Jump to content


Popular Content

Showing content with the highest reputation since 10/12/2018 in Posts

  1. 4 points
    Bolserst is a long time contributing member over at DIYAudio forums. He has developed this spreadsheet that will take an impedance measurement and calculate the complex inductance of a driver. David McBean the author of HornResponse has added the capability to simulate using this data into HR. This is a much more accurate way to simulate and design speakers and subs. In short if you are designing bass systems using modern, high power, long throw drivers and you are not accounting for complex inductance in your modeling; The models are probably not representative of what you would be building. Previously you would need to purchase costly software in order to derive and simulate using these parameters, or figure out a way to roll your own way. The spreadsheet imports a text file of an impedance measurement and calculates the complex inductance specs. Additionally if you have an added mass or Vas (Known air volume) impedance measurement you can also import it and the spreadsheet will calculate all driver parameters needed for modeling. A driver file can then be exported for use in HR. Semi-Le_Calc_V2.zip
  2. 2 points
    latest builds have a split screen before/after beq spectrogram view as well as a way to check the headroom in the waveform pre/post BEQ which you may find useful (and colourful!)
  3. 1 point
    While within their limits, amps are essentially voltage control devices, so the loads in parallel won't interact via an electrical path. There may still be mechanical interactions from shared air space or external proximity/boundary/acoustic loading effects but from an electrical standpoint, the two drivers don't "see" each other. In a series configuration however, it is possible for power to be transferred between the drivers unless they're exactly the same. Any electrical or mechanical differences between the two drivers may cause energy to flow between the two, which can complicate their behavior compared to systems with all drivers in parallel. It's also possible that this interaction could couple with another interaction (say acoustic or mechanical interaction due to proximity or shared air space) in a way that leads to a feedback loop that causes unstable behavior. In reality, the differences involved are probably too small for this to be a problem most of the time. However, I believe there are always opportunities for exceptions. Some manufacturers may be more consistent than others with regard to parameters that matter. Loading drivers into a tuned enclosure (especially one with higher pressures like a horn) could amplify certain problems. Running the drivers harder where non-linearity becomes a big factor is probably likely to accentuate such problems too. But this is all really just theoretical speculation. I have no idea if any of these effects are really strong enough to cause serious problems.
  4. 1 point
    This is not really a secrete. We are converting all the data over, but please check out our new site. Its a got a lot of visual upgrades and a much better compare feature. https://prod.data-bass.com/ The URL will changed do data-bass.com once we finish the conversion. Josh has done so much hard work, we are really grateful for his efforts. If anyone has a passion for this sorta stuff. I'm would be interested reverberating any help we can get with the data conversion. Please ping me if you are interested.
  5. 1 point
    @3ll3d00d, I do follow and appreciate the excellent work you have done on the beqdesigner. Especially since it is obvious now that the best we can hope for is movie sound that responds well to bass-eq, there will never be a situation where you can assume the sound is perfect from the provider. I also follow, or at least make an attempt to see what is going on in the soundbar-forum thread.
  6. 1 point
    Paul if you keep this up you might as well start adding to the Data-Bass. I can get you a login and password you know...You seem to have better access to the high end pro speakers than I do. I feel like this stuff is going to get lost in here and is getting a bit off topic. I can move it out to another thread... Why the switch of amps for the RCF test? I assume this is outdoor GP testing? Are you using the bursts inside of REW?
  7. 1 point
    Apologies for taking so long to give a review. I *finally* watched this tonight! I just kept putting it off because I've been working so hard on new/improved treble optimization. I'm still not done and was thinking I'd save it for when I'm "done", but my wife got tired me of putting it off. I'm glad I listened to her. I think this is my new favorite soundtrack, and the BEQ takes it to 110%. I watched it (BD/Atmos soundtrack) at around "-5" on the MV. (I forgot to check to see if there was any dialnorm modification to that, so it might have been less). My system is configured with a pretty generous house curve (up to 10-12 dB "hot"). Pretty much all of the bass sounded full bandwidth, and the frequency balance was excellent. At no point did the low stuff overwhelm the mid-bass nor any of the rest of the spectrum. The sound effects were very cohesive from top to bottom, and the tactile sensations were detailed, articulate and at times brutal. There were multiple jaw-drop "jump out of my seat" moments where things just went BOOM spectacularly. The surround work in this mix was a big part of experience as well. What can I say? This this a superb demo piece: for my bass capability, my overall sound capability, for BEQ as a technique, for superb sound design, etc. It is state-of-the-art. A big thanks to @maxmercy for taking the time to do this!
  8. 1 point
    Room response matters far more than sub response. We're not listening to the cabinets out in a field or in an anechoic chamber, we're listening in a room. I know very little about this aspect of acoustics, but I am working on learning about this. There are lots of ways to make bass, none are totally right, but none are really wrong, they're all just varied in their types and degrees of compromise. Certainly, multiple cabinets bring benefits, no matter the alignment selected. Last thing I am trying to do is oversell tapped horns, specifically my designs. I know the guy that designed them, and I know the grades he got when he was studying engineering.
