[YannChris]

Done!

Let’s be positive and expect.

But as I’m a cautious guy, I think I’ll also send a request through the app 🙂

Yann.

[YannChris]

Tim wrote:

is there a way to downgrade the App? This is the worst experience I made with B&O in years.

Assuming you are using ios, go to the testflight app, tap the app icon and scroll down to go to “previous builds”.

Having the same problems as yours concerning Nl and ML sources routed by NL/ML converter, I rolled back to version 5.3.0.230830 57759.

Before downgrading, I sent comments to the team and listed the missing sources.

I suggest you to send comments too.

Regards,

Yann.

[YannChris]

Sirs, cool down please 🙂

MM, how to “ask” B&O to add a station?

Yann.

 

[YannChris]

Hi Beoworlders,

I finally made the tests with Beocenter 2 in Option 6, which fixes the conflict caused by 2 audiomasters.

In NL rooms: all sources from Core and BV9 are available, Phono missing from Beocenter 9500 as this command calls N-Radio.

In ML rooms: all sources from BV9 and 9500 available, but no source from Core.

Connecting the Powerlink output of Core to the 9500’s Tape2 input would not be very practical as the Core will not recieve any command from the remote controls in Link rooms.

So the previous situation remains the least unsatisfactory.

Kind regards,

Yann.

[YannChris]

I agree,

Still awful and uncomplete in terms of sources.

The new ecosystem relies on the app and this app becomes unusable.

I don’t understand where the development team want us to do. Bin our pre-Mozart investments?

Uncompetence or planned obsolescence?

Kind regards,

Yann.

 

 

 

[YannChris]

Hi,

After test, here are my findings:

• The problem is due by the conflict between Beocenter 9500 and Beocenter 2.
• If I keep the 9500 only, I have access to legacy sources (Phono and A. tape) on the ML side, but no access to the NL ones: N-Radio (aka Phono) and N-Music (aka A.Aux).
• If I keep the Beocenter 2 only, legacy sources are replaced by NL ones.

I did not set the Beocenter 2 to option 6, as it’s NL sources could not be distributed in ML

So I conlude that the current situation is the least unsatisfactory as legacy sources are the less used.

Thanks for your help,

Yann.

 

 

 

[YannChris]

Guy and Carolpa,

I’ve already swapped the ML and Din cables, as I have some spare brought from my previous home.

I’ll test your other recommendations tomorrow.

Thanks and best regards,

Yann.

[YannChris]

Guy,

Yes, the Converter is connected to the TV/Aux input (the tape 2 is used for another purpose).

And Yes, that’s how I use to do: 1st BV9, then BC2, then link rooms one by one.

I’ll make another powering sequence tomorrow.

Kind regards,

Yann.

[YannChris]

Hello MM,

I also use the 5.3 beta and followed the track shown by Sandyb. Here is what I found:

Tap the 3 dots to open the settings of the theatre.

Tap Beoremote (1st item of the list)

Tap the remote coupled with the Theatre

On the list at the bottom, tap “list of the remotes” or something like that.

It’s there.

Kind regards,

Yann.

 

[YannChris]

Thanks Sandyb.

[YannChris]

Sandyb wrote:

So within the app, once you have paired a BR1 to your Theatre, the separate settings section on Sources allows you to pick and order your Remote List – both under the BR1 TV and Music buttons. It then syncs to the physical BR1, and works well, with changes made in the app reflected quickly on the handheld remote.

Sandyb,

May you please explain how do you choose and change order of sources in the app?

Kind regards,

Yann.

[YannChris]

Jon,

If it may help, I placed my 4000s in order to have their bottom at aproximatively 2/3 of the room’s height.

There is a couch in front of them, so they are a bit high but it’s an annex system and the result is not so bad.

I guess they would be OK in front of a dining-room table.

Regards,

Yann.

 

 

[YannChris]

Today’s new version did not bring any improvement for the missing ML sources.

So I rolled back to 5.3 version, but only 39 days left 🙁

BTW, I noticed in 5.3 that ML sources are present in Core but not in Theatre.

Kind regards,

Yann.

 

 

 

[YannChris]

Hello Geoff,

Good idea, you have PM.

Yann.

[YannChris]

Thanks Geoff,

I’m relieved with your confirmation. The technical guide was (for me) a bit ambiguous and I was confused.

