If your L/R speakers are 10 feet away, how can you delay the wide speakers such that their sound arrives earlier than the direct sound? At best you can have the sound from the wides arrive at the same time as the L/R speakers, which would give the impression that your main speakers are at the boundry (no delay in their reflection). Please quote where I said that (none of my posts have been edited). If you're relying on a "good soundtrack" to provide accurate spatial cues of the space being depicted on-screen, then how does it help to interfere with that by adding the acoustics of a concert hall on top of those carefully recorded spatial cues in the soundtrack? Do you wan't to hear Gordon Gekko talking in his Wall Street boardroom or do you want to hear Gordon Gekko talking in his Wall Street boardroom as heard in a concert hall with proscenium and side wall reflections?

As for the "algorithms" that you believe somehow know the size of the room being depicted, here is an experiment you can try on your own system when you have a DSX set-up: try feeding it a signal that has no spatial cues, like a series of clicks or dry recording of speech, and see for yourself whether DSX maintains the intended space of the recording or changes the original intention by imposing the sound of a larger space. If it maintains the illusion in the recording, then DSX knows what's in the content. If it gives the impression that the speech is being played back in a wider, taller room, then DSX doesn't know what's in the recording.

In the mean time, here is what Brent Butterworth said in Sound&Vision magazine in his mostly favourable review of DSX: "However, DSX's effect on the dialogue that immediately follows was weird. It didn't impact dialogue that was "hard center"-i.e., coming entirely from the center speaker. However, the voiceover that begins the movie is spread into the other speakers a bit to give it more of a "voice of God" effect. DSX gets hold of this and blows it all out of proportion. The voiceover becomes unfocused and phasey-sounding, almost as if it has a bit of chorus effect added from a guitar player's stomp box. While this worked great on Andy Summers' guitar track in the Police's "Don't Stand So Close to Me," I didn't dig it on a movie voiceover." Understood, which is why I haven't accused you of lying, unlike... well, you edited that from your previous post. But truth isn't fact. You may sincerely believe that PLIIz is capable of encoding discrete channels or that DSX knows the size of the room being depicted on-screen, but that doesn't make those statements factual.