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  1. 1 point
    I don't think it's fair to characterise those threads as maximum vibration chasing. Obviously there are some people who do that, just as there are people who chase extreme SPL, but mostly it's about finding out how it responds & what feels right/good. There seems a lot of variation on that point, or more specifically, the way people describe what they like seems to vary a lot. It's all about balance in the end.
  2. 1 point
    If you look at the average trace from the graph it appears that 20Hz is used often and with significant level.
  3. 1 point
    Logan (DTS-HDMA 7.1) Level - 4 Stars (111.2dB Composite) Extension - 3 Stars (16Hz) Dynamics - 5 Stars (30.12dB) Execution - TBD Overall - TBD Notes: Terrific film, one of the best of the X-Men series, IMO. Could have dug deeper in extension, but really didn't have to as it was quite a compelling story. JSS
  4. 1 point
    This is the quick-fix-BassEQ, the one JSS presented is the state-of-the-art. Perhaps a bit too quick with the copy-paste: sfm = shelf filter min = Low Shelf sfm hs = High Shelf The effect of the hard limiter remains to be verified, I did not get to those scenes in my brief testing. The reason for this is that I ended up getting some heavy ulf peaks in some very few scenes, the 12hz high-pass fixed most, and the hard limiter does the rest. This is on the lfe channel, it should not introduce audible distortion and no content is lost. Doing the same on any other channel would destroy the sound, as the limiter would distort and remove all other higher frequency content when the signal is limited. Doing the hard limiter in the signal processing makes no difference compared to letting the bass system dsp limit the signal during playback - the result is the same. The ulf boost is a bit heavy - JSS uses only 8dB where i put in a +12dB boost with a much higher q on the filter, making for much more level in the 5hz - 20hz range. I wanted to test a simpler filtering scheme, more suitable for bass system dsp presets. If that works, it becomes so easy to play back a movie with BassEQ that anyone with a similar dsp can do it simply by looking up the movie on data-bass and select the most suitable preset. Remember that the alternative is NO EQ, with too low ulf level and too much 30hz boom. Even if it isn't perfect, the improvement will be very significant, to the extent that the experience is lifted to a different level.
  5. 1 point
    Thanks Mike. I must've gave everyone reading information overload. The sims with some of those drivers listed above look quite good to my eye. Vent compression at war volume is my main concern with it. Now I just need to get one built. I'm working on that 8hz horn Scott wants but for some reason I just can't get it to work while still fitting through a doorway. I don't understand what's going on. Might have to try my new, experimental, patent pending, rotary, quadratic, bi-phase, 10th order, sub-harmonic re-accumulator cabinet to get it to work right.
  6. 1 point
    God Almighty... an image of perfection ladies and gents. Send me that OM file, I wanna see how close I stack up. You still have my email address
  7. 1 point
    Sounds like a really good time will be had...I need to find a job at Oak Ridge National Laboratory so I can be closer to the fun. Knoxville area seems nice.
