How To Load Eq Filters Using Usb Emoitva Xmc1

Emotiva XMC-1 Processor Review Highlights

Emotiva has earned a reputation for delivering great quality products at a substantial value to their customers. Emotiva has come a long manner with their processor line, and this review covers the Emotiva XMC-1 Gen 2 which is a 7.2 channel preamplifier/processor (SSP). The XMC-ane build quality is exemplary for its price point. Secrets of Home Theater and High Fidelity has published a series of articles on build quality and how component choices contribute to high-performance design.

Emotiva is a great example of a company that takes design engineering and component choice very seriously. The XMC-1 may not have every characteristic on the market place, but information technology delivers on a price and functioning goal that is remarkable in this industry.

Emotiva XMC-1 Processor Highlights Summary

• The audio quality is excellent for both music and movies.
• The XMC-1 includes Dirac Live LE for Emotiva room correction. An upgrade to Straight Full for Emotiva is available for $99 which offers features like custom correction curves and adjustment range "curtains".
• Emotiva has focused on a premium pattern at an affordable price.
• The XMC-1 performed very well on the demote with very depression distortion measurements.
• Speaker levels may need manual adjustment after Dirac correction filters are loaded into the XMC-one.
• Designed and built in the USA, in Franklin, Tennessee.

Introduction to the Emotiva XMC-1 Processor Review

Emotiva is possibly best known for their high power, affordable amplifiers similar the Emotiva XPA-1 Gen 2 Monoblocks. Emotiva has also strived to deliver loftier-operation processors at an affordable price. Emotiva learned a great deal from the challenges on their earlier designs, which brings u.s.a. to the subject of this review – the XMC-1 Gen ii. The XMC-1 is a 7.ii channel preamp/processor which includes Dirac Live LE for Emotiva room correction. Their goal was to create a product that delivers premium sounds quality at an affordable cost. Permit's take a closer look at the XMC-1 Gen 2 and meet just how Emotiva went nearly it.

EMOTIVA XMC-i PROCESSOR REVIEW SPECIFICATIONS

Processing:

• Blueprint: 7.ii aqueduct Preamp/Processor (Pre-Pro; SSP)
• DACs: Texas Instruments (Burr-Brown) DSD1796 24-Chip/192kHz
• ADC: Texas Instruments (Burr-Chocolate-brown) PCM4202
• DSP: Two Texas Instruments DA710 32-bit, 300 MHz processors
• 2-Zone Operation
• Dolby ^® and DTS ^® Surround Sound Processing

Connections:

• HDMI one.4b Audio/Video Switching: 8 In (includes 1 front-console input), 2 Out
• Digital Audio Inputs: 3 Optical, three Coaxial, and 1 AES/EBU (XLR)
• Analog Audio Inputs: three Stereo RCA, 1 Stereo XLR, i Stereo 3.five mm (forepart), seven.1 Multi-channel (1 gear up)
• vii.ii Channel Pre-outs (RCA and XLR)
• Rear-panel USB Type B Port for Audio Playback
• Ethernet Port for Wired Network Connection
• Remote IR (1 in, 1 out), and 12 Volt-triggers (4 out)
• 3.5 mm (1/eight″) Headphone Output

General Features:

• 4K and 3D Video Pass-through
• AM/FM Tuner
• Remote Control
• Dimensions: 5-3/iv″ H x 17″ W x 15-1/two″ D
• Weight: 21 Pounds
• MSRP: $two,499 USD
• Emotiva
• SECRETS Tags: Emotiva, Emotiva XMC-1, Surround Sound Processors, SSP, Preamplifier

The Pattern of the Emotiva XMC-one Processor

This is the first generation of the XMC-1 (the Gen ii on the faceplate refers to the Gen 2X-serial styling), and the ii-tone black and silver styling of the first generation units are replaced by all blackness controls and blackness aluminum trim pieces. The front end panel is made from brushed aluminum, and unlike the outset generation units, the XMC-1 Gen 2 has a beautiful custom-designed 5.5" OLED display. The display is bluish and supports a resolution of 256×64. Nether the display are 9 input buttons, one of which is assigned to the congenital-in tuner, while the other eight are user-assignable. To the left of the display is a standard set of cursor buttons that let for easy navigation of the XMC-1 setup menus. In the lower left is a 3.5 mm (i/8") headphone jack, a USB input for firmware updates, and a three.5 mm analog stereo jack, which can exist used to connect an iPod or portable music player. The big button with the Emotiva logo directly beneath the brandish is the standby power push button. All the controls on the XMC-1 are highlighted in blueish, which makes for a very bright but hitting product in a darkened room. The brightness of the front end console can be adjusted or turned off if desired.

