TRITON 2.0 the sensible future proof system design based on Proven tech....

[Peter CINERAMAX]

I have decided to go not Zo fazt with the z series because of yesterdays epiphany when comparing notes from ISE from  a very intuitive like minded lurker that made his 15th  post in 12 years. He described about 8 experiences he had that I related with having been internalized for years by me in Miami and Moscow plus during  shows and demos. There were 2 that I disagreed with but the disagreements one is attributable to the fact that he did not hear the lt-10's and the second disagreement about him liking Steinway and me not,  simply because I really wanted to like Steinway after having shop drawings made for skoll but after listening 2 systems I had cold feet about. I wish I could write so naturally and succinctly as this fellow. So I took very zeriuosly  his critizism of the z zeries demo. I have cold feet, I also know from my experiences and the demos that the Trinnov sounds too analytical like if it was a computer , but wait, it is a computer.

I have decided that there is one speaker in the Q line the LT-1O that is a phenomenal speaker with it's own internal crossover, Jeff is absolutely thrilled, a fellow in Thailand Boonyarat setup up his showroom with it and it is passive so technically it does not need a Quested ad/da conversion that Curt alludes any clinicality to.

Curt made the assumption from across 11 time zones, I agree with him 60%, how do I know because the ada cinema references fuse /holder power supply took a crap and we popped in a ada suite 7.1 3,500 dealer cost and the system sounded incredible, we played Jeff Beck BD and  we trasported into Ronnie Scotts just playing  7.1 through ADA's excellent entry level processor. Couple that with my new Maxim of 2/11 We do preserve the objectives prioritization of the 1.5 design, to wit...

SPEAKER GROUP 1) 80% of the sound comes from here per SMPTE. The LCR gets Class a sound components. Such a-chain will yield warm, meaty, breezy, agile, yet super-articulate in micro-detailed bands of the high frequencies, but with apparent top-to-bottom unrestricted torque, through modular premium DACS and Amplifiers.

SPEAKER GROUP 2) the immediate transition from screen unto side wall and ceiling channels. These do not get any ad/da conversions on their way to the amps from the crossover.They are fed from the internal dacs of  the Altitude but still using the clinicality over-correcting highly admired amplifier.

SPEAKER GROUP 3) The surround speakers in the room The 22 lt-24's inside the room that are not behind the screen, we are not bothered by taking the analog out of the the Altitudes analog channel straight into the quested amps because our brain is generally focused on the above 2 groups where all the action is so we are not as attentive while pleasantly surprised by the sonic pirouettes,it will sound great then.

So why get a trinnov because as the entire world gallops to implement atmos, Dolby knew that very few could afford the amount of speakers deployed in their development lab theater where i saw Gravity premiere and sounds were going in through my stomach and out my back with all kinds of crashes around me and a floating speaker saying houston houston crossed my path a meter away circumnavigated my head and parked itself behind my ear. I have not been able to replicate this effect on any cinemacon or showeast demo, nor in 18 of the 20 demos at cedia. This is a crucial goal from atmos that fell under the radar in the large scheme of Atmos Globalization, but one that in future generations of Atmos  will be coveted. So try to start now.

[Peter CINERAMAX]

same as Jeff's room...

[Peter CINERAMAX]

The sound of these AMPS is the complete opposite of clinical, hence we use for the critical front channels (THE 3 qsb118 LCR subs will be powered by quested 2,800 amp fitted with ANALOG FILTER CARD) Revised specs by Dan.

FOR THE RECORD QUESTED HAS ABANDONED ALL ELECTRONIC DIGITAL X-OVERS TO ELIMINATE REDUNDANT AD/DA STAGES when used with digital surround processor.BRAVO!!!

Each channel of the Cinema Standard delivers 350 watts into 8 ohms, doubling to 700 watts into 4 ohms and again to 1,400 watts into 2 ohms. These power ratings are taken at 0.1% total harmonic distortion, instead of the more forgiving 0.5% or 1% THD standards most manufacturers use. Any two adjacent channels can be bridged to double the output power.

The Cinema Standard is available in two- and three-channel versions. Both are built into a 6U chassis with front and rear rack-mounting brackets. Through the use of large heat sinks and carefully designed airflow paths, the Cinema Standard runs cool and reliably without the need for cooling fans.
Built-in, switchable high-pass and low-pass filters allow the Cinema Standard to be optimized for use with powered or passive subwoofers. The filters are preset to 80 Hz and -18 dB/octave, so they can be used to filter the bass out of a system’s main speakers, or to filter midrange and high frequencies out of a subwoofer.

This feature makes it much easier to achieve a perfect blend between the main speakers and the subwoofer in a 2.1-channel stereo system, and it’s currently offered in no other high-end amplifier.

