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  1. Today
  2. The first place I saw it was someone (I forget his/her handle) with all the JBL cinema gear. He/she was a bit moody (not sure of a nicer way to put it), and one day he/she got upset over who knows what and edited all of his/her posts here, removing all their content. My wife is insisting that we re-watch STID. I guess I'll get to hear how much a "good system" makes a difference. Hopefully I can still hear afterwards...
  3. I can't remember who gets credit for that one, but I didn't originate it. That was one clipped mess. It was horrible. JSS
  4. Yesterday
  5. Yes it can play up to 125Hz.I wouldn't run it as high as 150 ideally. It is really intended for below 100Hz as a subwoofer. It depends a bit on the drivers used as well. The 21Ipal drivers are smooth up until around 150Hz but the 21DS115 I expect may be a bit more choppy above 100Hz. Either way if running up that high you would definitely want to EQ down the peak at 215Hz and use a sharp 24dB/octave if not 36 or 48dB low pass for best sound quality and transition to the mains. Don't get me wrong it will melt your face off at 125-150Hz but the response gets real choppy not too far above 150 and it is best to avoid those out of band peaks being audible. Here is the expected response with the 21DS115. This isn't a real measurement set yet. Just a projection so don't take it as absolute. If this is close you would want to use 2 bands of EQ to bring down the 215Hz peak and also the bump near 125. I'll see if I can whip up the same with the 21SW152.
  6. Anyone have a CNC guy that can cut these at a reasonable price in the Midwest? i'm located in St. Louis, MO and willing to drive to pickup. Just moved into the new house and ready to piss off the neighbors.
  7. Time to blow out some extras at prices below cost!
  8. So much EDM and DnB is a clipped mess (often intentionally), that I think we are almost conditioned to accept it as a fact of life. Some of my fav bass drum hits in some EDM have lots of flat tops.... You cannot ask more of a sound system than to playback what is on the disc, clipped or not. JSS
  9. The better my system gets, the less clipping bothers me. I think clipping tends to bring out the worst in any speaker it encounters. I actually enjoyed Thor quite a bit cranked up way higher than I would have imagined liking it before. (BEQ helped too.) I'd still prefer that the tracks were cleaner though.
  10. Last week
  11. I watched Kong at -7dBRef (Reference Level per se for my size room, with -0dB set at 85dBC calibration), and no bad noises, but I expected some flat tops based on the listening experience. Not as bad as the 'lunge for the volume control' as in Tron:Legacy, and DEFINITELY not as bad as Star Trek:Into Deafness.... According to MrEdge's graph, GoTG2 has less of a rolloff than the original. That is a good thing. I do not use an LT boost anymore to watch films, as I get very little room gain in the new room. The Crowsons did get a workout, though. JSS
  12. Interesting that so many people are describing struggle from their sub systems on "Kong". Form the PvA, it doesn't look that bad. The level score is only 4 star. What's going on here? Are people hearing the clipping in the track and thinking it's their systems? I'll comment when I watch it, being that I have (1) lots of headroom above 20 Hz; and (2)a peak level indicators display to tell me approximately how close I'm get to clipping myself. From what it looks like, I expect my sub system will seriously kill on this track. Too bad GOTG2 appears humped and filtered. Maybe BEQ can do it some favors.
  13. I had to turn down my subriser for Skull Island. May need to revisit it. I think I watched it too loud or something. My sub system went bonkers when the two soldiers are on the hillside and Kong shows up for the very first time. Was scrambling for the volume it seemed like some of the heaviest bass hits were clipped or distorted or something. Something was off. Usually movies like this sound epic. Alien:Covenent on the other had was epic and reference quality all the way.
  14. Dang. That's my favorite bass range for big movie LFE effects. 10-25Hz. I much prefer movies that have this type of weighting to the mix than the overly hot 25-40Hz typical action movie rumble fest. Too bad about all of the clipping though.
  16. Are you going to measure Guardians of the Galaxy 2? There were a few scenes with decent mid-bass slam and some that dug quite deep but I've been away from my sub recently so maybe my judgement is off. Final scenes could be demo material Thanks
  17. BEQ? Are you crazy? I'm not sure I'll be able to play back a BEQed version at my typical reference level. Look at that near-DC peak that's already pushing up to -20 dBFS. Edit: I guess that's what Crowson's are for. I am starting to think about getting those some day.