Moving on to the rear console of the XMC-1, the offset thing that jumps out is the complete absence of any analog video jacks. The XMC-i supports eight HDMI 1.4b video inputs and two HDMI outputs that operate in parallel. Other than its ability to produce an on-screen menu, the XMC-1 does not offer any video processing capabilities. The inputs are just passed through to the HDMI outputs. The XMC-1 still includes a 7.1 multi-channel input, too as three stereo RCA inputs on the rear panel. It also includes a conventional record loop which makes use of a pair of RCA jacks. The XMC-1 supports seven digital audio inputs (3 coaxial, three optical and 1 balanced AES/EBU XLR) and includes two USB inputs on the rear console. The USB Blazon A connector is used for firmware updates, and the USB Type B connector is used as a DAC input supporting upwardly to 24-flake/192 kHz. You will also find an Ethernet connector on the rear console that is used for the included Dirac Live LE for Emotiva room correction system and for remote command applications.

The pre-amp output jacks on the XMC-i support a full complement of seven speakers and two independent stereo subwoofers. The RCA jacks on the pre-amp outputs, also equally the RCA jacks on the first stereo input, are premium quality aureate-plated connectors.

The remaining connections on the XMC-1 back console include antenna connections for the AM/FM tuner, and one IR input and one IR output jack. 4 12-Volt DC Triggers are likewise included, which allow you to plow on another device, such as an external amplifier for multi-zone operations. A squeamish bear on is a separate ability switch and a fuse panel on the ability supply.

The XMC-1 comes with a custom-fabricated aluminum remote.

From a feature perspective, the XMC-1 supports all the high-resolution sound codecs like Dolby TrueHD and DTS-Hard disk Master Sound just as yous'd find in whatever receiver or processor currently on the market. The XMC-one is focused on audio quality, so you won't find mass-market features such as multimedia applications for things like Pandora, internet radio, or accessing dwelling house media servers. Unlike some loftier-end processors on the market (e.m. the Bryston SP3) that offer no room correction, the XMC-1 includes iii options for room correction. The beginning is the built-in support for Dirac Live LE for Emotiva which is a special version of Dirac Live Room Correction optimized exclusively for the XMC-1.

The second option is to upgrade to the Dirac Live Full for Emotiva software which includes features similar custom target curves and offers the ability to control the adapted frequency range or "curtains". The upgrade costs an additional $99 for the license which is not-transferable. The tertiary option is to apply the born parametric EQ. The XMC-ane supports two sets of speaker presets, each of which has 11 bands of independent parametric EQ. The EQ values tin be entered manually or they can be imported from the software room-scale tool Room Equalization Wizard (REW), which tin can be establish on the spider web.

From a engineering perspective, the XMC-ane functions more similar a very specialized estimator than a traditional A/5 processor. The heart of the XMC-1 is a Texas Instruments AM-1808 Sitara ARM9 32-bit 375 MHz processor which runs a custom Linux operating system that controls all the other audio and video boards in the XMC-ane. Emotiva says this pattern gives them the power to evolve functionality and bandy-out hardware modules as required without a consummate redesign of the product architecture.

On the audio side of things, the XMC-1 uses Texas Instruments (Burr-Brown) PCM 4202 for 24-bit analog-to-digital conversion and Texas Instruments (Burr-Brown) DSD1796 for 24-bit/192 kHz digital-to-analog conversion. As nosotros've seen in other products like the Bryston SP3, the Emotiva makes employ of technology from Momentum Information Systems to help manage the ever-irresolute HDMI and audio-format landscape. On the XMC-1, the audio DSP department is handled past a Momentum Data Systems DAE-7D DSP-based OEM-audio module. The MDS DAE-7D uses ii Texas Instruments DA 710 DSP fries to perform Dolby and DTS audio decoding, bass management, and surround sound synthesis for Dolby Prologic IIx and DTS ES Matrix. The MDS DAE-7D uses an ASRC (Asynchronous Sample Rate Converter) bit between the 2 DSPs for jitter reduction. The output from the DAE-7D is then passed to dual Cirrus Logic CS3318 lossless resistor ladder volume controls.