XLR inputs are provided for each channel, and a single input can be bussed to feed one, two or three amplifier channels. An RS-232 interface allows external control of the amplifier, and also provides a continuous report of the amplifier’s status. Through a home automation system or a direct computer connection, it can alert the owner or dealer to such conditions as overheating or overload (short circuit). A remote trigger jack also allows on/off triggering from surround processors and home automation systems with remote trigger outputs.

“The Cinema Standard is something new: an amplifier that brings the smoothness and ease of audiophile components to home theater and custom installation applications,” D’Agostino LLC founder and chief engineer Dan D’Agostino said. “The circuit design is adapted directly from the one I used in the Momentum amplifiers, so it’s very transparent and has plenty enough power for any situation. And the high-pass and low-pass filters will finally make it easy for audiophiles to add a subwoofer to their systems, so they can get deeper bass and better dynamics without sacrificing musicality.”
The Cinema Standard will be priced at $12,000 for the two-channel version, and $15,000 for the three-channel version. Both will be available in January 2015.
$12,000 or $15,000 for the 2 and 3 channel option, respectively.



3 channel version for the lcr, 3 for the first lcr heights, 2 channel for the widths and a 3 channel low passed at 80 by it's internal x-over for the zubs which are 6 ohms.

To further elevate the sound quality of the existing 32 channel trinnov in respect of the LCR signals the system will be bookended by a modded oppo105 with Darbeevision - MSB is good but I am turned off by their modular dac pricing so we look at Theta I think.

So we are book-ending the Altitude with the best countermeasures possible (front end isolated transport,and for the back end "10 year ahead" DAC technology  and Millenium grade high torque precision amplification) hence we are assured to remove any semblance of clinicality.

MSB is too full of themselves on the pricing of the dacs they have lost the market of multichannel dacs, Its insultingly super expensive on the age of 32-48 channel atmos !!!

Besides they may be about to be left in the dust with the MOLA-MOLA.


The new DAC for the LCR and lucky random other channel,. VOG? Is now the next generation dac that will put all other dacs completely out of the market:

MOLA-MOLA
The Mola-Mola DAC: Future-Proof by Being Far Ahead.

You probably know the frustration of discovering your DAC has suddenly gone out of date because some new super chip has hit the market. We decided to stay out of that cycle and design, from the ground up, a discrete DAC whose unbeatable staying power results simply from being more than 10 years ahead of the performance curve. There's room enough for improvement: today’s best DAC chip claims no better than 22 bits’ worth of dynamic range and only 20 bits’ worth of linearity. High resolution music deserves better than that. Mola-Mola’s DAC is designed from the ground up using circuits and digital algorithms that were entirely developed in house.

Block Diagram of DAC




The converter is a three board stack that fits in one of the option slots in the preamp. On the first board, all incoming digital audio is upsampled to 3.125MHz/32 bits and converted to noise shaped PWM. The two remaining boards are mono DACs, in which a discrete 32-stage FIR DAC and a single-stage 4th order filtering I/V converter convert the PWM into analogue with a breathtaking 140dB SNR. This is near the theoretical limit for 24-bit files and far beyond that of even quad-speed DSD. Uniquely, distortion remains below the noise floor even for full scale signals. A quick look at current and historic trends of high-end IC’s indicates that for the foreseeable future this kind of performance will remain unavailable to manufacturers forced to rely on the same “chip du jour” that also powers their competitors’ products.

Even by today’s exacting standards, extraordinary care has been taken deal with jitter. Mola-Mola’s DAC uses a home-grown asynchronous upsampling algorithm whose input frequency measurement slows down rapidly until after a few seconds of lock, the frequency ratio measurement is frozen. Frequency stability is then wholly determined by the internal clock, a laboratory grade 100MHz SC-cut oscillator. This is effectively an atomic clock sans the physics package (which contributes nothing to spectral purity but quite a lot to cost).

Inputs
XLR, Optical, USB and Bluetooth (A2DP)

Supported formats
PCM up to 384 kHz /32 bits (>192 kHz and >24 bits only via USB)
DSD up to quad speed (DDSD and up only via USB)

Performance
Full-Scale Output Level: 20 dBu
Signal to Noise Ratio: 140 dB (standalone version), 130dB (preamp option board)
THD, IMD: not measurable (estimated -150 dB).
Bandwidth: Up to 80 kHz. Choice of sharp or slow upsampling filters, minimum or linear phase.
Integrated jitter: <1 ps from 10 Hz upwards, <300 fs from 1 kHz upwards.
Jitter rejection: >80 dB at 1 Hz after 20 seconds of lock.