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Showing content with the highest reputation since 05/25/2018 in all areas

  1. 4 points
    Here is a RTA of thunder I took with my calibrated-to-4hz Dayton EMM-6 and a TASCAM US-1641 which starts dropping off at 20hz. The mic was inside a window behind the curtain with its windscreen on and SPL is uncalibrated but it clipped my mic just when it hit that peak at 4hz, and I had my mic at 3/4 of volume, so it was a pretty loud peak. The second image is with no smoothing was taken during the RTA. The first has 1/48th octave smoothing and is the total peak. I live far out in the country so there are no sources of infrasound from vehicles or factories except for a very low level 14hz tone from a glass plant about three miles away.
  2. 3 points
    the site is fine, the SSL cert expired for some reason, I'm really putting all energy into new site and getting off old one, sorry for down time. Should be fixed now, let me know
  3. 2 points
    Forgot to update this thread. Sub has been up and running for a while. Turned out exactly how I wanted it to. Subjectively I'd say it sounds better than my previous diy subs at the same spl. It can dig low enough but still has that impact that seems to be missing with some of the high excursion drivers. Good all around performer. Currently it is firing directly into a corner. I spun it around to get a pic. Sweep is at mlp with no eq other than the hpf bw12 @20hz. 6th smoothing. Pretty good response to start with before any eq. Thanks for all the help guys! Learning to take impedance tests has and will change all of my current and future builds.
  4. 2 points
    2018 test season is here! Results and notes for this new JTR sub are viewable now. Enjoy!
  5. 2 points
    FWIW I ended up ordering 3 TD12X on the 9th May and they were shipped on the 25th, they landed in the UK just now apparently so should be with me in the next day or two. I also have a faitalpro 12rs1066 to go in the initial (smaller) woofer, seems like a fairly beefy little thing https://imgur.com/a/lMGuhqm surround seems rather enormous I chose this on the grounds it is comfortable in a pretty tiny box and aimed for a tune that in the high 30s, result was a 37Hz tune https://imgur.com/a/4bmN268 https://imgur.com/a/xrXFi0Q it's going in this box (NB: the pole was just to check the fit, not actually going to deploy like this) https://imgur.com/a/5FpHtdy powered by a hypex fusion plate amp crossing to the small syns at ~150Hz
  6. 1 point
    Sure. I mean, it's mostly a ~30hz extended movie with 1.5secs of massive ULF. But yeah, I guess it is unfiltered.
  7. 1 point
    The amount of raw data for just 1 system is over 4mb... take a look at this 4K image (look at scroll bar captured on right side of image!). No one does more data than Josh!
  8. 1 point
    The TD12 turned up today, just about safe and sound albeit no thanks to UPS who appeared to have played football with one of them 😐
  9. 1 point
    The difference in levels at 20Hz between Star Trek and JP is best described as the difference between a mosquito fart and an earthquake. Can't take credit for that one. Read it years ago and never forgot it 😁
  10. 1 point
    Here's an FFT of the file you edited with the touching removed:
  11. 1 point
    I got a conversion done. It's not really pro quality as I didn't do any dithering, but it should compensate for the mic cal down to 4 Hz: https://drive.google.com/file/d/1EylLR1mXkmaCI0mIjwQgPi7MkWVy0D1s/view?usp=sharing Anyway, the recording could benefit from some editing. It was hard to tell in a wave viewer where the good stuff is. It also has a couple of nasty pops, which I believe may be caused by EMI from the lightning flashes. I'm pretty novice with Audacity and didn't have any luck getting rid of them using its click removal plugin. Anyway, there's definitely thunder with very solid bottom in the recording. Oddly, the most impressive bass event doesn't seem to be caused by thunder. There's a lot of weird bass noise starting roughly around 56:30, and then a big ker-chunk right at 57:48. It's nearly -3 dBFS peak in the compensated version and almost entirely bottom end. Did you bump the mic or something?
  12. 1 point
    I know right?...You know things are bad when I'm trying to be the voice of reason for someone's bass habits! But seriously...I'm thinking sell off 8 Othorn cabs and 4 21's. Use that to help fund 2 Skhorns with the remaining 4 21's which will damn near be = to 4 Othorns but less cubic volume than 3 of em. Use the new found space to bring in another 4 Terraforms to BEEF up the <30Hz. WIN! I'm kidding sort of but 8 Terraform's and 2 Skhorns does sound like a hell of a system.
  13. 1 point
    A 45% on Rotten Tomatoes isn't, like, "Conan: The Barbarian (remake)" bad. And it looks like it's not terribly long either. Something like 103 minutes of constant wind noise?
  14. 1 point
  15. 1 point
    Yep. There's really not much to these types of cabs. It's basically a modified 6th order. Lot of people way over thinking it. Actually these types of cabs look nice with the vented section tuned higher to like 25 or 30Hz. No reason at all you'd have to use so many drivers or such expensive ones. In fact I'm already almost done designing a smaller one using two pro drivers tuned to that range. Looks like it should beat out a TH the same size.
  16. 1 point
    This is the scene that tripped my breaker running hot using an IB!