The Left and Right main channels are fully balanced with no balanced-to-singled-ended conversion taking place. This is a great characteristic of the XMC-1 and it was very expensive to include. This allows balanced ii channel audiophile listening.  It is also worth noting that this is a pure analog path with no AD/DA conversion, dissimilar many other products. In fact, the 7.1 inputs are pure analog, which is bang-up for multi-channel SACD listening.

On the video side of things, the XMC-1 uses two Analog Devices ADV7625 video transceivers to manage the HDMI interface with two independent HDMI V1.4b inputs and eight outputs. The ADV7625 fries back up 3GHz video formats, including 4K resolution of 3840×2160 at 24/25/30/sixty Hz. The ADV7625 supports the XMC-one on-screen display as well as sound return channel (ARC), CEC, and 3D.

Setup of the Emotiva XMC-1 Processor

Emotiva takes cracking pride in their products, and it showed from the moment I opened the box. The kickoff thing I found was a letter printed on loftier-quality stationery welcoming me to the "near exclusive grouping of audiophiles in the world – audio-witting, uncompromising home theater aficionados." The letter offers some additional background on the XMC-1 and on Emotiva as a company, and it provides some info on getting started. It also bears the printed signatures of the team that created the XMC-1. The letter is a very nice touch and helps to set up expectations about the product. The XMC-1 itself was well packed and felt substantial taking it out of the box.

I was pleasantly surprised to find a comprehensive owner's manual on the XMC-1 in the box along with some other manual on using the Dirac Room Correction system. The possessor's manual is almost 100 pages long and is very well written. Information technology starts with an overview of XMC-1 operations so covers the card organization, connexion options and troubleshooting. For anyone wanting to learn about the XMC-1 or if you bought the product, do yourself a favor and read the transmission. It provides a wealth of information; I wish other manufacturers would include such useful documentation in the box.

Since my primary speakers have powered subwoofers, I connected the XMC-1 in a vii.2 speaker configuration running a subwoofer cable to the LFE input on each speaker. Using HDMI, I connected my goggle box, satellite DVR, OPPO BDP-105, and an Apple tree TV. I turned on the ability, pressed the front Standby ability-button, and watched as the beautiful OLED display illuminated with an Emotiva logo. Directly below the logo was a progress bar.

The boot fourth dimension for the XMC-1 operating system is about 43 seconds and the progress bar definitely helps if yous're impatient. At the cease of the boot sequence, the XMC-1 displays the Emotiva make message of "Rethink High-End".

The long boot time tin can be adjusted by enabling the "Video on Standby" feature. This characteristic keeps the XMC-1 operating system loaded when the Standby button is pressed (when the XMC-1 is on). Bringing the XMC-1 out of Standby takes less than four seconds with this feature enabled. As its name implies, the "Video on Standby" characteristic passes all sound and video directly to the television without any processing. This allows for watching the Idiot box without engaging the sound organisation. I ended upwards leaving the XMC-one in this manner for convenience and to eliminate an annoying popping sound that I occasionally experienced when using the default startup procedure. Lonnie Vaughn, VP and CTO for Emotiva, explained to me that the popping sound was nigh probable caused by a slight DC offset from my amplifier. When the unit is off and in its lowest power standby, the relays completely drop out the audio output lines. Once the XMC-1 boots, the relays appoint, and if there is any DC showtime from a downstream device, you might go a pop in the speakers while the input of the downstream device stabilizes.

The menu organization on the XMC-1 is very well organized, comprehensive, and actually like shooting fish in a barrel to use once you spend some fourth dimension getting the hang of it. Bill of fare navigation is done using the normal pointer buttons on the remote or forepart console, while selection selections are made using the upwardly and down arrows. When a new selection is highlighted, but pressing the left pointer button automatically saves the selection and lets you continue navigating the menus and menu options. There are no "salve" buttons to worry nigh or ambiguity about what was selected. For case, when renaming an input, at that place is no virtual keyboard. Instead, the letters, numbers and character options for each infinite in the input name are presented in a vertical menu. Merely scroll up and down the list to select the desired letter of the alphabet and then move on to the next letter of the input name. When finished, just motion to the left using the arrow button, and the name is saved automatically. This simple and intuitive approach makes changing options on the XMC-1 really fast.

