give the effect of more bass.

Try blocking the ports completely using a clean rag and listen. My Tannoy's came with foam plugs but I have blocked them completely with drain tester plugs.

Better bass now exists. The signal coming of the back of the driver can never be exactly in time with the signal coming from the front.
It makes these speakers problematic to get sound right in rooms especially bass and even harder to match with sub woofers.