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Showing content with the highest reputation since 10/14/2017 in all areas

  1. 8 points
    This is the long delayed single driver sub similar in design to the Skhorn. Overall the performance goals and criteria were quite similar. Big surprise there! The Skhorn works so well at what it does that I didn't feel the need to reinvent the sub for this one. This is primarily designed as a professional sound reinforcement or live sound style subwoofer. Big output and clean sound in very big spaces, while covering the typical bass heavy range of music, has always been the primary mission for this sub. Same as it was with the Othorn and Skhorn. It can and I'm sure WILL be employed for other types of situations, but it's a festival or club sub that just happens to be flexible and neutral enough to work in a variety of scenarios. The main differences between the Skram and the Skhorn are as follows. Optimize it more for the cost effective 21's like the 21DS115 and Lavoce SAN214.50 rather than the Ipal drivers like the Skhorn. The Ipal's still work of course, but I relaxed things a bit for the drivers that are a little easier to afford and power. Increased size: Originally I wanted to basically saw the Skhorn in half and slap a top panel on there with modded bracing. It would be a very compact 21" sub, which is great, but the driver would fire directly into an outer panel and even with bracing this is a lot of energy being beamed on axis into a large outside panel. I've never been a fan of high pressure loadings with big drivers that do this. I always want the direct on axis energy from the cone to act on internal panels that are going to keep this energy inside of the cabinet better. This required a rearrangement of the internals. I also added a bit of size while I was at it. I decided to stop at a size that was significantly smaller than the full Skhorn, but not as small as a true half. If this cab is too big or heavy you could always build the true half Skhorn, which would be 24x32x27.71. Increased vent area and slightly increased vented chamber volume. This should help the noise, compression and output near the vent tuning. Increased vent area and length means that the vent pipe resonance is lower in frequency than the Skhorn. I'm, expecting that the response will be less smooth above 150Hz, but that's the tradeoff made for bigger vents. The Skram has 4 vents instead of 3 like on the Skhorn. I decided to add one more for even more tuning options. Tuning with all vents open is basically the same. Being a single driver design, the Skram does not have the dual opposed drivers for mass induced vibration control like in the Skhorn. Other than these changes I would expect that this design behaves and sounds very similar to the Skhorn. I'd expect that the two could be used together without issue. They are more alike than dissimilar. Skram Dimensions: 24"x32"x36" (609.6mm x 812.8mm x 914.4mm) Weight: Cab=115lbs or 52kg projected (Driver will add another 25 to 55lbs (11 to 25kg) depending on the driver. Vent Tuning: All vents open = 29.5Hz / 3 vents open = 25.5Hz / 2 vents open = 20.5Hz / 1 vent open = 14.5Hz Each vent is greater in area than a 6" pipe. All vents open is equivalent in area to 4x 6" ports. All of the usual pro 21's should be a good match. 18Sound 21ID, 21NLW9601 B&C 21DS115, 21SW152, 21Ipal RCF LF21N551 looks decent Lavoce SAN214.50 Eminence NSW6021-6. NOTE about the prints! These are extremely detailed due to being designed in Solidworks and the plans from which my personal cabs would be built. The simplified layout drawing is really all that should be adhered to to build this sub. The bracing and hatch can be simplified to suite your own ideas or the tools available to build the cabs. Just make sure it is solid! Any or all of the hardware can be deleted or substituted or modified to suite your needs. Even outer dimensions can be adjusted within reason. Think of the plans as a chassis guideline that can be modified to taste. You don't have to put all of those holes in your braces or use the handles, a half inch roundover on the cab edges, add a cutout for a plate amp on the hatch, etc... Skram print.pdf skramcutlist12mm.pdf Skramcutlist18mm.pdf DXF files... Back Brace 1^Skram_TI x2.DXF Back Brace 2 ^Skram_TI x 2.DXF Bottom Braces^Skram_TI.DXF Bottom Brace^Skram_TI x 2.DXF Front Brace^Skram_TI x 2.DXF Mid Brace x 4^Skram_TI.DXF Top Brace^Skram_TI.DXF A^Skram_TI.DXF Back^Skram_TI.DXF Bottom^Skram_TI.DXF B^Skram_TI.DXF C^Skram_TI.DXF D^Skram_TI.DXF E^Skram_TI.DXF Front^Skram_TI.DXF Hatch Brace Small^SKHorn.DXF Hatch Brace^SKHorn.DXF Hatch^SKHorn.DXF MirrorSide^Skram_TI.DXF Double - Middle Two.SLDPRT Double - Middle Two.SLDPRT.DXF dxf_filelist.txt Single - Left or Right.DXF Triple.DXF Back^Skram_TI.DXF Bottom^Skram_TI.DXF E^Skram_TI.DXF Side^Skram_TI.DXF Top^Skram_TI.DXF Side_1^Skram_TI.DXF Top^Skram_TI.DXF
  2. 6 points
    Been almost 3 years in the making. Huge undertaking. Just finishing up the last few features but we're closing in!
