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TACT RCS 2.0 Room Correction System Tact Audio RCS 2.0 Room Correction System Listed On 20.01.2021
Last Update On 06.10.2021 Tact Audio RCS 2.0 Room Correction System
Tact Audio RCS 2.0 Room Correction System Tact Audio RCS 2.0 Room Correction System Tact Audio RCS 2.0 Room Correction System Tact Audio RCS 2.0 Room Correction System
Description Original Description is in English, other language texts are translations and can contain errors. EnglishDeutschTurkish

UPC:

TACT RCS 2.0 Room Correction Sys

Condition:

Used

Weight:

10.00 KGS

Minimum Purchase:

1 unit

Maximum Purchase:

1 unit

Shipping:

Calculated at Checkout


Excellent with microphone and remote control, CD, cable and owners manual.


Please note this needs connecting to a computer with an RS232 connection - 9pin serial port.


The basic RCS 2.0 is a two-channel digital device with four optional analog inputs (up to 24-bit/96kHz A/D) and two optional analog outputs (24/96 D/A), in addition to the standard digital I/O. (The unit reviewed, the 2.0AA, had both options.) Because the RCS also has the ability to control gain (or, more properly, attenuation), signal polarity (for each channel individually!), and to select among its digital and analog inputs, it can also, with its tiny, lightweight remote control, function as the preamp/control center for a full system.

 There's no question that room correction, used with some care and effort, can improve a system in ways that little else can. While the improvement may not be as gross as when changing speakers, it is more significant: the RCS's enhancement is applicable to all equipment and sources. True, it costs more than careful room arrangement, more than room modeling and analysis software, and more than most acoustical treatments. But, unlike the RCS, none of those can ameliorate significantly the effects of room dimensions and other domestically imposed constraints. The real question is, why would I want to live without the TacT RCS?

The two biggest enemies of achieving satisfaction with the TacT are a lack of perseverance and one's own comfortable biases. Achieving the ideal correction requires continual re-evaluation and listening over a period of weeks or months, and, without independent measurements, it could be difficult to determine which correction is right.

It's natural to try those recordings which you already know sound good in your system; if your standard is the familiar sound of these recordings in your system, the RCS will, by definition, fail. Therefore, you must continually reassess your own criteria by listening to the sound of live music in real spaces.

The longer I lived with the TacT Audio RCS 2.0, the more I was convinced that it brought me much closer to the sound of live music, and that room correction should be a mandatory part of any serious audio system. In the future, it will be.tact 2.0 he basic RCS 2.0 is a two-channel digital device with four optional analog inputs (up to 24-bit/96kHz A/D) and two optional analog outputs (24/96 D/A), in addition to the standard digital I/O. (The unit reviewed, the 2.0AA, had both options.) Because the RCS also has the ability to control gain (or, more properly, attenuation), signal polarity (for each channel individually!), and to select among its digital and analog inputs, it can also, with its tiny, lightweight remote control, function as the preamp/control center for a full system. There's no question that room correction, used with some care and effort, can improve a system in ways that little else can. While the improvement may not be as gross as when changing speakers, it is more significant: the RCS's enhancement is applicable to all equipment and sources. True, it costs more than careful room arrangement, more than room modeling and analysis software, and more than most acoustical treatments. But, unlike the RCS, none of those can ameliorate significantly the effects of room dimensions and other domestically imposed constraints. The real question is, why would I want to live without the TacT RCS? The two biggest enemies of achieving satisfaction with the TacT are a lack of perseverance and one's own comfortable biases. Achieving the ideal correction requires continual re-evaluation and listening over a period of weeks or months, and, without independent measurements, it could be difficult to determine which correction is right. It's natural to try those recordings which you already know sound good in your system; if your standard is the familiar sound of these recordings in your system, the RCS will, by definition, fail. Therefore, you must continually reassess your own criteria by listening to the sound of live music in real spaces. The longer I lived with the TacT Audio RCS 2.0, the more I was convinced that it brought me much closer to the sound of live music, and that room correction should be a mandatory part of any serious audio system. In the future, it will be.

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