Thanks Wayne. Yes, there have been numerous discussions on the forum regarding Audyssey, almost all negative. My personal experience with Audyssey is not good, and the feedback we get clearly indicates it is causing much more harm than good in most of the installations we hear about. That said, I understand that the pro version (calibrated microphone, computer driven and professionally implemented) is, or can be, excellent. But that's not what you get in any of the dumbed-down versions included with mid-priced receivers. The inclusion of a cheap, un-calibrated microphone is the first clue that the results are going to be highly variable. Lack of a user interface or controls is another warning sign. And for our purposes, with powered bass section Tritons, the fact that sub channel is necessary to take advantage means you have to defeat one of the best parts of the system: no need to "blend" the bass channel in with the rest of the system. Lastly, speaker designers will tell you that ANY system that impacts frequencies above room-interaction (certainly below 500 Hz, often below 250 Hz, is where room interactions end) is not room correction, its speaker correction. I don't totally agree with that as some rooms need high frequency taming (although most feel that is much better handled by some simple room treatments instead). Based on conversations I've had with other speaker manufacturers that make "thin film transducer" speakers, NONE favor high frequency room correction, saying it destroys the open, airy quality that makes ribbons sound so glorious.

If you decide room correction is necessary, go with the pro version of Audyssey. Or if you want a consumer room correction system that does not have all the issues of the basic receiver-based Audyssey, I'd suggest looking at an Anthem receiver with their ARC room correction system.

In anticipation of buying Sevens, I joined the forum. In regards to Audyssey, I noticed no differentiation between the MultiEQ XT32 version and the lesser earlier versions in AVRs in the above comments. I think it's closer in application to the Pro version than the lesser versions. In my experience going from XT in an Integra Prepro to XT32 in my Onkyo TX-NR929, the improvement was noticeable overall but mostly in the bass. I have active Meridians and a Sunfire Sub. The XT32 has given the sub a second life. The bass is tighter, flatter, more clearly defined and missing what little boominess it had before.

So hearing is believing, but I doubt I'll be turning it off when they arrive.

Welcome. Yes, I have heard reports that the XT32 version is a far superior implementation of the dumbed-downed pro version developed for receivers. It is also true it focuses most of its correction power on the sub channel. Correcting for the room's peaks will give any sub much better dynamic range and a much more tuneful output. The worse the peak, the more positive the effect of the room correction. I have not heard if it is any better at selecting crossover points, setting levels and distances - something the lesser versions were often horrible at doing correctly. I also don't know if they use a better microphone in the newer systems, the one that was typical of Audyssey receiver systems is laughably inaccurate.

Our general comment on such things is go with what sounds good. If the Audyssey-tuned system sounds best to you, then its the way to go.