  3. 5 points
    I vote that we let users add graphs, content, build plans, etc. 1 guy can only produce so much content. As far as social media I'll let you guys in on a secret. I've never been active on any form of social media. I don't plan to be either. From what I recall Kyle isn't either. That's why we don't have any of that for DB! Neither one of us wants to deal with it!
  4. 4 points
  5. 4 points
    The idea behind this build is to learn. I started my company to sell subs, because here in this part of Europe, there is a very deep lack of powerful high quality bass Mostly I wanted to see people's reactions, the power density, the extension, to see if the weight and dimensions are a big problem. They are now installed in a basement where we got them by hand. I wanted to see about the power compression, port noises, chuffing, I have learned how and why to install protection grilles, handles, wheels, I wanted to see if I can improve their performance in any way without any other compromise except cost and complexity. I wanted to learn about braces, hatches, accessibility. These gave me a good insight on all of these These subs will be loaded with 21ID and Ipal modules and will permanently stay in rent in a small club where people love good sound. Based on what I learned, I'll continue my other designs and after all 4 designs will be ready and I'll have a stock of 4 of each, I'll publish the specs, measurements, graphs , technical details , pictures and videos and I'll start selling those.
  6. 3 points
    I think what db does better than many other sites / forums is that discussion here can be backed by real numbers. Subjectivity, while is fun to discuss and does have value, can't really run unchecked to the existing data. Now, data does not capture everything, and I will admit that there is a certain adoration I hold for some subwoofers that don't even hold a candle to most things in our list and I'm not shy about it. Its fun to discuss everything, big, small, expensive and cheap, don't worry about getting ridiculed.
  7. 2 points
    Prelim BEQ for Fellowship: Lots of under 3Hz noise, hence the extra highpass down low, now I just need the time to screen it properly. These are long films. JSS
  8. 2 points
  9. 2 points
    2 Skrams. Smaller and easier to move with 1 person. Larger vent area, even greater tuning options, larger air volume for slightly increased low end. 2 Skrams should be offer a bit higher performance than a single Skhorn assuming that both are using the same drivers.
  10. 2 points
    21SW152-4 models great in this cab. It's one of the smoother modeling drivers in it. All of the usual pro 21's should be a good match. 18Sound 21ID, 21NLW9601, B&C 21DS115, 21SW152, 21Ipal, RCF LF21N551 looks decent, Lavoce SAN214.50 and the new Eminence NSW6021-6. I'm hoping that it will be smooth up until 150Hz if needed. It should be. Actually I'm hoping it behaves similar to the Skhorn and is relatively smooth up until a bit past 200Hz allowing XO's well in excess of 120Hz if required and a predictable XO transition to the mains. Until I get finished cabs with drivers installed I won't know exactly but it should be close to the sims. As far as sound of the cabs I actually preferred the Skhorn over the Othorn slightly, Skhorn seems a little bit cleaner at high output (lower THD) with a bit more oomph in the 60-120Hz octave, but both are still really good for loud music playback. I'd expect this cab to sound extremely similar to the Skhorn and perhaps a bit better in a Skram pair vs single Skhorn situation. Again I don't have Skram's done yet but that's what I expect. Unfortunately I got rid of my last pair of Othorns a while back so I no longer have those on hand for direct comparison. A lot of people are happy with them though. Output and sensitivity between the 2 cabs isn't a whole lot different overall. Othorn is a larger cab, heavier cab that is 4" deeper, so it likely will have a bit more max output in the 25-35Hz area and a bit more sensitivity over that range too. HIL and all of that. The Skram will likely have a bit more from 35-70Hz or about that. This is with all of the Skram vents open. It is more flexible and can go deeper once the alternate vent tunings are factored in. Top end above 70Hz is a bit of a wash. When I say more output I mean in the neighborhood of a couple of dB or less while using the same drivers. Not huge differences. Once I get to test the real cabs I'll know for sure. I'd say it's more of a lateral move to something a bit different rather than an across the board improvement.