The bill of fare system of the XMC-1 is also displayed on your telly or monitor, but the size is scaled proportionally based on the output resolution. This means the menu is pretty minor when overlaid on 1080p output. This can be a bit hard to read when making lots of changes depending on how far you are sitting from the television. I found that changing to a source resolution of 720p made the menus much more comfortable to view during initial product setup. In that location is an pick to stretch the menus to make them larger, simply the option makes the menu text look foreign.

The XMC-1 does not automatically configure speaker size, altitude or level, so the beginning matter I focused on was configuring the showtime speaker preset to friction match my speaker configuration. With that out of the fashion, I wanted to dive into Dirac Live LE for Emotiva. Emotiva provides detailed documentation on Dirac with the XMC-1, and then the following is a brief overview of the Dirac procedure for those unfamiliar with the Dirac software.

Before getting started with Dirac, information technology's crucial to configure the Dirac Speaker preset on the XMC-1 to match the speaker configuration in the room. Dirac does not identify which channels are present and will not generate any correction filters for speakers set to "None" in the Dirac Speaker preset. Along with the review unit, Emotiva sent me a laptop that was already configured with the Dirac Live LE for Emotiva software. I continued the XMC-ane to my home network and connected the laptop wirelessly. I also made sure that the laptop could successfully access the Internet. Net access is important because the Dirac Live LE for Emotiva software needs to contact Dirac Servers both for license validation and for computational back up during the measurement procedure. If you don't have a good Wi-Fi connection, and then Emotiva recommends connecting the laptop direct to your network router.

The XMC-one ships with a calibrated microphone and a special cablevision that has a USB microphone preamp and digitizer on 1 end and an XLR connector on the other. Simply connect the XLR connector to the microphone and connect the USB jack to your computer. Emotiva ships the XMC-1 with a small tabletop microphone stand, but I found it best to use a nail microphone stand to properly place the microphone during the measurement process.

Once everything was connected, I started the Dirac Live LE for Emotiva software. The programme starts by displaying the system configuration which includes the XMC-1, the microphone and the speaker configuration read from the XMC-ane Dirac Speaker preset. If a device is missing, the program allows for a elementary rescan. One of the nicest features of the Dirac interface is a clearly visible help screen that is available throughout the process.

The adjacent footstep in the process is to adjust the input gain of the microphone and the output volume of the test tones and then that room groundwork noise is below -24 dB and output volume is approximately -12 dB for each channel. The process involves playing a test tone for each channel and adjusting the output and input gains to go on all the test signal levels in the eye of the green bars. It sounds much harder than it actually was to do and only took a couple of minutes to complete.

The next step is to place the microphone in the center of the "sweet spot" for the listening room. The Dirac interface highlights where the microphone needs to be placed for each of the nine sets of recommended measurements.

You will notice the dropdown box with a value of "Oblique View". The other values are "Top View" and "Frontal View". Irresolute the view provides some essential perspective on how the various microphone measurement positions are placed relative to each other. It is very helpful to modify the view throughout the measurement process so that the microphone can exist placed correctly.

Once the microphone is in position, the measurement procedure can begin. The Dirac Live LE for Emotiva interface displays the output level and measures response for each speaker equally measured from the current position.

As each position is measured, the software works on processing the measurements and indicates where to motility the microphone next. In the interface, measurement positions in light-green are complete, bluish are measured but existence processed, and yellow indicates the next position to exist measured.

Once the measurement process is finished, it'south time to review the measurements in the Dirac Live LE interface and create the correction filters. Dirac has the ability to correct for both frequency response and compensate for errors in time response. The Dirac Live LE for Emotiva software provides graphs for each measured aqueduct, highlighting the response and impulse timing before and subsequently correction. The terminal step is to load the filters into the XMC-1. The whole process takes virtually 30 minutes depending on how speedily you tin maneuver the microphone into position.

Emotiva offers the pick to upgrade to the Dirac Alive Full for Emotiva software at an boosted cost of $99. The benefits of upgrading include the ability to create your ain correction curve and arrange the correction limits or "curtains" for each speaker. The Dirac Alive Total for Emotiva software also allows for the apply of other third-political party calibrated microphones and the utilise of custom microphone calibration files.

