Why not horns?

MACROjack. I apologize for keep using micro-jack! Just realized I was doing that.

There is a huge tap-age of DSP in the home theater circles. It is certainly very good these days. But there is only so much that can be done by hardware and software.

But don't let me spoil the enjoyment. There certainly are many who use digital correction/processing with their horns and are very happy with the results.

Ralph, is that a fair comparison? Dismissing DSP in the home because the master tapes sound better in the studio? I've got a ton of 44.1K recordings that DSP can only hope to make better , not worse. My computer is doing 64 bit calculations on my files to produce crossovers with no phase shifts and time align my drivers at the same time. I can use all manner of EQ plugins if I wish to improve what are often marginal recordings. Since I don't have the original analog files I think it is great way to go in the home.

Herman, your machine is doing 64bit calculations but the DSP signal is only 24 bit, if that. DSPs can be harnessed to a lot of tasks; one thing you learn really quick in dealing with them is they suck the life right out of the music.

The master tapes in the studio are as close as you will ever get to the real thing. If they can't do it there, they are not going to do it in the home either.

We used a DSP-style crossover at a recent show (T.H.E Show). We were recording live and comparing the live vs the recording. It did sound pretty good, with 24-bit master files, but I am left wondering, how much better would it have been if we had an analog recorder for the recording task, and a passive crossover that allowed a single amp to do the whole speaker rather than a DSP with two very dis-similar amps to do top and bottom?

My experience with electronic crossovers of any type is that they act just like detail filters. In some ways I think the DSP units really do take the analog electronic crossovers to task, but I have yet to see any kind of bi-amped system beat one that is full range.

IOW I am not dismissing DSPs just out of my studio experience, it just seemed like the easiest quick explanation.

they suck the life right out of the music

I sit here tapping my toe, rocking back and forth with a big grin. The life has not been sucked out of the music. I get the same response from seasoned audiophiles as well as complete newbees who sit slacked jawed never having heard a high end system.

I think this is one of those situations where we can't discuss it with words. You need to hear what is going on over here.

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Now we're getting into things I really don't understand - computers.
The first question I have to ask is, "Are all DSPs the same soundwise?"

Since we're talking digital, is the cheapo as good as the upper end pro stuff. I chose to believe not when I bought the XTA DP 224. However, I found that it was more difficult to set up than my DBX. So I have arranged for a guy to come by with his computer and his XTA software and set it up for me. Apparently he can just put it on a PC card for me to slip in the front of the unit or he can plug into the back through the RS 232 port, whatever that is. I can see it has 9 pins.
There is also a MIDI connector and an RS 485 in/out set.
Here is a spec sheet:
http://www.fmsystems.net/pdf/cutsheet/dp226.pdf

So I have to ask if the XTA is better than the DBX Drive Rack PA? If so, how so?
Does the quality of the DSP come into play or is the problem universal? Is there a problem at all?
The pros don't seem to think so. Is that just because it makes their job easier?
I don't hear any problem now other than the faint rushing sound in the horn when the system is muted. I bought the XTA to get rid of that noise because it is much more flexible than my Drive Rack. It has been suggested that the noise is due to a problem with gain level matching. Or impedance.
I'm hoping everything will be resolved next Tuesday morning.