  18. The SEOS horn is rounded along the vertical edges, although not as much as the horizontal edges, which I believe are much more important for the same reasons that we typically arrange drivers in a vertical pattern as opposed to a horizontal pattern. I guess you're right though that a lot of horns have little to no rounding at all. The trade-off on the SEOS is that it doesn't hold pattern as low for its size. But if one was to go through the trouble of creating large round-overs to reduce diffraction, more space would be needed anyway. It's rather more convenient to relying on diffraction control within the horn, IMO. Every application is different though. The SEOS horns are not known to load as much as many other horns, so for pro application also, they may not be best.
  19. Kong: Skull Island (Dolby ATMOS) Level - 4 Stars (111.38dB composite) Extension - 5 Stars (1Hz) Dynamics - 5 Stars (28.84dB) Execution - TBD Overall - TBD Notes - This film delivers bass in spades, especially in the shake-and-move-stuff wheelhouse range of 12-25Hz. Clipping analysis shows flat tops in nearly every channel, Center is most egregious, but all the clipping appears to have rounded edges as if some sort of limiting was put in place like Pixels, so not completely objectionable, like Tron:Legacy clipping was. LFE channel clips with sharp corners, but low-pass filtering will smooth them out. Better movie than anticipated, but it almost always seems that way when you expect nothing from a film. Good surround use, good soundtrack. BEQ should make this a structure-endangerer. JSS
  20. I guess we are up for a surprise here, because I have not watched it yet, just did the bass-eq with a nice ulf boost.
  21. Always a risc of blowing something when you develop and test new equipment. This scene is fine on the horns, you can see the cones moving, but you don't hear a thing, and nothing is overloaded. It is very possible that they did not know it was there, because the spectrum analyzers are set up to show from typically 20hz and up.
  22. A baffle of infinite size can be considered a 180 degree horn. The acoustic impedance will change rapidly from the mouth of the horn to the baffle. giving rise to diffraction, unless there is absorption, or a very large radius at the mouth where it transitions to a baffle, but this also depends on the frequencies of interest from the horn, the dispersion and the physical sizes of the device in question. In other words, diffraction and re-radiation is still a real problem for horns of finite dimensions.
  23. I'm a fan of the SEOS horns, and they do lose vertical pattern earlier like you describe. I'm not sure it's that big of a deal though as far as diffraction is concerned. My SEOS-15 measurements (in a box with approximately 1" of border) suggests that it loses its vertical pattern starting at around 2.5 kHz. The wavelength at that frequency is about 5", so the roundovers are going to have to be pretty big to control that. However, the primary effect of diffraction is to basically hold a vertical pattern (a somewhat wider one) to a bit lower than frequency than the horn alone would probably hold. If I do the pseudo-line, the horn will be sandwiched between the mid and the mid/bass-woofer sections, so it will probably allow more sound to travel up and down the baffle front. Again, I rather doubt this is a big deal.
  24. Yes. The system had apparently been calibrated using JBL's new SDP-75 processor only hours before, and it sounded like the calibration had set the subs to run real hot, perhaps even boosting them below their tuning. That's strange because the system is supposed to rely on data about the limits of each sub to avoid excessive boosts. I'm sure it didn't help that the demos were seriously cranked too, probably beyond cinema reference level at the front seats. That's pretty much what I experience in my room. Except that at 11 Hz, the floor shakes too much to make a fair judgment. Below 10 Hz, I'm not sure I'm able to get enough output for any real pressure from sine waves, but I might get some from transients. I still need to do the HPF test with the Darth Vader cruiser clip in "Rogue One" with BEQ.
  25. Did you read where we found out Lone Survivor's minute-plus long helicopter scene (ch 4-6?) had a 6.7 Hz pseudo sine wave about 10 dB hotter than the rest of the sound track? Almost blew up 2 of my test Mariana 24s that didn't have limiters. Apparently sound engineers don't know what a spectrum analyzer is either.
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