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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
    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.
  18. 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.
  19. 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)
  20. 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
  21. 1 point
    Yeah man! Josh has given us an incredible gift, deepest bows to a true master in his craft.
  22. 1 point
    MK/SME, I remember doing some comparisons: I can revisit this if there is enough interest. Apparently we will get a 4k version in 2021. JSS
  23. 1 point
    Parameters, notes and pics of this woofer have been posted. Looks like another good 21" pro unit so far. This is one of the smoothest modeling 21's in bandpass and horn enclosures and it directly competes against the B&C units so it will be interesting to see how it compares. Suspension was extra crazy stiff on the pair of woofers I have. Even after some break in the Fs is almost 10Hz higher than factory spec. Guess I'll have to rerun it after beating on it for a years or so.
  24. 1 point
    Why don’t you look into a dedicated midbass instead of using a subwoofer to play that high?
  25. 1 point
    As Ricci mentioned - no need for the MinDSP when there is DSP built into the amp. The Behringer DSP is plenty good, and won't result in ground loops or signal level issues, just plug it in, configure things, and it works. I fan-modded my iNuke 3000D about 3 days after I bought it. I've run it plenty hard, it is still going strong. I don't recall the process as being all that complicated (at least for someone that's used to taking things apart), really, you just need to make sure you point the new fan in the right direction and put the shroud (if there is one) onto the new fan positioned the same way as it was on the old one. Pretty sure I used a Noctua fan I bought on Amazon, it wasn't anything all that special. I seem to recall that I chose to cut the factory fan wire to connect the new fan, red to red, black to black, the RPM wire isn't used. So long as you're not pushing the amp to extreme limits with high output into a low impedance load, the fan mod should not result in anything but a quieter amp.
  26. 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.
  27. 1 point
  28. 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.
  29. 1 point
    I checked this out last night: a very good mix. It seemed to closely resemble the franchise's previous offering: Rogue Nation. Very little clipping from what I could hear with moderately loud levels and very good extension. There were several moments when I felt tingles in my head due to the bass pressure. The lightning strike was the biggest hit for me personally. A highly recommended purchase.
  30. 1 point
    I can see this, by correcting response at one location, you create problems and ringing at others. How can 'precise' correction of a reflection be 'corrected' for many locations? The peaks and dips will occur at different freqs depending on location from the speaker.. JSS
  31. 1 point
    In practice, how much does CMS actually vary in different manufacturing samples (assuming the same batch of parts)? I know we see lots of variation when we attempt to do measurements, but that's not necessarily the same thing. The value obtained may depend a lot on the details of the measurement, and the value is known to be quite sensitive to temperature and humidity. Both of these kinds of things should be expected to affect both drivers equally.
  32. 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 ?
  33. 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.
  34. 1 point
    Star Wars: The Last Jedi (Dolby ATMOS - 7.1 channel bed measured) Level - 1 Star (104.91dB composite) Extension - 3 Stars (17Hz) Dynamics - 5 Stars (29.19dB) Execution - TBD Overall - TBD Notes - obviously mixed below theatrical reference, with a dynamic, unclipped presentation. Playback at -4 to 0dBRef for best results. Solid soundtrack. Gets even better with BEQ. JSS
  35. 1 point
    Spider-Man:Homecoming BEQ This one really improves. The correction is applied to the ATMOS track's 7.1 bed. The 5.1 track is different. Correction as follows: LFE Gain -7dB Low Shelf 15Hz, Slope of 1 (Q of 0.707), Gain +4dB - 4 filters, total gain 16dB LCRS Gain -7dB Low Shelf 15Hz, Slope of 0.5 (Q of 0.5) - 2 filters, total gain 10dB Nearly every effect that should have more infrasonic impact improves JSS
  36. 1 point
    That is a significant change....have you listened to the new track? JSS
  37. 1 point
  38. 1 point
    Wow....EVERY effect must have 20-30Hz.....quite the impressive 70 to 30Hz slope... Think it clips? JSS
  39. 1 point
    These days you'd want to give this guy a call: https://en.wikipedia.org/wiki/Brian_Shaw_(strongman)
  40. 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.
  41. 1 point
    Hence my post over a year ago asking for real numbers.
  42. 1 point
    The numbers currently on the PB16's page are 95mm peak to peak Xmech and 82mm Xmax:
  43. 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.
