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  1. 7 points
    Update to powering the RF 19's. The 8 sealed in the HT will now be getting a pair of SP2-12000's. Each 6k module power 2 1ohm T3S1-19 drivers in series in a dual opposed sealed cab. This switch is mostly because the SP amps have less fan noise than the K20's. Also they have slightly better extension below 10Hz. The K20's are going to the band spot to power the MAUL's. Fan noise doesn't matter there. Each MAUL has 4 T3S1-19's wired in series for a 4ohm nominal load and will see a whole bridged K20. Yay headroom... Got power?
  2. 3 points
    Léon: The Professional (1994) Sony Supreme Cinema Series Mastered in 4K http://www.avsforum.com/forum/113-subwoofers-bass-transducers/2763785-ultimate-list-bass-movies-w-frequency-charts-171.html#post55590682
  3. 2 points
    I've never been on social media. I need another time sink like a hole in the head.
  4. 2 points
    Westworld: Season One (2016) Bass Graph UHD ATMOS Powerful, well written, great cast and acting! http://www.avsforum.com/forum/113-subwoofers-bass-transducers/2763785-ultimate-list-bass-movies-w-frequency-charts-174.html#post55654706 Trailer
  5. 1 point
    More from Powersoft: "Should you decide to use 2x IpalMods, I’d suggest using separate acoustical volumes for the two transducers. This leads to safe and profitable use of the pressure sensors for both response correction and efficiency drops detection."
  6. 1 point
    The article largely misses the point and is mostly audiophool drivel. The article it links to is substantially worse: https://pitchfork.com/features/oped/9667-drop-the-bass-a-case-against-subwoofers/ The question of whether a subwoofer is needed really depends on the system design. If the speakers and amps are adequate for reproducing the lowest frequencies and the room placement is not problematic, then music can be enjoyed without subs just fine. For that matter, movies can be enjoyed without subs being that most AVRs will redirect LFE to the mains, especially using beefy speakers like JTRs. But that's not what the articles are really talking about. The articles are arguing that music doesn't need reproduction of frequencies in the sub range, particularly below 50 Hz. That argument falls apart very rapidly when one considers the results of Harman's blind speaker listening tests. Bass extension has a major impact on blind listener preferences of speakers. Even though there may be very little content below 50 Hz in many sources of music, the content that's there has a substantial impact on the listening experience. This is not limited to electronic music either. That's not to ignore the fact that too much sub can harm the rest of the sound, but that's true of any frequency range. I actually agree that the mid-range is most important for rock-and-roll music, as it is for almost every other genre of music. Yet, that's no excuse to ignore the treble and the bass, which still matters for rock-and-roll and all other kinds of music. The idiocy of these kinds of articles is that they dredge up anecdotes in which the subs or low-end was obviously mis-configured and out of balance to argue that low frequencies are inherently bad and don't belong as part of the reproduction. The irony is that the kind of people pushing these arguments often use speakers that sound like garbage in the mid-range. Zu Audio? Perhaps they should just listen with the amps switched off to save them from hearing the dreadful mid-range! And therein lies the sad truth, which is that the quality of sound when using subs depends substantially on the sound quality in the rest of the spectrum, especially the 50-500 Hz range. A great many speakers have deficient output through most of that range, which is crucial for reproduction of a variety of bass instruments. To integrate subs with such speakers requires turning the subs down so much that there's not much point in using them, or else one hears a lot of boom boom boom from subs that are unbalanced relative to the higher harmonics. So by all means bring on the subs, but don't neglect the rest of the spectrum! Sadly, most speakers simply don't cut it, and that's true of almost every offering targeted at the "audiophile".
  7. 1 point
    Oh yeah, I guess you could have a higher vertical res in some way. I have a triple screen PLP layout at home. I should do some long waterfalls.
  8. 1 point
    I have a scarlett, and it is great, trouble free, and easy to use with REW. JSS
  9. 1 point
    Don't worry I'm in much the same boat. I've been avoiding using it for a long time. I'd love to see a few of the measurements. I also needed this handy directivity calculator in my toolbox. I've done some checking and it matches up very well with my measurements. What I've found is that even relatively small baffles like 20x20" have effects down to 40-50Hz and lower. There isn't a whole lot of change from there until the baffle size gets truly large. I believe the enclosure used for the SI 24" testing and the DTS-10 were the biggest frontal areas I've had. If I recall they were providing 1dB of lift way down at 30Hz if not a bit lower. I've subtracted out the directivity lift for the Skhorn calculated by Edge and the results are pretty close. I'm working on tweaking the sim a bit closer in HR based on this. The main thing I'm seeing is there is still a moderate 1-2dB lift in the 50-80Hz region that I cannot seem to get in HR. I'll post a revised HR input when I'm done.