I checked 196 kHz listening with several sources: Flac files downloaded from Linn Records, Qobuz Hi-Res streams and also the test tone sent by my streamer.

None of them are played, 96 kHz files work fine.

Streamer is connected to the BL50s by a 5 meters digital cable which came with my previous BL5s. I checked with another cable with the same result.

Yann.

 

 

 

[YannChris]

Thanks Sandyb,

I also googled but problems were about the optical connexion, which is limited to 96 kHz in the BL50.

Yann.

[YannChris]

geoffmartin wrote:

THAT said, I definitely made the comment about personal preference. Just because something is measurably “better” (e.g. more like the original – whatever that is/was) doesn’t necessarily mean that you’ll like it more. Better for you is not necessarily better for anyone else.

I admit that personal taste is a prominent element in the perception, which is source to endless debates.

My concern is to eliminate any digital “filter” bewteen NAS and BL50s, in order to have them in charge of the restitution of the digital signal. Is it impossible?

To Geoff:

I have a problem with my 50s, as they seem to be unable to play 192 kHz files from the coaxial input.

I noticed in the technical guide that specification, for that input, is stated “up to 192 kHz”, vs “up to and including 192 kHz” for USB Audio.

Should I understand that coaxial input does not support 192 kHz files?

 

Yann.

 

 

[YannChris]

Brrr!

This looks like a very difficult moment with Moment’s bugs!

Yann.

[YannChris]

Here is an extract of BL50 technical guide (available on the B&O website):

 

Appendix 1: Recommendations for Critical Listening

14.1 Loudspeaker Configuration

The Beolab 50 provides you with an
extremely wide range of parameters
that can be used to adjust the timbral
and spatial presentation of your
recordings for various listening rooms,
loudspeaker placements and listening
positions. However, it is always best to
start with an optimal configuration in
your listening room.

First consider the relationship between
the loudspeakers and the listening
position itself. The two loudspeakers
and the listening position should be the
three corners of an equilateral triangle.

This means that the distance from
each loudspeaker to the listening
position should be the same as the
distance between each loudspeaker.
This also means that the loudspeakers
will be 30◦ away from the front, centre
location, directly in front of the
listening position.

Figure 14.1: The centre of the sound
beam in the vertical plane is level with
the top edge of the acoustic lens when
raised (at a height of 108.7 cm from the
floor).

Secondly, the two loudspeakers should
be “toed-in” by 30◦. This means that
they should be slightly rotated so that
they are both facing the listening
position. This is shown in Figure 14.2.

Figure 14.2: A “perfect” loudspeaker
configuration with Beolab 50’s. Both
loudspeakers are aimed at the listening
position. The distance from the listening position to each loudspeaker is the
same as the distance between the two
loudspeakers.

If possible, the height of the listening
chair should be set so that the
listener’s ears are level with the centre
of the vertical beam, shown in Figure
14.1.

The next consideration is symmetry
within your listening room. It is
commonly recognised that the best
stereo imaging will be achieved if the
listening configuration (the triangle
formed with the listener and the two
loudspeakers) is placed in left–right
centre of the room. Therefore, the side
walls will both be the same distance
from the listening position, and the
loudspeakers will have the same
distance to its adjacent walls. This is to
say that the distance from the left
loudspeaker to the left wall is the same
as the distance between the right
loudspeaker and the right wall. The
distance to the front wall (behind the
loudspeakers) should be the same for
both loudspeakers, but certainly does
not have to be the same as the
distance to the side walls.
Figure 14.3: An optimal placement for
the loudspeakers with respect to adjacent walls. Note that the distance between each loudspeaker and its closest side wall are identical, and that the
distances from the loudspeakers to the
front wall are also matched.
Figure 14.4: An less-optimal placement
for the loudspeakers with respect to adjacent walls. Note that the distances
from the loudspeakers to the front wall
are matched , however, the distance between each loudspeaker and its closest
side wall are not identical.
Figure 14.5: Another example of a lessoptimal placement for the loudspeakers with respect to adjacent walls. The
distances from the loudspeakers to the
front wall are matched, however, the
right loudspeaker and lacks a side wall
nearby.
39

[YannChris]

It’s 5 meters long.

1st test made a cable supplied with Beolab 5s, connected to the SP/DIF out of a Beocenter 2, as I had no problem with this cable with this configuration.

So I suspected the cable and bought a brand new one, with the same lack of result.

 

 

[Author]

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