The Emotiva XMC-1 Processor In Employ

For my listening tests, I was using a McIntosh MC8207 amplifier and a seven-speaker configuration from Definitive Technology, including a pair of BP-3000TL speakers with powered subwoofers for the front mains, a CLR 2002 speaker for the center channel, and 4 Definitive Engineering UIW 94/A speakers for the surrounds and rear channels. I used an OPPO BDP-105 as my primary source device. I was looking forward to hearing how Dirac Alive LE for Emotiva performed on the XMC-1.

I had washed some initial listening tests with the XMC-i without any room correction. I was actually impressed with how bang-up the XMC-ane sounded with some of my usual reference material from Norah Jones, Alison Krauss, and Ray Charles. The XMC-one soundstage was richly detailed with well-placed instruments, and individual nuances in the soundtracks could be picked out with ease. Vocals sounded natural and had keen particular and soul. This was a terrific sound and I often had to remind myself nearly the price point of the processor that I was listening too.

I turned my attending to Dirac Live LE for Emotiva and started again listening to music. The get-go matter that jumped out at me was just how loud everything was. With the Dirac Speaker Preset enabled, the XMC-1 was playing at approximately 10 dB higher than the Speaker Preset 1 configuration (without Dirac) at the same position on the volume control. This was uncomplicated enough to correct just by adjusting the volume. I still liked the sound, only honestly I idea it made my speakers sound a bit vivid. I attributed this to the fact that I am used to the sound of Canticle's Room Correction (ARC) in my room, and I normally simply right up to well-nigh ii kHz in my room. In the case of the default room correction curve, Dirac Alive LE for Emotiva was boosting the higher frequencies and I wasn't crazy virtually it. Information technology was also reducing some of the natural room gain, once more thanks to the default curve. Both of these issues could be addressed with the Dirac Alive Full for Emotiva, but that software was not available on the review organization.

When it came to movies, I started out listening to some of my favorite scenes from Tron: Legacy and the James Bond Thriller Sky Fall. With the Dirac Speaker Preset enabled, I noticed that the bass response was not to my liking, and I felt that the vocals were a bit hard to hear. I ran another set of Dirac measurements, and this time I removed the subwoofers from the system and only told the XMC-ane that I had full-range speakers since my towers have born subs. The upshot was dramatically improved bass response, at least in my configuration. However, I was still not happy with the middle channel vocals. I had to increase the volume to make the center channel sound correct, but and then the forepart aqueduct speakers were too loud.

I ran a speaker test tone through the system and chop-chop discovered that the channels were out of rest. The center aqueduct was approximately 3 dB too low. I fabricated a level aligning in the Dirac Speaker Preset and the problem was solved. Lonnie Vaughn from Emotiva tells me that by default, the Dirac Speaker levels are set at 0 dB for all channels after Dirac measurements are loaded into the XMC-ane. This is so that the levels tin exist adjusted as needed past the user. I question how user friendly this is for the typical user, and wish that Dirac would provide some data every bit to how it adjusts the channel levels in the first identify. This slice of information is standard practice for systems using Audyssey and Anthem Room Correction.

Without having the full version of Dirac, I ultimately chose to not use the Dirac corrections at all and only listen to my room using the Speaker Preset 1 settings that I had already dialed-in. The result was simply delightful. Whether I listened to vocal, rock, pop, jazz or classical, the XMC-1 delivered beautiful, engaging music that fabricated me want to listen more. For movies, I chose The Hunger Games: Mockingjay Role one. The assail on the District thirteen bunker filled the room with the audio of falling water and the rumble of bombs falling from above. The assault on the hydro-electrical dam layered against the haunting lyrics and chorus in James Newton Howard'south "The Hanging Tree" was impressive.

I besides loved Lorde'southward amazing vocals and the bass track on the "Yellow Flicker Beat out" rail as the credits rolled. While Ridley Scott'due south Exodus: Gods & Kings might not exist quite the story of Moses equally I remember it, the XMC-1 delivered an amazing performance, filling my listening room with the sound of swarming locusts and the thunder of chariots. The dramatic score sounded impressive on the XMC-1 and the audio of the sea crashing on the rocks followed past the sound of the seagulls, the wind, and the army fading into the depths of the water was only immersive. The XMC-1 had no trouble delivering impressive sound for today'southward blockbuster movies.