  10. 1 point
    I'm just going to leave this here. Xarion.com I actually discovered this at work from a colleague believe it or not. We have components that are used in their products.
  11. 1 point
  12. 1 point
    meanwhile, I have a wife and 2 kids that turn down my single 12" sub if the receiver goes past -28dB. **face palm** i hate you guys.
  13. 1 point
    I might inquire into the cost of one of these kits. Couldn't hurt to find out. What I like about this is the ability to handle extremely high pressures without any problem and the extremely small size. It would be useful for investigating inside of horns or bandpass cabs or other very close proximity high spl situations. I also like the idea that there are no moving parts, or diaphragm that reacts to physical forces with the associated resonances, etc. It removes one more source of potential variation from the signal chain. One thing that may be of concern is the laser head. This likely uses a small solid state laser so it could be engineered to last a good long while, or it may only last a few hundred hours. Depending on use you could be replacing the diode, or laser assembly once in 10 years or every year. Also lasers do not do well with shock, rapid temperature changes and humidity usually. That could be a concern. I'm speculating. They may have developed it around a very low cost, robust laser assembly.
  14. 1 point
    First post around here. *Yay* Rad, I think you can attribute both the rising response and the high sensitivity up top to directivity. Under sane and normal circumstances, the highest sensitivity you can reach in half space is 105-106db. Of course, in quarter space, you can add another 6 to that. The bigger the baffle is in relation to the wavelength, the more the source will be seeing a quarter space scenario. (Then ofc you might be able to see another db of sensitivity here or there, caused by diffraction off of the edges of the baffle.) This right here is a pretty neat little piece of software: http://www.tolvan.com/edge/help.htm It calculates the gain caused by the baffle. (It also does calculate what kind of a passive crossover you'd need to compensate for the baffle gain.) Toying around with that software(doubling the height of the cab to emulate a half space scenario), I find that the baffle adds about 1db at 30hz, rising to a 4,5db addition at 100hz. That should explain most of the phenomenon.
  15. 1 point
    Wow, that looks like a track AFTER BEQ. Hope it doesn't clip everywhere....should have an incredible Dynamics score. Thanks MrEdge! JSS
  16. 1 point
    Indeed! Now that's more like it. .....and also... ....now let's have MOAR like it!
  17. 1 point
    Only the Brave (2017) Bass Graph http://www.avsforum.com/forum/113-subwoofers-bass-transducers/2763785-ultimate-list-bass-movies-w-frequency-charts-171.html#post55599908
  18. 1 point
    Nice. Now that the hard part is over with....
  19. 1 point
    Nice find! Can you buy four of them while you're at it? Those could make some very nice sealed subs as well, if you are still interested in trading away output for extra extension. If going sealed, I'd definitely recommend at least four of them. Also, those drivers look remarkably similar to the SI HST-18 (they maybe share many of the same parts?) and would probably pair well with them, so when it's time to augment them, you could buy SI HST-18s. While the B&Cs have impressive capabilities, the fact that you have some serious mid-bass capability already via horns means that you don't need as much mid-bass from your subs, so the Sundown zv4s and other drivers optimized for deep-bass make a lot of sense.
  20. 1 point
    That is a significant change....have you listened to the new track? JSS
  21. 1 point
    Hey buddeh! Unfortunately I don't have the capability for BEQ. I have to agree with you tho, Max brought over his demo disc of BEQ'd stuff when I had my last g2g and it was unbelievable the difference that BEQ can make. Just astounding.
  22. 1 point
    It should be fine. Response shape may be a hair different but not a deal killer by any means
  23. 1 point
    Gjallarhorn 2 plans. GH 2 print.pdf GH 2 print.DXF
  24. 1 point
    Othorn files. OTHORN print AUTOCAD 2000.DXF OTHORN DXF scale print.pdf
  25. 1 point
    I was wonder if i could PEQ with this program? i would like @maxmercy input https://sourceforge.net/projects/equalizerapo/ Equalizer APO Equalizer APO is a parametric / graphic equalizer for Windows. It is implemented as an Audio Processing Object (APO) for the system effect infrastructure introduced with Windows Vista. Features: - virtually unlimited number of filters - works on any number of channels - very low latency, which makes it suited for interactive applications - low CPU usage - modular graphical user interface Equalizer APO is best used in conjunction with Room EQ Wizard (http://www.hometheatershack.com/roomeq/ ), because it can read its filter text file format.
  26. 1 point
    Being truthful I didn't make it all the way through the movie without laughing histerically at how cheesy the movie was. I had to stop the movie before it was finished. Good bass in some spots though.