  8. 1 point
    Beastaudio's signal chain starts with an OPPO 103 running into a Marantz AV7702 receiver, sub out into a minidsp 2ch XLR and then into 2 amps for his 8 front HT18's and 2 near field HST18s. I ran a loop of his Marantz's sub out jack and added the minidsp bypassed to the mix to see what rolloff the small signal chain stuff had. I'm very impressed with the low end response of the Marantz, it is very close to the OPPO 105's analog sub out. I'll have to post a comparison of the 2 in the appropriate thread sometime soon. RED trace is the Marantz sub out and the GREEN is the minidsp added to it. I've been very curious of the AV7702's ability to handle high levels of re-directed bass without clipping the signal for a while now. I was also curious to see if the OPPO (which has been proven to clip movie tracks with hot re-directed bass) http://data-bass.ipbhost.com/index.php?/topic/379-maxmercys-wcs-test-disc-beta-and-an-o-scope/?p=6640 would end up passing the clipped signal out of the HDMI port digitally since the problem is apparently in the OPPO's digital section. I was relieved to find out that it didn't and if you attenuate the Marantz AVR's sub out or MVL by at least 10.5dB you will be for sure safe against clipping in a worst case scenario for a 7.1 track with re-directed bass. I just came up with a new design for an adjustable, all analog bang for buck sub preamp that can output over 16V peaks clean. It can be used as an LT, line booster/attenuator, RCA to XLR active converter or signal chain rolloff booster. I brought a prototype to the GTG and Bosso and I dialed in a quick curve on it to replace Beast's minidsp in the signal chain mainly due to the fact that it is flat in frequency response to below 1Hz, has a higher dynamic range and it is more flexible in the LT curve it can apply to a sealed setup. The WHITE trace is the mini DSP and the RED trace is the new SEQSS-V (dash V for variable) at the MLP. After re-calibrating the gain stages we then played some gun shot scenes from John Wick http://data-bass.ipbhost.com/index.php?/topic/372-john-wick-discussion-poll-closed/ for reference to test the system adjustment. Even though Beast's system is located in a basement, it has gobs of tactile ULF punch and this was the perfect scene to experience the ass whoopin' that it can dish out. Then we played EOT's intro square wave sustained brutality and you gotta love Brandon... he has no problem pushing the limits of whatever system is at his finger tips. He pushed his system until reaching the amps' breaking point and fortunately his Crest and Peavey have reliable protection circuits. You could hear an unpleasant transient sound when they kicked in at the end of the 15Hz tone as they severly limited the output of the following tone. Not sure if this was really reference level, my guess is that it was quite a bit hotter but I wasn't running the SPL meter at the time. I wish I had more time to measure to see at what point the amp's power tapered off but there were just too many cool people to socialize with so you guys will have to forgive me. Then we hooked up 2 of dgage's Mariana HS24 subs. Here are a couple quick measurements: BLUE trace is a close mic and the RED trace is the MLP. Room was obviously fighting us on this but we didn't have the space or time to tame the peak at 15Hz. Gage then picked Lone Survivor's helicopter scene as a reference scene to demo: I had no idea how brutal this scene was as I totally missed this movie. It had the 24's moving for sure and sounded powerful. I had many more things that I wanted to measure and post about but this was a pretty special GTG IMO (TWO mods from DB?!) and I just couldn't pass up on conversing with as many people as possible. You guys are all as cool as ice and I was happy to spend time with all of you. And Brandon: thanks buddie, you are hands down the host with the most, your theater is top freaking notch, bad to the bone. I really enjoyed the giant image of the Atmos demo and your low end is world class!
  9. 1 point
    The DSP On the pro-lites is a waste of time. Very crude and I would highly advise saving your money there and going for an outboard solution. The prolite series without the DSP is great though...assuming you don't want to operate at 2 ohm stereo.
  10. 1 point
    The 6000 is -3 dB at 5hz so I am not sure what the problem is. If you need more power then you need to spend some money. My Sanway was -3 dB at 3hz and differences are not noticed. Now if you need more power than 1200 watts at 5hz then again, you need to spend more than twice the money for 3 dB more or 2400 watts at 5hz. Did I say I love my IB which lets me use any amp!
  11. 1 point
    That's why you are only a two star mod and no more. Making strange words up and things. I realize that some people may look at this, who don't know we are just kidding, and think what a tool I might be. Yea well, you guys are right.