From an operational perspective, I was very pleased with how well the Emotiva XMC-1 handled all of my HDMI sources. I loved the OLED display just found it incommunicable to read from across the room since there was so much pocket-sized text packed onto the screen. I had no handshake problems or audio dropouts with my satellite receiver, and fifty-fifty devices similar my kickoff-generation Apple tree Telly worked well over HDMI. I ran into an occasional problem where the XMC-1 would play in multi-channel format versus stereo despite my settings, but I could not indistinguishable the result reliably and institute it to not be a problem in regular apply. The remote is definitely very custom, very heavy, and has no backlight.

The Emotiva XMC-1 Processor On The Demote

My standard benchmark tests were washed using Reference Stereo mode so that all digital betoken processing was off. On tests using the XLR input, I measured the XLR preamp output of the XMC-i. On tests using an RCA input, I measured the RCA preamp output of the XMC-1. The source device for both analog and HDMI tests was an Oppo BDP-105.

At i kHz into the XLR input, THD+N was 0.001093%. We run across two harmonics in the spectrum with the 2nd harmonic at 2 kHz being nigh 100 dB below 2 VRMS.

At i kHz into the RCA input, THD+N was 0.003069%. We see two harmonics in the spectrum with the second harmonic at two kHz being almost 86 dB below 2 VRMS. The major deviation between this and the previous graph is related to the voltage divergence. For a power amplifier with the typical minimum gain of 20 (26dB), a 2 VRMS RCA input is required to produce 200 Watts out into 8 ohms. With 2 VRMS balanced equally shown in the previous graph, yous just have 1 VRMS unmarried ended. In this test, we have 2.03 VRMS unmarried ended with a slight increment in baloney.

For the XLR tests at 2 VRMS, a ability amp with a gain 20V/V will have a power output of only 50Watts which is why we also supply 5 VRMS tests which will accept the power amp to 300Watts.

At x kHz into the XLR input, THD+N was 0.001195%. The second harmonic at 20 kHz is about 100 dB below ii VRMS. The third harmonic at 30 kHz is about 94 dB below ii VRMS.

At 10 kHz into the RCA input, THD+North was 0.003577%. Compared to the previous test, we meet an increment in baloney due to the college 2.02 VRMS single ended. The second harmonic at 20 kHz is nigh 84 dB below 2 VRMS. The third harmonic at 30 kHz is about 90 dB beneath 2 VRMS.

The IMD measurement using the XLR input was 0.000661%. We see no noise spurs on either side of the fundamentals which is excellent and a second harmonic at 14 kHz at 114 dB below 2 VRMS.

The IMD measurement using the RCA input was 0.001710%. The difference compared to the previous graph is due to the higher internal voltage of ane.98 VRMS single ended.

Here are the results for 19 kHz, 20 kHz combined test frequencies using the XLR input. There is a visible B-A acme at 1 kHz about 102 dB below ii VRMS. We see several baloney spurs only the spectrum is well behaved. The second harmonics at 38 kHz and 40 kHz are about 105 dB below 2 VRMS (vi dBV).

Hither are the results for 19 kHz, 20 kHz combined test frequencies using the RCA input. In that location is a visible B-A elevation at 1 kHz well-nigh 92 dB below 2 VRMS. We come across several distortion spurs throughout the spectrum. The second harmonics at 38 kHz and 40 kHz are nigh 91 dB beneath 2 VRMS.

I measured the frequency response of the XMC-1 out to 96 kHz. Using Reference Stereo fashion with the counterbalanced analog input, the response is flat out to about 50 kHz and so we run into a very gradual v dB curl-off of the high frequencies. The second plot shows what happens in stereo manner with digital betoken processing and Direct Live LE for Emotiva enabled. The XMC-1 downsamples the bespeak to 48 kHz and applies any room correction filters for each channel. You can clearly see the inverse of the room correction curve in the plot. The signal then abruptly falls off around 24 kHz. This outcome isn't surprising since we've seen this aforementioned downsampling with AudysseyXT32 implementations.

Now we take a look at the results using one of the HDMI inputs, fed from examination discs played on an OPPO-BDP-105. At 1 kHz, and 16-scrap/44.1k sampling rate, THD+North was 0.000638% measured from the XLR preamp output. We see some spurs in the low end of the spectrum but in that location are no visible harmonics or FM modulation which is fantabulous. For all digital tests, the DAC was driven at -5 dBFS and the book adjusted for 2 VRMS at the output. The fantabulous performance on the HDMI tests is due to the ASRC (Asynchronous Sample Rate Converter) on the MDS DAE-7D lath.