  17. 1 point
    Thanks for the in depth analysis of that scene. That is clearly a very nasty signal. In some ways it looks similar to the 10 tone spectral contamination signal I tried for a while except weighted heavily towards the low end. I quit using that test because it was hell on the drivers and amps both and didn't seem to offer much insight into the systems behavior other than the fact that they don't like it other than at very low volume. Will produce VERY quick heating of voice coils. I'd agree with the assessment as well. They likely captured the sound of a helicopter with very high quality gear and simply didn't have the playback equipment necessary to know just how strong the content is below 20Hz. The rest of the movie being mostly a non event below 30Hz seems to indicate so. Either that or they do keep tabs on what people like us say and thought "they want unfiltered bass, we'll give them unfiltered bass!" I ran this on my XXX system the first time I watched the movie and they didn't have an issue but the playback was about -10 which is typically about what I listen to. Might have to see what happens with a bit more level.
  18. 1 point
    I have a request. Transformers 1. Megatron Blasts Jazz. You can see the ULF pulse. It won't be as hot as some of the others, though. Great Thread. JSS
  19. 1 point
    Since Avengers 2 is coming up, now would be a good time to start reviewing the lead-up films with BEQ! Let's start with Iron Man: Before: After: The corrections: LFE: 1. Gain -7dB 2. Low Shelf 16.5Hz, Q of 0.707, +5dB (4 filters stacked for a total of 20dB) LCR: 1. Gain -7dB 2. Low Shelf 16.5Hz, Q of 0.707, +3dB Surrounds: 1. Gain -7dB 2. Low Shelf 20Hz, Q of 0.707, +6dB The film had terrific extension present in the LCRS already, hence its terrific reputation. Adding that kind of extension to the LFE puts this one over the top. JSS
  20. 1 point
    Are you guys forgetting that the red trace, or the average, is showing precisely how much content is there? This one rolls off steadily, albeit not as steeply as some, from 39Hz on down. On average, there's just not much content in The Equalizer below 20Hz. That's not interpretation, that's an analytical measure of the retail BD's content. What's interpretation is how much we like it, which is what the execution score's for, as maxmercy said. Check this out. These were all measured with exactly the same settings. Look at the red trace, and compare it for yourself:
  21. 1 point
    Just some notes regarding the filter discussion: It doesn't matter that there may be peaks above and below the HPF "line" and it doesn't matter where you might place the virtual filter on the graph or whether on the peak trace or the average trace (although it's easier to see in the average trace for obvious reasons): Just remember that SL is a linear scale. As far as the assertion that LFE are "not natural sounds", please watch the soundworks "The Sound Of Man Of Steel" for one example of the sound being very real and mic'd by several guys each holding a mic on a stand while following the tonnage of concrete being mic'd. http://soundworkscollection.com/videos/the-sound-of-man-of-steel We know for a certainty that the event has content to DC. If, as was the case with this film, that content has not transfered from the event to the soundtrack... it... was... filtered. All that's left is to determine what order and at what frequency the filter (or, as Max suggests, series of additive filters) is, which will be obvious to those exercised in that art. I personally doubt that the quality of mic/pre/PS/cabling/recorder are so low as to affect a roll off that high up. I believe the filtering is done later by the designer or mixer or mastering process. That's just what the evidence and common sense tell me but it certainly is possible that the sound team of a 9 figure budget blockbuster movie, after renting the heavy equipment and operators, stopped on the way at Radio Shack to pic up a headset mic to slip into those expensive wind screens. BTW, that's a 2nd order HPF in dashed lines set at various places on Nube's graph. I believe the filter point is a few Hz lower than Nube's guess, but very close in any case.