  11. 2 points
    RCF LF21N551 arrived and tested. The driver is extremely well built, it is more powerful and efficient than my 21SW152 and the parameters better matches the SKHORN XL enclosures. The BL is pretty close to the specs, the excursion capability is excellent, with 18 mm gap and 39 mm dual layer inside outside coil, better but noisier cooling strategy. The triple point joint is reinforced with epoxy resin and the leads are glued to the spiders . The mechanical noise doesn't really appear even at 5.5 cm peak to peak excursion in free air but the turbulences are loud. I recommend it in these enclosures with all my heart.
  12. 2 points
    @3ll3d00dI need to download this and try it out. Thanks for developing this tool! @SME RP1 BEQ is currently my favorite track. The movie is not bad, either. You can watch it many times just looking for more nostalgic references. JSS
  13. 2 points
    Hey Mark. Sure...I pointed out it is a 6th order variant the first time I posted about these a few years ago. Personally I refer to these as BPH's due to the large expanding slot section, where as a traditional vented 6th order would have a chamber and a port. These lack a traditional chamber or vent on one side of the cones but I don't really care what label is put on it. BP6/BPH etc...Results are what matter to me.
  14. 2 points
    Now I have watched half of it, and the impression of the sound is even better than the first brief screenings. ULF is well done, and it sounds much cleaner and less distorted than other movies with clipping and heavy limiter use. I used to believe that a spacecraft that runs out of fuel will just continue at same, constant speed in same direction, but you always learn something new, from watching this movie it is obvious they loose speed and eventually go to a halt.
  15. 2 points
    2018 test season is here! Results and notes for this new JTR sub are viewable now. Enjoy!
  16. 2 points
    Let me see if I got it right: You found a suitable horn (lilmike's F20?), a suitable driver for this horn (pro driver), the size is not an issue, you have cabinet builder ready to make them for you, and you have a friend willing to assist in calibration & setup. Build it. If you go for anything else, you will regret because you will always wonder how those horn would sound. Integration of these horns will be no more problematic than the sub you already have, the worst case scenario is that you achieve a similar result. It can be solved. But first - build the horns. No need to go deep into all potential problems up front. Now I am looking forward to read about how this turned out, how it sounds.
  17. 2 points
    Soooo.....you guys (everyone on this forum) needs to purchase Valerian right now. Here are a few screen caps from the first night I tried to watch the movie. I know what you're thinking "now Nick, you said that you 'tried to watch the movie...why did you only try'"? I spent too much time taking screen caps to finish the movie in under 2.5 hours so I had to watch the rest of it the next day. The movie is awesome IMO. I only have a 4.1 system but the use of the rear/surround channels is immense in this movie. It's really really cool the way they heavily used the surround channels. I can only imagine what this movie must sound like in an Atmos setup. Visually the colors and scenes are through the roof. Sound is nuts - PLENTY of low-end throughout the entire movie. But I digress so here are some screen caps from the other night:
  18. 2 points
    Those lifting straps? I've tried them, they're OK for some things like couches and beds, but not something I would use on a sub. I have a little bit of experience moving big subs. We used an appliance dolly when we had to get the pair of LilWreckers down a flight of stairs and into a basement theater. Definitely took two of us, and I'm not a small guy. LilWreckers are ~32 cubic feet and about 300 lb if I recall. Google appliance dolly images You should be able to rent or borrow an appliance dolly without too much trouble. I moved the F-20, MicroWrecker, and a number of other unnamed tapped horns with my 2-wheel dolly, but I didn't have to climb too many stairs. No matter what, using some straps to secure the sub to the dolly is a fundamental. A second person can be a huge help too. Of course, if you have another stout person handy (looking at you, @Ukko Kari) , you just pick the cabinets up and carry them, like we did with the AlpineGeists.