At 1 kHz, and 16-bit/44.1k sampling rate, THD+Northward was 0.002297% measured from the RCA preamp output, which is slightly higher than the previous test. We run into some distortion spurs also as harmonics in the spectrum with the peak at two kHz existence about 94 dB below two VRMS and the summit at 3 kHz beingness about 108 dB beneath 2 VRMS which is insignificant. Equally with the analog direct tests, the book was increased 6 dB to bring the unmarried ended output to 2VRMS with the aforementioned -5 dBFS digital input to the DAC.

The remaining tests are for XLR only.

At i kHz, and 24-bit/96k sampling rate, THD+N was an impressive 0.000726%. We run into some distortion spurs in the low end of the spectrum but otherwise this is an fantabulous outcome.

At one kHz, and 24-bit/96k sampling rate, THD+N was 0.000759% at three.92 VRMS. We see some baloney spurs besides as harmonics throughout the spectrum with the tertiary harmonic at three kHz being about 102 dB below four VRMS. We normally show this examination at v VRMS, but the 3.92 VRMS output is the measured limit with a -5 dBFS point with the volume control maxed at eleven.0 dB. Emotiva confirmed that this is a known issue with the Texas Instruments DA710 DSP. We could achieve a college output value by using a 0 dBFS betoken, but Emotiva confirmed that the XMC-1 peaks out at 7V output when used in Reference Stereo Mode. The XMC-one produces 10V output when using the analog inputs.

Here's a look at the same test using the analog XLR input. At 1 kHz into the XLR input, THD+N was 0.001202% at five.08 VRMS. We run into two harmonics in the spectrum with the second harmonic at ii kHz beingness about 90 dB beneath 5 VRMS and the third harmonic at iii kHz being most 86 dB below 5 VRMS.

At 1 kHz, and 24-bit/96k sampling rate, THD+N was 0.000691%. The spectrum shows i harmonic at 3kHz and only some baloney spurs in the low end of the spectrum.

At one kHz, and 24-bit/192k sampling rate, THD+North was 0.001450%. The spectrum shows no harmonics and only some distortion spurs in the low end of the spectrum. This is another excellent upshot.

At x kHz, and 16-bit/44.1k sampling rate, THD+Due north was 0.001935%. We run into a few distortion spurs in the spectrum.

At 10 kHz, and 24-bit/96k sampling charge per unit, THD+N was 0.001038%. Nosotros run into a well behaved spectrum with the second harmonic at 20 kHz being almost non-existent about 118 dB beneath 2 VRMS. The tertiary harmonic at 30 kHz is about 108 dB below 2 VRMS. This is excellent functioning.

At 10 kHz, and 24-chip/96k sampling rate, THD+North was 0.001410% at ii.76 VRMS. The spectrum looks identical to the previous exam. Nosotros usually evidence this examination at 5 VRMS, merely the 2.76 VRMS output is the measured limit with the book control maxed at 11.0 dB.

At 10 kHz, and 24-chip/192k sampling rate, THD+N was 0.003031%. We run into a few distortion spurs in the spectrum with the third harmonic at 30 kHz existence about 108 dB below two VRMS.

The IMD measurement through HDMI at 16-scrap/44.1k sampling was 0.000296%.

The IMD measurement at 24-fleck/96k sampling rate was 0.000200%. Nosotros see a very make clean spectrum with no baloney spurs.

The IMD measurement at 24-bit/96k sampling rate was 0.002144% at 3.22 VRMS. We encounter similar results with the 2nd harmonic at 14 kHz being visible at about 113 db below the 60 Hz tone at iii.22 VRMS. Nosotros normally show this test at 5 VRMS, just the 3.22 VRMS output is the measured limit with the book control maxed at 11.0 dB.

The IMD measurement at 24-bit/192k sampling rate was 0.002326%.

Here are the results for the 19 kHz, 20 kHz combined test frequencies using the HDMI input with 16-flake/44.1k sampling. In that location is no visible B-A peak at 1 kHz which is excellent.

Here are the results for the xix kHz, twenty kHz combined test frequencies using the HDMI input with 24-bit/96k sampling. We see some distortion spurs throughout the spectrum. In that location is a barely visible B-A elevation at 1 kHz about 118 dB below each test tone at 1 VRMS which is insignificant. The 2nd harmonics at 38 kHz and 40 kHz are near 110 dB and 114 dB respectively below 1 VRMS.