  22. 1 point
    Ender's Game (7.1 DTS-HD MA) Level - 5 Stars (113.3dB composite) Extension - 5 Stars (4Hz) Dynamics - 5 Stars (29.1dB) Execution - 4 Stars (by poll) Overall - 4.75 Stars Recommendation - Buy (by poll) Notes: Ender's Game might be the next 5 star movie, although that's certainly up for debate. This one does have a significantly humped graph, and kinda cheats to get that 5 Stars extension rating, but there is legit, unfiltered content down low at 4Hz. The mix is good, and the use of bass is pretty well done, though without any big effects below 20Hz. Honestly, for those of you with big displacement sealed systems, this one is pretty good, but not great. For moderate, commercial ported systems, it'll prolly sound like one of the best mixes ever. Check out the many scenecaps below to find out more. Unfortunately, there is also clipping in the LCR and subwoofer channels that mars the otherwise good sound design. This one isn't as clean and pure as the mix on some of last year's best, and there's a reason it's not nominated for any big sound awards, but it's generally pretty good. Purists will prolly give this a 4 Star execution rating, but it's certainly a crowd pleaser visually and audibly, even if the movie was merely average at best. PvA: SpecLab scenecaps: Rocket Launch
  23. 1 point
    Dave.. I've always been here. You assume that the reason WOTH sells so well (and I'm not sure you have any kind of data to back that up) because of the ULF... It's a fantastic sound job all around, that's why... If you want to say that it's because of the ULF I'll have to call BS on that.... You again are ascribing things to me that simply are not true. I know Randy Thom, and have never been dismissive of him. And as I said, just because I don't agree with some of his reasonings for why he uses so much ULF in some of his designs, doesn't mean I don't have the greatest amount of respect for him and his work, and as I've said many times, he is truly someone who taught me so much about sound and helping to tell stories.. probably much more than any one individual.. You make such a big deal out of my comments, and it again can simply be boiled down to the fact that I'm of the strong opinion that I want to know what my work is going to sound like with a great deal of certainty... hence I'm not of the opinion that I should be mixing things in I can't hear.. it's my opinion. It's not a personal affront.. I just mixed a film with Anna, who mixed WOTW... I am currently mixing with the sound designer who did Insidious 2, The Conjuring and many others... Guess what? I've spoken to them at length and their opinions are similar to mine.... they don't remove what's given to them, and certainly don't go to any lengths to create such content. You make a lot of assumptions.. like you say "His system rolls off >20 Hz and he couldn't care less, in his own words, which is evident in his body of work." The tuning of our stages is close to the industry standard, so the reasons my work has no ULF has nothing to do with the company I work for (which, BTW, you don't even know who it is at this point, or how good the rooms are.) I mixed 6 films over the last two years on the same stage where "Black Hawk Down" was mixed.... what does it have to do with what comes out of there... You think you're so clever saying how my comment that I don't want to be a RT clone cements it for you.. Guess what, Dave... I'm not a sound designer... Also, I wasn't the FX designer on mixer on Riddick.... I never said it was a ULF film.... That kind of comment shows how little you understand about film sound production in general.. You can disparage me all you like.... You're the same as countless others I've come across over the years that can only say that it's only, solely, what matters to them that is important.. But please, again, stop dragging my name through the mud when you think I'm not around.. It speaks volumes about your character, and there's a reason you do what you do for a living, and I am able to do what I do. My awards and accolades from my peers mean a bit more to me than your myopic opinion, so in the end, yes, I will let my work speak for itself, graphs or not.
  24. 1 point
    Welcome reddman! The highpassing issue looks like it hits certain releases and not others, it almost seems random, but two of the biggest releases (Avengers&TDKR) were high passed, TDKR to a lesser extent. Avengers is a better sounding mix, IMO, but the highpassing took the guts out of it. MIB3 and Battleship also were high passed, but we had some good extension this year as well, TASM, TR, U:A, WotT come to mind. I really believe we got the theatrical mix for TDKR. It definitely pulls no punches, and there is not any near field mixing room has subs that can throw out 125dB that I know of. It also sounded very similar to my theatrical experience, but the addition of the ULF material in the prologue scene was great in my basement. One thing that theatrical mixes on BD have is the fact that there are hardly any theatrical LCR and Surround speakers that can go below 40Hz, and all of that gets redirected to the sub in a bass managed setup, requiring very capable subwoofer support in home. I remember discussing LF support in theaters with John Allen of HPS4000, whose horn-loaded main speakers are impressive at 109dB sensitivity, but that only dig to 40Hz with their ~45Hz tuning. The HPS4000 sub system is simply more of the same horn subs, that can reach a little lower due to mutual horn coupling. I'll see if I can dig up the conversation, but he did not have much to say about content below, noting that 35Hz and above were still 'subwoofer frequencies'. Don't get me wrong: I think his approach to headroom is awesome, and he designs systems that will have 6-8dB of headroom when asked to play at peak volumes. There is an HPS4000 theater about 3.5 hours from me, and I may check it out sometime. If he had some 15-20Hz tapped or front-loaded horns to beef up that LFE channel below the 45Hz horns it would make for the best theater systems anywhere. Mr Allen also sets up each theater with a modified X-Curve and custom acoustic treatment, and I would like to hear the difference, as I think the X-Curve to be an outdated solution to theater alignment. He has a tremendous article on his site titled 'The Mythical X-Curve'. Good reading. JSS
  25. 1 point
    Me Soapbox I've expressed this previously in the thread at AVS, however I feel it's worthy of another reminder. A word about "The Pacific", Iwo Jima scene, etc.. ; I realize the entire point of this endeavor is determining the actual low frequency energy contained in various soundtracks etc., thus the empirical over the subjective. I must say that my wife and I found The Pacific to be a phenomenal film, in every possible way one could imagine. So much so, that I wouldn't want someone to just see a certain scene for it's LF characteristics. This film is so damn powerful in it's full context, yeah that's a big commitment time wise, but I highly recommend it. To merely see one episode, or one scene, man you're really doing yourself a dis-service. I just think the full weight and impact that's brought upon by hours of character development, would be lessened if experienced in a abbreviated version. It pulls you in, whether you're tearful, or cringing at the horror of conflict, or even feeling proudly patriot, it is impactful like few films I've ever experienced. Plus, it possesses a kick-ass soundtrack! I know FilmMixer had his hands in on this one, and I really dug it. Thanks Me Soapbox
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