It does.

Hi there Charlie.

Look in here for the solution (still valid for 2.10 and IIRC for the upcoming 2.11 this is solved) :

XXHighEnd Model 2.09 - Solves bugs in 2.08 & more MQA functionality.
In there, search for Volume. It is close to the beginning of the page.

Regards,
Peter

What's exceptional here is the "square" dimensions (138" x 138") - and then with reference to the toeing.

For the sweet spot (might I have any) I have it not that extreme but with the notice that I too have a couche where one can easily listen and now the dimensions are 240"(W) x 160(D)". No typo. This still works extremely well and the effect of crossing maybe 480" behind that listening position, doesn't do a thing that I notice. Imaging just remains and in fact it feels odd-ish that at such a close listening distance compared to the speaker distance all keeps on working (out).

IME this is toeing-out is crucial to the L/R bass not blending in a mush. So mind you (or you know already of course) the bass too is quite directional for these speakers (because of their "undistorted quality") and it just should not allow to add up (L+R) because else you challenge for the standing wave right in the middle hence you now *have* this sweet spot  "point" which IMO should be avoided. I know, this is quite contra-intuitive and against a few laws, but try it. And, each time I try to toe-in more, it doesn't last the session.

In my situation the bass is more profound and pronounced at 400" listening distance at the sides of the room there. This is not really reflections that I know of, and works out equally for both L/R sides. This is as if the middle beam (of a 240") cancels more (which is a bit like I just told about indirectly) with the suggestion that the beams on the sides add because of the side walls. It seems I can not prevent this BUT it largely depends on other factors like Q1 of XXHighEnd. Toeing in will help all right, but thus for the way worse. Possibly this is because of early (low frequency !) side wall reflections them crossing in your face.

Don't underestimate the power of the bass, combined with the again oddity that it is hard to extend that beyond the room (like towards neighbors or garden). Your stomach may ache because of direct impact while it dies out sooner than expected probably because you are "able to" not involve the walls (shaking).

Let me softly add that I am probably better off with bass traps, which btw I would not think of myself. But VJ has been over here and he not only tells about how vastly the sound quality improved in his room, but also that net his room is the better sounding (while dimensions are quite "impossible").
Btw, this visit was just prior to the creation of the Lush let alone the Lush^2 let alone the Blaxius^2, the Mach III and all that I forgot. Bass traps could be more expensive.

Thank you for your great help, VJ.
Peter

I made them a little smaller so we can see them. If needed, I still have the large versions.

Peter

I think your friend from LA likes classical as well. He should be expressive about this and by now he *is* into room treatment very much (with a more difficult room as you will know). I will ask him to jump in ...

Regards,
Peter

Hi Michael and all of you,

It would be correct that nothing much is to be found about the ET^2. The main reason would be that it is not promoted by me at this time because I am not using it myself. BUT :

The ET^2 was explicitly made for i2s connections which would be a reason why you can't here much from me as well as from 99% of other people, which leaves a hand full of people who could write about it but who may never will because not everybody writes on a forum (or this one). And then also : i2s would be so special and so dedicated to the DAC in question, that it would be quite useless to express about it. And lastly these DACs are most often from China origin and the cable is therewith sold to people in China (mostly Hong Kong, hopefully not offending anyone) which is a group within itself.

BUT then again : The ET^2 obviously can be used for LAN connection just the same and if 4 are sold for that reason I may be exaggerating 1 already hence no data there (yet) but what I *do* have for data is very positive. And that application I should be able to use myself (I'd say between Mach III and Music Server PC).

Small point could also be that promoting the ET^2 may make us crazy  a bit because there's no day any more without work on the other cables and once it gets known that it really works out (which by know I believe in advance) there may be an unnatural queue for about everything.

Anyway, yesterday I politely asked whether a small possibility might exist that I myself would receive one but which would be of inordinate length (I need a connection from the living room to the basement somewhere (how familiar ) and am stil waiting for my Lush^2 requiring the same route for the HTPC connection to the NOS1a which requires the same length. Each will be a day of work and so I am waiting  forever to be serviced. Yeah, poor me.

Meanwhile you have ordered one, so let's agree that you could be a first to express about it.

Kind regards,
Peter

Hmm ... Not much response here eh. But not from me either.
My excuse it that I play a different kind of music. 

Positioning in room I never (ever) touch.

FM Curves - Changing them never works out in the long term.

Toe-in - merely toe-out. That too I set once and changing it never works out for the better. My toe-out (like half a meter next to my ears and then crossing behind me).

Room treatments - none.

Sorry for 0c,
Peter

Thank you very much, Paul.

So yeah, you are talking about the dreaded "circle" when playback commences and *then* you (abusively ?) cross away the RDC connection on the client side (the Music Server PC). Maybe it isn't super obvious, but that should just never be done and it can happen accidentally. But once done ... forget it. Now, if *that* could be solved by a password thing I - and everybody would be most happy to learn about the how. But I think this is not what this can be about. Or at least nothing that suddenly is an issue (it has been since W10).

Maybe Ramesh can contribute a bit here ?
Thanks a lot anyway !
Peter

Hey Mani,

Thanks. Yes, odd. But I suppose that the Music Server PC with its always upgrading (ahum) W10 can act destructive on the Audio PC side ...
I don't use W10 on the Music Server PC, so it is a bit hard for me to sense what could be going on. But maybe it is no coincidence that Ramesh came up with a solution which readily works for Paul ?

Best regards,
Peter

Paul, thank you so much.