  12. 1 point
    Although the Dash V has all of the uses mentioned, it's primary purpose is for sealed system users to... I've added an amplifier page to the web site that details the maniacally hard work we've done this year putting together a wide array of power plant options. Spent scads o dough, tested, cooked, tossed, modded, tested and liked lots of candidates. Through all of that, Paul Frankensteined the Dash V. It is exactly what it's advertised to be. The SEQSS is a no-holds-barred high end analog signal shaper that's specifically designed for the Blackbird and Raptor systems, respectively. It has 9 preset transformed curves. Each curve is easily dialed in using 2 control knobs, 3 positions each. The Dash V is an infinitely variable parameters native sealed response transform device. Now you see why we call it the Dash V. Both units are flat to <3 Hz, quiet and have plenty of headroom to destroy your system without clipping the power supply rails and are very simple to operate with excellent results, not to mention astoundingly low priced. BTW, for anyone interested, Sealed EQ'd Signal Shaper was the working name-turned-acronym. The acronym is also pronounced SEX, phonetically, of course. SEX and Dash V. Hope this helps. I'll announce the new web site launch as soon as I have the shopping cart sorted out with the new hardware products. We've only just decided to do a production run of the Dash V, so the parts are being fabbed as I write and should be arriving in a couple of weeks.
  13. 1 point
    If you can send me a graph of the close and listening position mic'd responses for your system from about 2Hz-500Hz, PM me and I'll give you my email. I can come up with a curve that might best help your subs.
  14. 1 point
    Chrap hit the nail on the head earlier. I think everyone was just having way to much to even think to stop to take pics. I know there are probably a TON of lurkers out there that are a little disappointed about this fact, over here as well as on AVS, but dang man, I know some of the guys got pics of under the screen and some wiring up of stuff. Where is all that at least? I've got a good one, but I am waiting for an appropriate time for it Papers? Like business papers? Personal papers? Yea man, I have done those too for sure. Moar content, less mute. I am still having second thoughts on that whole thing. As you all now hopefully realize, there doesn't seem much a point in it anyways... Already got Max on the BEQ version. It'll be the star of the next show. I'm actually thinking of going with a new color scheme downstairs to compliment the colors of Gene's guitar. That just reminded me, dangit we forgot to do the Bass Prank....
  15. 1 point
    No doubt. I've only been to like 4 real GTG's but what I remember from most of them is that there is too much time spent switching equipment and trying to get everything readjusted so everyone can listen to it. That really seems to stress people out and take a lot of fun out of the day. You NEVER get as much done as you think you can. There was some equipment switching of course but I felt like this one focused more on just enjoying what was on hand and was much faster and loose. Too much structure has killed a few of them I went to. That's partly why I stopped going to them besides just being balls out uber busy all the time. When I go to one of these I want to be relaxed and chill and just do whatever whenever. A few of them had itinerary and paperwork. F'That! This one was how it should be done.
  16. 1 point
    I sell the SpeakerPower amps and find them to be some of the best amps available for subs but they aren't inexpensive. I will say I'm not familiar with Bosso's amps so I'm not comparing them. But when someone asks me for a less expensive sub amp, I usually recommend the Peavey IPR2-7500 or the slightly beefier twin amp in the Crest Prolite 7.5. Of course both of these are more expensive than the iNuke amps but they are definitely better for subs.
  17. 1 point
    HTTYD is a film I was planning on doing, so hold tight on that one. As far as compensation for the correction schemes I develop by request; people would only be essentially paying a small fee to download the filters I use to correct films (listed by channel, like I do on this thread). A portion of the proceeds will go to me so I can buy more BDs to BEQ (I do not support piracy), a portion to the people who helped me develop the BEQ process, and the rest to the d-b site so it stays operational. I have yet to even think of the particulars, but hope to do so in the future. JSS
  18. 1 point
    You, sir, are amazing. I don't know what else to say. I've watched a couple other BEQ movies, and generally felt there was an improvement in the sound. This was the first time I felt it was a whole new experience. It's not the same film any more. If only there was a way to deal with clipping in the center channel, this would be a perfect soundtrack. I'm off to check out the Avengers BEQ.