  44. 1 point
    Yes, I did generalize for a tapped horn, and now that I think about it, I might not be correct even for that case. Several 10s of milliseconds sounds very high for "room acoustics" effects. A full cycle at 60 Hz is 17 ms. If you are delaying more than that (in addition to distance and "internal" effects), then you are probably adding unnecessary group delay, which likely impacts transient response sound quality and slam. FWIW, I've been studying this problem quite intently lately, trying to improve integration between my speakers and subs. Unlike most people, I have practically unlimited DSP resources to throw at the problem, where the only real practical limit is latency. I would say that the processing capabilities built into AVRs and most processors are woefully inadequate for achieving an optimal outcome. The"THX "LR4 sub/sat crossover" is largely fantasy that rarely occurs in real world conditions. The best that most people can do is a brute force evaluation of different XO frequencies and sub delays, where typically response is only optimized on one channel and at one seat. Yet even this effort requires more sophistication than most users are capable of. (Readers of DataBass and some of those who read AVSForum are obvious exceptions.) No wonder a lot of people prefer bass from 2 channel full-range speakers vs. subs. While the in-room "placement" of the LF drivers in such speakers is non-optimal, the XO is (ideally) optimal for that placement. I've noticed that good anechoic-flat full-range speakers, when pulled far enough from walls, can deliver impressive slam; whereas many sub systems including many with big horns or many large drivers struggle in this respect. My recent experience suggests that phase (or rather group delay) effects are more important than most people realize. And it's not what people think. I.e., a ported sub isn't necessarily sloppier than a sealed sub, though that obviously depends on the competence of design. Such effects are largely minimum phase. (A good thing.) Rather, it is the excess group delay, which arises from crossovers and distance differences that appears to be important. Pre-ringing in particular seems to really kill tactile slam, and it should be noted that FIR filters are not the only way to introduce pre-ringing into a system. Pre-ringing can arise merely from placements and/or delay settings. Any situation in which sound from a sub may reach the listener before sound from a speaker potentially involves pre-ringing. Rooms with rear subs are likely to exhibit pre-ringing for rows behind the one used for calibration. What's not at all clear is where the perceptual thresholds lie for hearing and feeling of pre-ringing effects. Anyway, I still have a lot of work to do here, and at some point, I may try to do some more formal testing of excess group delay effects, including pre-ringing, as this information would be very useful for optimizing sub systems for multi-listener environments.
  45. 1 point
    Just wanted to mention a side-effect of having a true full-range system, something the typical data-bass reader can relate to; You sit down in the carefully located listening chair, put on some quite ordinary music - jazz with vocal, acoustic instruments, perhaps some classical with a small string quartet ensemble. Sounds nice, the ears warm up a little, and you increase the volume slightly, usually end up keeping it at 0dB. Then - suddenly, out of nowhere, this string quartet makes the whole world kind of shift as a very powerful pulse of ulf noise makes your heart stop. You don't really hear it, you feel the air blast and the movement . Like in a well-done action movie - except that in the movie, it is expected, appropriate and part of what makes the experience better - and you are don't get scared. It is obvious that not only movie production studios lack low frequency reproduction capability, music studios have the same limitations, and they don't need it either for the string quartet. Except when someone stomps the floor, or touches the microphone housing, and a microphone picks up this and creates an earthquake on the sound track. If the recording is processed full-range, and no one checks for sub-20hz noise using a spectrum analyzer, this will go unnoticed. Until I play it on my system. At 0dB. Lots of recordings have ulf noise that is audible, and some have these occasional potential heart-attack inducing monster transients.
  46. 1 point
    This is how Powersoft K series amps operate all of the time. Those guys are smart so you'd have to assume they did that for a reason. This likely only shows up as a measureable improvement when the power draw becomes large and starts to sag the AC line. More useful for pro sound apps where you might have many amps driven hard on one circuit and/or the circuit isn't great to begin with like a generator, etc. Many years ago Ivan Beaver from Danley Sound showed me how to do this at a GTG. Flip polarity of one input channel in the amp and re-flip/correct at the speaker wiring to bring back in phase. Worked pretty good with a Crown CE4000.
  47. 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.
  48. 1 point
    We were discussing the theoretical design of the 32" driver and you choose to say the latter? Ok. We were not throwing anything under the bus other than discussing the claims that IST/Mach5 have actually claimed. You see "insults" when looking at discussion. Pretty typical for you having met you and seen your actions online after the fact.
  49. 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.
  50. 1 point
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