Here are the results for the xix kHz, 20 kHz combined test frequencies using the HDMI input with 24-flake/96k sampling at 2.75 VRMS. Nosotros run into slightly college distortion spurs throughout the spectrum and ii side spurs on either side of the fundamentals. In that location is a barely visible B-A peak at ane kHz most 114 dB below each test tone at 1 VRMS which is insignificant. The 2nd harmonics at 38 kHz and 40 kHz are about 108 dB and 106 dB respectively beneath ane VRMS. We unremarkably prove this test at five VRMS, merely the 2.75 VRMS output is the measured limit with the volume control maxed at 11.0 dB.

For the 19 kHz, xx kHz combined test frequencies using the HDMI input with 24-bit/192k sampling, as in the previous test, in that location are distortion spurs throughout the spectrum.

Below are the results for 1 kHz, at 24-bit/192 kHz sampling charge per unit, measured from the coax digital input to the RCA output. The measured THD+N% was 0.004327%. The second harmonic is about 95 dB beneath 2 VRMS.

Here are the spectra for the 19 kHz, 20 kHz combined examination frequencies using the coax digital input with 24-bit/192k sampling measured from the RCA output. Note that this test would normally be shown at ii VRMS, but the 1.38 VRMS output is the measured limit with the volume command maxed at 11.0 dB.

For 1 kHz, at 24-scrap/96 kHz sampling rate, measured from the coax digital input to the RCA output, the measured THD+N% was 0.002919%. The second harmonic is virtually 97 dB below 0 dBFS.

Here are the results for the 19 kHz, xx kHz combined examination frequencies using the coax digital input with 24-bit/96k sampling to the RCA output. We come across slightly higher distortion spurs throughout the spectrum and ii side spurs at 105 dB below each examination tone at 1 VRMS on either side of the fundamentals. There is a minor visible B-A peak at 1 kHz near 102 dB below each test tone at 1 VRMS which is insignificant. The second harmonics at 38 kHz and 40 kHz are nearly 90 dB beneath each test tone at 1 VRMS. We normally show this exam at ii VRMS, but the one.38 VRMS output is the measured limit with the volume control maxed at 11.0 dB.

Conclusions virtually the Emotiva XMC-1 Processor

I had the XMC-ane in my system for several weeks and overall I was extremely pleased with it. The sound quality that Emotiva has managed to put into the XMC-1 at its price point is simply fantastic, and this is shown in the bench tests. The XMC-1 is amazingly configurable while being easy to sympathise. The inclusion of Dirac Alive LE for Emotiva is a plus, but it does take some limitations that require the purchase of the Dirac Full LE for Emotiva version. I was disappointed that the speaker levels did not come out perfectly balanced later on running the Dirac calibration. As information technology stands today, Anthem's implementation of Anthem Room Correction on the MRX serial may produce a better effect for the average user than using the default curve in the Dirac Live LE for Emotiva software.

If in that location is any limitation to the XMC-1 at this point, information technology is that it does not back up the new multi-aqueduct height formats such as Dolby Atmos. I have no doubt that Emotiva is working on a product that will back up Dolby Atmos, simply in the meantime the XMC-one should be on your brusk list if you lot are in the market for a vii.1 channel processor. There are certainly products like the Bryston SP3, the Canticle D2v 3D, or the Classé SSP-800 that command much higher prices and are excellent products, but the XMC-ane is a no brainer when it comes to value for the dollar in the processor market. I wouldn't purchase the XMC-ane just for Dirac, just if you are looking for a more premium sound on a reasonable budget, then I would accept to agree with Emotiva on this when they say "Rethink Loftier-end."

Editorial Annotation: As Dirac makes improvements to its mathematical algorithms, and they are downloaded to the Emotiva XMC-1, the combination of Emotiva'southward extremely low distortion and improved Dirac Room Correction volition make an unbeatable processor in the $two,000 cost range. – John Due east. Johnson, Jr.

The author would like to thank Dr. David Rich for his contributions on this article.

How To Load Eq Filters Using Usb Emoitva Xmc1,

Source: https://hometheaterhifi.com/reviews/receiver-processor/processors/emotiva-xmc-1-processor-review/

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