  19. 2 points
    The lowend of the Noesis 215RT was carefully designed for a flat response in room. The half space, out door response doesn't give a good indication of the in room response. The Noesis 215RT was very difficult to design because of the horn's directivity transition to the direct radiating woofers and then the spatial and room gain. The attached measurement is a Noesis 215RT, 1ft from the front wall and 3ft from the side wall, in a large, open basement, on a concrete floor.
  20. 1 point
    It’s rated for 3/4” but you would need to run nitrogen to keep the wood from burning too much. I cut 1/2” at like 10mm/sec.
  21. 1 point
    Thanks for the good advices! I´ll be back with some testing results of the materials and maybe we try some cooling systems (not sure yet)
  22. 1 point
    I've mixed shows where the PA with only vocals on it could hardly keep up with the dumkit in the room. I'm talking 120dbA here, room for 150 people. No acoustic treatment, often not even half full. Hardcore drummers with a Snare drum forged on Mt. Doom. I don't mind a little stage bleed in mid-sized venues, as it usually just results in a 1-4khz boost in the cymbal range. That's what we can bring cympads for if it gets out of hand, but at some point it's just too much. It's all about optimizing the sound at the FOH and you have to find the right balance. And if you have issues playing a little less loud (ofc I wouldn't expect anyone to reduce his Metal drumming to conversation volume) you just need to practice more. I've been playing the drums in an Orchestra for 15 years now, that's where you really learn to control your dynamics. On the other side I'm also playing live shows with my Deathcore band and mix engineers often wonder why I'm playing so quietly heh. The 100dbA I was talking about was during the songs with 3s average. Long term average over an entire show (Swiss, Z7, 1200 guests, huge venue) was 95dbA. It was a Punk show, so pretty low crest factor stuff. I was told to stay under 100dbA long term average and was a little intimidated by the main guy telling me that he'd turn the PA off if I exceeded that. He turned out to be a really nice guy thou and told me a story where some guy started a show with 10 minutes of 120dbA average and he just shut the entire thing down. Some people really seem to lose their mind on the mixing desk. A friend recently had problems with loudness measurements at an outdoor event, where he saw the volume exceeding 120db periodically in the logs and they just couldn't figure out what happened. After some investigation it turned out to be freight trains passing by. Great choice of mic placement
  23. 1 point
    Yes, it's loaded with 21DS115s. I don't think it does 25hz the way I have it setup with all ports open. But it's for music only right now so I don't miss it, but I have so much headroom that I can plug ports and go under 20Hz when I get my HT going. Just loving the extra headroom. I have an extra Skram box in my garage planned for nearfield. But... although the wife is patient with all this, another BigA$$ NF sub is pushing it LOL
  24. 1 point
    Good stuff Nathan! Even with subs, its all about sensitivity... as you can now hear! Now get that thing painted.
  25. 1 point
    Speculation is it might have been the not enough glue on the joint at the former.
  26. 1 point
    Ok so about the ticking noise...I have a plethora of 21's in house from 4 different mfgs. Its not just the Ipals. One of the Lavoce 21's exhibits it and the other does not. And one of the Eminence 21's exhibits it and the other doesn't. It isnt audible in the sealed cab unless I put my ear right up to it. I dont think this is related to the spider gluing. It is present even with less than a few mm excursion. I almost wonder if it is the shorting action of the inductance rings even though that seems really far fetched but it does sound like a small spark jumping a gap. Really odd that Ive seen the same thing from 3 different major mfg's from 2 different continents on drivers with similar motor designs. That many unglued spiders out of such a small sample of drivers from multiple big name mfgs just doesn't seem possible.
