After all, that's what massive modern computing power is good at. I had expected one initial measurement (or suite) input into a Trinnov-style program or ARC/Audyssey MultEQ plug-in to automatically calculate and apply all necessary corrections against a target curve predetermined by Clayton. While many customers likely won't sit through this calibration, I did for a good stretch. The advertised mastering-quality studio reference EQ was Apple's freeware AU Graphic Equalizer in 31-band mode. With the microphone set at one meter from the CS2.3 coaxial's center, Clayton ran more than an hour's worth of nearfield sweeps and corrections. To facilitate an already much delayed review, Clayton had simply opted to dispatch an earlier Spatial/Pure Music version, then failed to communicate the implications and what added functionality one might expect in a few months' time. Because Clayton writes no software, it was left to Rob Robertson to integrate these features into his OEM version for Spatial HD. Channel D's consumer interface had never been designed for this application after all. Originally PM couldn't accommodate all of Spatial's prior features. Three months prior to delivery of their preloaded Mac Mini, Spatial had quietly shifted to Pure Music's core platform. Better communications would have avoided this. This put me somewhat at odds with 1 st-round observations. Keeping website info current to reflect latest status will be important for Spatial to properly manage customer expectations.Ībout certain details in the calibration process, my expectations reflected Walter's initial verbal presentation and what Clayton's website had at the time. As new software and firmware become available, upgrades or new features are just a download and perhaps subsequent recalibration away. results: Spatial's approach is clearly a fluidly moving target. This review page is supported in part by the sponsors whose ad banners are displayed below
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