But with this change (prior to it), did you have to enter a password somewhere ? I mean, I don't enter anyone at any time. So is this just an under the hood thing which makes you lose the RDC connection, or is it about (you) entering a password (like at bootup) which can't be entered because of how XXHighEnd deals with everything and then the connection is thus lost ?
Sorry for that impossible sentence ... I just don't know what this is about and I like to understand.

N.b.: Maybe way back at a very first time (years ago) I had to enter a password at making the connection from the Audio PC to the music server (data) PC. But ...

Peter

Guys,

May I assume that you have Windows 10 at the other side (Music Server PC) ?

Also, could you please tell us in what exact screen you denote that password not to be asked for ?
I'm asking because I seem to face a similar issue with a customer but it is not sure how this password thing would express itself because (obviously) at making the connection from the Audio PC to the Music Server PC nothing is asking for a password all the time (right ?).

Thanks a lot,
Peter

Hi there Mark (and welcome here),

Personally I would not expect anything much of that. But then there also have been times that I was pretty sure a USB cable could not matter much.

You may be helped more by the ET^2 (Ethernet cable of the same ^2 principle) ?

Kind regards,
Peter

Within this "community" (now over 12 years old I tink), we learned to express audio in a (most special) way that everybody unconditionally believes what the other is stating. I mean, if someone tells something on this forum, it is not only me who believes it unconditionally, but everybody will.
This is prerequisite #1 to let work anything when it is about


The fun is that there are no rules now about how to express. At least I don't recall that they exist. Not explicitly but also not implicitly. However, since most here in this forum starts a bit with me, people may tend to express similar as me. But nothing depicts it and I don't see it happening for real (trying to look back). However, it would be easy to have this conversation :

PeterSt : Listen to this little part - it gives you a feeling in the stomach which is not present at all with dial A to 1.

Contender #2 : Yea, I agree, it is easy to hear. And if I set dial A to 9 something get on my nerves. Thank you for this, it is way better like this.

PeterSt : Now you mention it, my wife gets itchy with that thing set to 9.


Here, contender #2 was not the first with an observation, but PeterSt challenged him or her to make something conscious which unconsciously was there already. All it took was making Contender #2 confident to now express too about this same.
What is of unsurpassed importance is that PeterSt receives confirmation about something he was not sure about at all, which he couldn't be because of being alone at first.


There. It is only that this is not an explicit means for recognition by others, but with the notice that everybody is allowed to disagree, it is becoming an objective measure. This, of course, hoping for at least 10 others to judge the same, especially with other subjects relating (the Dial A at 9 expression).
We, at this forum, are very long past distrust of any individual. And this is surely not about me only - it is merely about all of the others except me. I am hardly of importance because of one out of one thousand only. But then ...


... Instead of treating everything like a placebo and demanding measurement and what not, if one unconditionally believes what the other hears - no matter it seems to depend on cognition (haha) - one could try to learn along even at this distance and (not listening together to the same set of speakers in the same room etc.). And you know what ? already the next minute "you" can contribute at the same level of quality just because you learned it is allowed in the first place. "So wait, if Dial A at 1 gives a sense in the stomach, then I  can just as well bring across that Dial A at 9 gives me the creeps, right ?".
And really, if only ONE other person is affirmative about Dial A giving some itches, it will be a fact forever and for everybody.
It will be law and a new control (or insight of it) is born ...

Right. The above in a nutshell what IMO this could all be about. Or, what its purpose could be (while we actually already know - not newbies of course). For now this leaves this one :


Possibly this one is dedicated for me only, because I don't recall much others talking about this in writing. In person (music playing) this is super easy, but in writing it takes so much blahblah that possibly only I can do it.
It is nothing that people readily can agree with, or test for the same. Maybe it can't even exist (see the first list) because we are too different. Still it is recognizable that if with me the adrenaline is flowing, it flows with everybody in the room BUT we then all behave the same. So this could be an unfair description. Fact is that once this starts happening (adrenaline is just one example) it can only get better and never worse.

To name something which is probably very personal : when my mood is bad (this is very rare but it can happen) a. all music sounds bad and b. no music can improve my mood. For me it is only the other way around : when my mood is good the music sounds (even) better.

I could give a couple of examples of how I perceive music - and then always related to some settings change or due new hardware thing), but this forum is already full with it. My posts regarding this are always extremely long-winded, and I feel I can only bring across the (whatever) message with a great deal of entourage description. Maybe I feel that things must read like a novel, some times like a thriller or else I can't bring across what I want. It's always in the midst of the sensation still present, and always right away next morning (later and I can't do it any more).

Mind you, this is again about how we communicate the listening experiences (already dealt with more above) but this starts with the happening itself. Thus, without expressing about how (in this case) I perceive the music and what the conditions are/were, I will not be able to communicate it.

All 'n all, there is no such thing in my  - or anyone's vocabulary here "it sounds better now !";
Better does not exist. A description of a state of mind (I am trying to be educated now) does. Talking you into the same, also exists (think be being commercial now, although I am not and probably can't be for real).

---

Possibly such things can happen on this forum only.
Most probably such things can happen in a private group easily. But that is not fair because the group will not require justification. Here, a public forum, is full of it.
It is also a major reason why I don't like private emails about such matters in the first place. No justification is needed at all (I probably could talk anyone into anything with a bunch of lies) and my brain knows that too. It thinks differently in that situation. No lies are possible on a public forum. A lot of shouting Yes. But then again, not on this one.

Peter