  27. 1 point
    Well I added some info and screenshots at least. I don't have real cabs or test data yet but it will happen this summer. Based on the results from my last couple of designs I've got a high confidence of what these are going to behave like.
  28. 1 point
  29. 1 point
    Hey Revolt, As far as I know no one has run more than 2 cabs yet. This is a significantly more powerful design in a semi compact size than any others I'm aware of on the market. Especially in the 25-40Hz range. 6 or 8 should be devastating. The only things that are likely to compete or exceed these on a 1 vs 1 basis are Danleys largest most expensive subs like the BC415, TH812, or DBH218LF and other major companies top of the line largest, most expensive subs. M-force based systems, etc...As far as subs go you can accomplish a lot with cabinet design and " magic" ,but at the end of the day you need power handling, cone area and the ability for the drivers to move a lot of air via high xmax. Dual top of the line 21's are used for a reason. The Faital 18's give up displacement capability, cone area and I've not simulated them or tried them in this cab. Out of what Faital offers the 18XL2000 is probably the best match without giving up too much output. I'd really recommend 21's though. The extra cone area helps out a lot. If cost is an issue the Lavoce SAN214.50 models very well. I'm not sure what it would cost in the UK but here it is very reasonably cost ($450 usd). I have 2 on hand for testing and so far it looks like a lot of driver for the money.
  30. 1 point
    The short version is that the answer is not as simple as that. Have you ever done modeling of electromagnetic circuits, or tried to design and model a speaker motor and voice coil system? The wire material, total length, number of turns, wire gauge, etc...All matter, but that is only part of the puzzle. The gap geometry, amount of wire in the gap, magnet size, shape, grade, steel grade, shape, etc all have an effect. It's a complex set of tradeoff's and compromises. If you modify one thing it affects many others. Copper and aluminum are both useful. Copper becomes very heavy and is more expensive for long xmax, large diameter voice coils like those required for modern sub drivers.
  31. 1 point
    You guys are lucky that construction quality is that good. Even following code, construction is often not that great depending on where you live in the US, so if you’re in a normal apartment in the US, I doubt you could have even a Sb16 without getting into trouble even on low volume. Now bigger/taller buildings might have concrete floor construction and likely wouldn’t bother neighbors as much but that’s definitely not the norm where I’m at. Looking good and sounds like a good plan.
  32. 1 point
    Yep. And you have some great SPL numbers there. A true horn for two of those drivers would be enormous. It would have to be built into a theater rider like I've designed for a few clients. But get you even greater output. Impressive bit of work. I appreciate your level of detail in the files.
  33. 1 point
    Ok thanks Josh. Size is not a big issue as it will be a permanent install. Will look at Paul's mods and go from there...
  34. 1 point
    Nice!! SW152 is the best choice except IPal. I worked with PD2151 in some different alignments. Huge efficiency, even higher that the IPal drivers. Low MMS and very high BL. They can take a lot of voltage I low order alignments , they are very well suited to 4th order bandpass. They are conservatively rated at 1000 ( in comparison to other well respected brands) but they can really take 400 watts thermal dissipation, but they cannot dissipate that much heat as one IPal driver and the excursion is limited. Very linear, better than most in craftsmanship,
  35. 1 point
    Admittedly, I oversimplified the statement regarding equal peak height above. The relationship between the driver parameters and the box tune dictate the relative size of the two peaks. What matters most is that the peaks you're measuring are a decent match to what your simulation software is predicting. As far as the grille spacing? Yeah, make sure things won't hit. X-mech plus a few mm is a great start, I'd look at the thickness of nominal pieces of plywood or other scrap stock. Make sure the grille does not rattle. Foam weatherstrip and lots of screws.