  27. 1 point
    Finally going to make a post here! Especially now that I have good pictures taken of the updated configuration. Speakers: The Elusive 1099s for the Left, Center, and Right speakers. Two Dual Opposed Dayton RSS460HO 18" subwoofers in 8 cubic foot enclosures each. (Two drivers per cabinet, of course.) Two Othorn Tapped Horn enclosures with B&C 21SW152-4 21" drivers The Dual JBL 2242H drivers in the 4 cubic foot enclosures have been disconnected since the Othorns moved in. Voit-10 LX Coaxials in ported enclosures - Side Rear Surrounds. Volt-6 Coaxials in ported angled enclosures - Rear Back Surrounds. KEF HTS3001 Coaxials for Atmos - Top Front and Top Rear Surrounds Primary Components: (As shown in the picture) Onkyo TX-NR5007 - Soon to have a Marantz AV7703 in its place. IOGEAR 8x1 HDMI switch Behringer DCX2496 - Left, Right, and LFE channels. Behringer DEQ2496 - Side Surround channels Behringer DCX2496 - Center channel Tripp-Lite PDU - L5-30R input. Behringer NU4-6000 - Top Front and Top Rear channels Behringer NU4-6000 - Rear Side and Rear Back channels QSC PLX2502 - Right Othorn - LFE (24Hz ~ 120Hz) QSC PLX2402 - Left Othorn - LFE (24Hz ~ 120Hz) Peavey IPR2 5000 - Two Dual Opposed Dayton subwoofers - LFE (1Hz ~ 30Hz - Infrasonic duty) Crest Audio CC2800 - Center channel Crest Audio CC4000 - Left and Right channels. The next steps I would love to take is enhance the infrasonic output of my system. The JBL 2242H drivers will need to be sold off or stored away to eventually make room for either more dual opposed 18" configuration or even 21" configuration. Chances are more likely I want to add in quad 21's to go with the current 18s, as those will be the biggest I can go and still fit in place. We'll see. For now I can't budget for more than simply adding two more 18s in the place of the JBLs to help give a slight boost to the overall output, which I may as well hold off and wait for a big upgrade next. The Othorns by theirselves were a huge upgrade, I had planned on upgrading the amps for them but I don't feel as rushed to do so. With how well they currently perform under the 2400 / 2500 watt QSC amps I am running them off of. The Othorns are certainly a favorite of mine already.
  28. 1 point
    Or just as good... "Subwoofers aren't 'musical'." No. Your shitty room and system setup is "not musical". (not YOU MemX, but those guys....)
  29. 1 point
    Kung Fu Panda (5.1 TrueHD) Level - 3 Stars (108.74dB composite) Extension - 3 Stars (19Hz) Dynamics - 5 Stars (32.41dB) Execution - 4 Stars (by poll) Overall - 3.75 Stars Recommendation - Buy (by poll) Notes: Speaking of animated movies, this is a legendary bass movie because of the Skadoosh scene. The rest of it is pretty good, too, although it has a steep filter/rolloff of the bass starting @ 26Hz.. Solid sound design & mixing, great animation, and a decent plot make for a very good presentation all-around. This one's among my favorite animated movies of all time. PvA: Skadoosh Scene
  30. 1 point
    I really think we are starting to see a bit of the loudness wars with these action movies where the levels are pushed to the max on certain parts and in an effort to make the soundtrack more powerful on the typical system and get more headroom you filter out the low stuff for that last little bit. These clipping sounds that are starting to creep into soundtracks are to me almost worse than having a 30Hz high pass. A 30Hz high pass does bother me though. I can understand a 15 to 20Hz rumble filter as systems that can reproduce that well are relatively rare but 30Hz takes a lot of potential "fun" out of the bass.
  31. 1 point
    What's the general consensus at which point in the process whereby this neutering transpires? A release that's high-passed across the board, is one thing. However, a release whereby exceptions are made and a single scene possesses the full extension (and all the realism that accompanies fully extended effects), that should be afforded to the entire soundtrack ..... makes no sense. Total bullshit.
  32. 1 point
    WTF! I am getting sick and tired of great movies getting castrated under 30hz! I find myself not caring about the clipping in Tron and immortals because besides a few occasions the sons tracks are top notch. I put in the DKR and watched the airplane scene and I actually think you can hear a limiter or something. It sounded distorted. Some of the soundtrack sounded like the mic was too close as well. Too loud due to bad recording where LOTR was just loud and clear. Damn, what the hell is going on at the studios, they should be getting better, not worse! It seems since changing from Bagend sealed subs to Meyer ported the bass now is filtered and sounds exactly like the cinema. I guess all those awesome unfiltered tracks were just too much for their uber expensive ported subs now and we all have to suffer. I can build some BFM THT's and call it a day, wait, they are too deep for these movies. I can just build some towers and no need for subs. All the best bass movies are old, crap!
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