  9. 1 point
    Star Wars: The Last Jedi Pre/Post: Significant improvement, all the effects that should have more infrasonics gain some, especially effects that are close to the viewer/camera. Lots of infrasonic noise in the track, so the highpasses are necessary to avoid a DC offset to the track, since we boost those infrasonics so much. The track with the below changes played back at +4dBRef (equivalent reference level) has a Dynamics score of 31.26dB, and no effect is greater than 121dB, no extended effect greater than 114dB. Capable systems will like this correction. Do not apply this correction on top of a 'house curve'. At most, a smooth 10dB rise from 20kHz to 20Hz is all that is needed. Correction was applied to the 7.1 channel bed of the ATMOS track, the DTS track is similar, but I did not test this correction on it. LFE: Gain -4dB Low Shelf 14Hz, Slope 1, +5dB Low Shelf 15Hz, Slope 1, +5dB Low Shelf 16Hz, Slope 1, +5dB Low Shelf 17Hz, Slope 1, +5dB PEQ 20Hz BW 1 octave, +3dB PEQ 65Hz BW 0.75 octave, +1.25dB Highpass 6dB/octave 3Hz LCR: Gain -4dB Low Shelf 20Hz Slope 1, +6dB (3 filters for 18dB total) Highpass 6dB/octave 3Hz Surrounds: Gain -4dB Low Shelf 40Hz Slope 1, +6dB (6 filters for 36dB total) Low Shelf 45Hz Slope 0.5, +6dB (2 filters for 12dB total) Highpass 6dB/octave 10Hz JSS
  10. 1 point
    I get away with 125dB of bass on a nightly basis Bosso and Paul will attest, it is perfectly quiet outside my house at those levels so long as all the doors are shut.
  11. 1 point
    Thanks for chiming in, Brandon. From my experiences setting up systems for other people (read; calibrating flat) over the years, then popping back in to say 'hey' months later and seeing the subs bumped to +10dB hot, I truly believe that most enthusiasts would prefer the "peaky mess" you describe. It cracks me up how the AVS fora are clogged with experts comparing a 0.5dB increase in output with 3% less THD to 'prove' which sub is the mostest bestest and then post a (+/-)10dB FR with the sub at +10dB hot. That's simply comparing inaudible distortion vs output in dBSPL differences at ground plane outdoors to utterly gross, ridiculously audible distortion at the seats at home. Yes, it's a fine dance to get 8 discrete channels of 3 Hz-20k Hz digital audio properly calibrated and integrated with multiple seating positions in a relatively very small venue to a (+/-) 3dB response. I always thought that how to do that would be the crux of the discussions vs " my 'x' sub hits 3dB harder than your 'y' sub at 2M GP". It's cool to blast away with whatever source and clock it for dB drag stats and talk about how it cracked the ceramic in your neighbor's shower stall, really, it is. But, everyone should first be able to brag 3-120 Hz at reference level with (+/-) 3dB response as their reference system before engaging in those grossly distorted exercises. I keep going back to the revelation I felt when seeing Keith Yates' Way Down Deep series in which he included digital spec lab caps vs mic'd spec lab caps using the actual scenes of actual soundtrack that we all were trying to reproduce in our HTs. Of course, they showed no room gain because he measured the mic'd version outdoors, but what a metric! I still think it's the best metric and certainly one that should have been expanded upon in the 11 years since.
  12. 1 point
    It can be done right though. With my nearfield, it is not level matched to the front, rather, I run it a good 4-5dB lower than the "main subs" so the response does not suffer. If run level, the response gets boosted from around 40hz through 80-100hz and you no longer have a nice smooth FR to the single digits, instead a peaky mess that basically rolls off at 6dB/oct down to where the nearfield's response is low enough that you get back to your native 3-4m response from your "main subs." This is no good, obviously. Two ways to combat this is either run the nearfield low enough that it just simply adds to the experience, but doesn't affect the nice FR that you had previously with traditionally placed subs, or Cross the nearfield low, like, 30-40hz low, and use it simply as an air pump to increase your tactile sensation. I have to say, done right, it has really added the sensation I was looking for, whilst not affecting the FR all too much, it certainly is a game of finesse to get it all right though.... You talking about Pop's SI's? Oh they definitely added to the experience. Of course, his little alcove where he had his setup in his open basement basically made it like a 6th order bandpass box....and you were sitting in the back chamber!!!!
  13. 1 point
    Sound mixers aren't mail room clerks.. if you subscribe to the notion that 50% of the film experience is sound, you can understand that directors might not have the expertise to do the actual mixing, but are integral in helping develop the overall soundscape of a given track. A colleague of mine has a good analogy... our job, as mixers, is to get the ball to the 10 yard line.. the director helps us get it into the end zone... sometimes they fumble... While people like CN and others might not produce tracks you like, they are still the ones overly responsible for the overall aesthetic of the film.. to say, or think, that overseeing a mix is micromanagement shows a lack of understanding of how films are truly made, IMO. The mixing stage, with a good director, is handled just like a live set when doing principal photography.. it's not just some technicians spinning knobs.... Of course I think of it as an art form, and judging by the vast differences in styles between directors, sound editors and mixers, sometimes it's more apparent that some artists are more talented than others... but in the end it's all subjective. But to suggest that we should be left alone to our own devices as mixers would leave to homogeneous, sound alike mixes that... IMO that would be really boring. Just my .02.