  36. 1 point
    Took a impedance sweep. Looks like it's currently around 23hz. Not sure if that might change once the driver gets broken in? It may shift a little lower when the cab is standing upright. It's currently laying on its back because I didn't want to screw in the driver. Once it's standing up, the port may act a little longer since it's on the very bottom. I was hoping for a little lower but not sure if I want to mess with it. 22hz in the model works out pretty well with the inukes 20hz HPF. Adding length to the port isn't a problem, I left myself plenty of room to extend it. I did add the corner deflector in the back corner, but didn't get the impedance test of the before and after.
  37. 1 point
    You have a point. When I said "unfiltered", I left it vague. The context was ULF, which could be informally taken to be under 20 Hz. Extension under 20 Hz seems to be pretty rare these days, but there is a decent amount of stuff that reaches to 20 Hz or 25 Hz, as you pointed out. Of course studios have no obligation to deliver audio that's flat to DC (or 3 Hz?). Though it's nice when it happens. I wish they'd do it more often, for the tactile transducer users among other reasons. I know a number of cinemas have transducers now. Although they may be mainly of the "shaker" type with poor extension.
  38. 1 point
    You'll be surprised once in a while. Some TV shows do have some good ULF, albeit it can be spotty and inconsistent sometimes, and it's rarely as loud (relative to the dialog) as in movies.
  39. 1 point
    SME worked very hard yesterday and today to write a custom python script which used the invision rest API to iterate each post, find issues, and fix broken <a> tags which had the url assigned to the incorrect parent tag. Invision was unable to perform the bulk fix, so we had to create a custom solution to get it done. If anyone finds anything else wrong with links or images please let me know, but as of now, the broken thumbnails should all be fixed!
  40. 1 point
    I had a closer look at their web site, and after doing way more digging than I should have to, I figured out that their Xmax figures are actually peak-to-peak instead of one-way. As such, it would it would appear that the B2 drivers you are looking at have only 20 mm Xmax, per the manufacturer, vs. 22mm reported for the UM18 by its manufacturer. If you are concerned about box size and would like to go smaller, then a ported design is definitely out of the question. But I thought this was for a riser and that you had plenty of volume to work with? While the larger motor on the B2 will give you better efficiency as the box gets small, low-end efficiency goes down very fast as you shrink the box no matter which driver you choose. It's much better to use a medium to large box if you can, and the UM21 appears to win in that case. If you decide to use the driver for mid bass frequencies, then the stronger motor and tighter suspension of the B2 *might* have an advantage. But it also depends on inductance effects which are a total unknown for the B2s. I don't see any mention of inductance control mechanisms in their motor designs, which concerns me greatly. The consequences of inductance problems are a humped response with weak upper end output and more distortion with upper-end and mixed-frequency content. The UM18 measurements show excellent performance in the upper end, even though the sensitivity is not that high. Considering all this, I have to wonder what your end goal of all of this is. You're running horn speakers and a front-loaded horn mid-bass sub, but only listen at 85-90 dB? You want subs that extend below the mid-bass horns but are only considering 1 or 2 x 18s in a sealed riser? You realize that the rest of the speakers will probably leave them in the dust as far as output capability is concerned? I understand your desire to pursue the tactile dimension by mounting the drivers in the riser, but maybe you should address your SPL needs first. A cinema track at reference can demand 120 dB or more between 20-40 Hz and 115 dB or more below 20 Hz. You'll probably get more output from *any* sub if it's located in a corner or at least against a wall, and a large ported box will give you far more output for the money than a small sealed box. Why not start by building a pair of low-tune ported boxes to put in corners or up front using something like the B&C 21SW152-4? Once those are up and running, you can worry about the riser, at which point the drivers you use probably won't matter that much.