  19. 1 point
    I've been tinkering with my nanoAVR since Christmas and managed to get a very nice in-room response. One of my main reasons for the purchase was also to try and implement some of these BassEQ improvements. Firstly, thank you for going through what must be many hours of iterations of filter application and listening tests! This kind of work is greatly appreciated! My question is based on HOW to input these filter sets (some of them numbering 13 in the LFE alone- see Guardians of the Galaxy BEQ) when the nanoAVR only has 10 available PEQ slots? More specifically: How can I add the BEQ filters along with my current room correction filters? (As info, most channels have around 6 PEQ slots utilized with REW supplied filters.) I attempted to reverse-engineer what might have been going on by loading the Godzilla BEQ, but it didn't help since there was the single/same biquad was repeated in 7 PEQ slots (per maxmercy's suggestion of cascading filters for increased stability.) Is there a way to stack them within one of the 10 slots? Someone care to dumb this down for me?
  20. 1 point
    The issue with using the NanoAVR for EQing your sub is that it alters the contents of the channels in the soundtrack, before any processing or bass management has been done. This means that you cannot EQ the sub or any of the speakers directly with the NanoAVR. You must instead EQ them indirectly by altering the content in the soundtrack channels. This limitation is essentially complementary to the issue of using a MiniDSP to apply BEQ. With a MiniDSP, you can't make BEQ changes to the soundtrack channels directly. These are two different tools for two different tasks. That doesn't mean you can't try, but the results are not likely to be as good as when using the right tool.
  21. 1 point
    For BEQ films, I run Master Volume at -3dB to 0dB when running at my room's 'reference'. Even when running that high, unless I state otherwise, no film should get louder than 118dB at -3dBMV, and 121dB at 0dBMV. For full Theatrical Reference, you would have to run at +7dBMV. JSS
  22. 1 point
    I watched all of PR with the BEQ engaged and my house curve tonight, just a massive difference, quite mental bass. Really nice job done there. I think the mid range was quite bad though, not sure whether that is the track itself being a bit crap or the effect of applying such a strong boost to the low end. I have my new sub turning up in the next week (2 * uxl 18) so will have to give it another go once that arrives. I guess I need to get Godzilla now too. Keep up the good work anyway!
  23. 1 point
    Amazing work, thank you for all your hard work
  24. 1 point
    Transformers: Age of Exctinction BassEQ: Here's the before/after: The nanoAVR .xml is attached. You will have to turn up your master volume up by +7dB to have dialogue at the same level as the original. Comments - Improvement, but much less so than other BassEQ'ed films. Too much clipping and compression kept this mix from getting improved much, but there is definitely more ULF present now than before. The good thing about the TF movies is that they use the entire LFE bandwidth, with lots of content in the upper registers. Too bad they clipped the hell out of this one. For those with MiniDSP, here are the settings: LCRSurrounds: 1. Gain -7dB 2. Shelf Filter 22Hz Q of .707 Gain +5dB 3. Shelf Filter 22Hz Q of .707 Gain +3.4dB LFE: 1. Gain -7dB 2. Shelf Filter 10Hz Q .707 Gain +5dB 3. Shelf Filter 12Hz Q .707 Gain +5dB 4. Shelf Filter 14Hz Q .707 Gain +5dB 5. Peak Filter 17Hz Q 1.414 Gain +3dB APPLYING THE LFE CORRECTION TO JUST THE SUBWOOFER OUT WILL RESULT IN TOO MUCH BASS in LCRS, and YMMV. There is a reason I correct every channel individually. JSS Transformers 4 BEQ.xml
  25. 1 point
    NYSM doesn't have much bass, as Abraham confirms, but a nice bit in CH 3: Chapter 13 also has some nice low end. But, the movie itself is a great bit of entertainment. I liked this one as much as any I've seen this year, maybe best yet. Cast, effects, story, acting, directing, picture... all top notch and loads of fun. Sound is the only bad mark, IMO. The CC when folks are on mic on stage is not the best and surround steering could have been better and, of course, the low end can always be better.
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