  41. 1 point
    Wow....EVERY effect must have 20-30Hz.....quite the impressive 70 to 30Hz slope... Think it clips? JSS
  42. 1 point
  43. 1 point
    Nice. It makes me recall the conversation I had last time I visited my doctor, who had heard from my wife that I was doing a lot of work in audio. Our conversation went kind of like this: Dr: "So what kind of turntable do you recommend?" Me: "I don't really listen to vinyl and haven't researched the options, so I don't really have an opinion." Dr: "Really? You only listen to digital? I have a friend who built a vinyl only system. I like it's sound. It's so sweet." Me: "There are things to like about the sound of vinyl, but it's possible to capture most of that 'sound' as part of a digital recording, too, if you prefer. The other good thing about vinyl is that music masters are often better for vinyl than for CD, not because of it's technical superiority but because the medium is harder to abuse for loudness." Dr: "Hmm. So then what kind of DAC do you prefer to use?" Me: "I have no strong opinion either way on DACs. Most DACs are made very competently and are unlikely to significantly contribute to sound quality." Dr: "Really? Hmm. Well, what kind of amps do you recommend? I use Parasound amps." Me: "Again, most electronics are perfectly fine for audio, provided that they are competently made. Most receivers of common name-brands like Sony, Yamaha, Denon, etc. are perfectly acceptable, as long as you have enough power for your speakers and listening level preferences. Your Parasound amps should work fine too." Dr: "Oh." Me: "I take a systems engineering approach to audio reproduction. That means that I am primarily motivated to improve on the weakest aspects of the overall system. The weakest aspect of any playback system, by far, is the speakers. The second weakest aspect is the listening room design. Electronic signal processing can be used to improve on both of these aspects, to some degree, so is worth considering too. Everything else is of minuscule importance." Unfortunately, the conversation didn't go much further from that point. That's a shame, because we'd finally gotten to the stuff I think is interesting and worth talking about. He never told me what kind of speakers he owned but did concede that his room was probably far from optimal. Next time I visit him, I will ask him if he was surprised by my responses and if he's given the conversation any further thought. I also hope to eventually persuade him to visit for a demo. I don't have any idea what he'll think. Maybe I should insist on blind-folding him before he sees the system. @Kvalsvoll, seeing as you have transitioned from a vendor of "hifi" wares to stuff that actually sounds good, do you have any older customers that come in and are shocked by what you've done? You've chucked a whole lot of fancy electronic equipment, and you've replaced your "hifi" speakers with ... horns! I imagine that comes as a shock to a lot of people. When I've gone to the local Rocky Mountain Audio Festival, I've been in rooms with CD horn speakers and seen people walk in, notice the speakers, and then make a disgusted face and walk out without even bothering to listen to them. Yet, I'll go into a large room with mediocre sounding but exquisitely finished speakers connected to huge racks full of electronics via cables the size of fire hoses and see numerous people standing agape. It's totally absurd. Like, there's a certain wealth level beyond which the majority of people lose any semblance of judgment.
  44. 1 point
    Hence my post over a year ago asking for real numbers.
  45. 1 point
    The numbers currently on the PB16's page are 95mm peak to peak Xmech and 82mm Xmax:
  46. 1 point
    Anywhere from 4-12 hours per film, with about 1/2 that time just waiting for processing to happen as I think about how to do the next trial solution. Pacific Rim took me several days. That filter was steep and hard to correct. It does get easier, though. I have done around 50 or so films and 30 or so DTS/THX/Dolby trailers. JSS
  47. 1 point
    Kinda off topic from the 215RT... In general if I was selling subs or speakers I'd probably aim for a flattish response to 30-35Hz and a gentle 6 to 12dB/oct roll off below there. Rooms vary a LOT but if you look at the broad trends vs individual samples most rooms seem to have some moderate boost by 20-25Hz and a large amount by 10Hz. Mine has about 3.5dB at 20Hz and about 14dB by 10Hz. There are always those examples that don't and you have your usual room issues such as the dip in the 12-17Hz range that occurs in a lot of rooms, or the peak near 40-60Hz for seating placed near the center of the room. A lot of companies go for the flat full or half space bass response. It's really a matter of preference and design choices.
  48. 1 point
    I liked it better. Even James Cameron likes it which is surprising considering he crapped on the last 2. http://www.cinemablend.com/new/James-Cameron-Watched-Terminator-Genisys-Here-His-Review-71898.html They copied a couple of scenes from the first one note for note which was cool to see.
  49. 1 point
    ^^^ Never thought I'd be going to buy that movie...
  50. 1 point
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