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Showing content with the highest reputation since 12/16/2018 in Posts

  1. 4 points
    Agreed...There have always been a lot of hang ups with terminology in audio circles and fixation on defining things by a strict set of rules. In order to be an IB the back volume must equal at least 10X VAS...Waveguide vs horn etc... I consider the Skhorn a hybrid 6th order design. Fun fact...Skhorn is pronounced like the word scorn and I gave it that name because after exploring all the options I could think of attempting to do a horn of some type, I ended up not doing a horn at all. No matter how much I wanted to, and I really wanted to make a horn at first, I simply could not make a horn this size that would perform like this cab. After giving up and scrapping all the horn ideas for a hybrid 6th order BP I called it Skhorn as a middle finger to bass horns in general. Most people think it's called that because it's some kind of horn LOL.
  2. 4 points
    fwiw this release can show the bass managed result of a set of filtered channels in the app, updates live as you change filters and reports on headroom available - https://github.com/3ll3d00d/beqdesigner/releases/tag/0.5.0 I recommend using a decimated track if you want this to perform acceptably so that means it isn't a perfect simulation, close enough though for this purpose IMO
  3. 2 points
    I have heard the TH-50 way back what must've been a decade ago now...It was quite powerful in the basement of the home that we demo'd it in. Ivan also brought a Danley CS-30 and a THspud from what I recall. The TH-50 uses a beastly 15" driver (MTX 9515-44) and it's a huge cab but it does deliver the goods. Since the thread is about the Skhorn perhaps we should move discussion to a build thread on the Microwrecker. LilMike is someone I've talked to for years and met before. He's a good guy and he lurks around here, so if you have questions don't hesitate to ask him.
  4. 2 points
    TH's have a harmonic spike in what is commonly considered their bandwidth which can end up causing issues. If the TH is tuned low it moves the placement of this spike down in frequency until it can end up in the critical bandwidth you want to use the sub in. Bass guitar and kick drum range...As the TH becomes more and more undersized it exaggerates the spike in response even more. The more the tuning is lowered the greater the TH will be undersized effectively. There are tricks that can be done with the design to minimize this harmonic spike and a very well damped driver helps somewhat. You can also attempt to address it with EQ. However if it is bad enough it will always be audible. In my opinion TH's work the best when only extending to 25-30Hz at the lowest due to this. This allows you to keep that harmonic above 100Hz and above the usual low pass for the sub. This is why I quit pursuing big TH's that extend deeply. Other designs can be made to sound excellent over a wider range much easier. Sealed, IB, ported, FLH, or BP variants. In my opinion for HT powerful headroom down to the 15-16Hz range gets most of the content. It's greatly diminishing returns below that point. For music I consider 25-30Hz the minimum for good reproduction without missing out on the "heavy" notes.
  5. 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
  6. 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.
  7. 2 points
    https://github.com/3ll3d00d/beqdesigner/releases/tag/0.5.2 contains some enhancements to the built in bass management sim which means you'll get a more accurate idea of whether it is going to clip or not after filtering & also lets you more easily see the impact of BEQ on the full track (via the spectrum comparison view). If anyone has any other suggestions for how to make this more useable then feel free to raise them (otherwise it's just whatever I think makes sense based on me using it to try out BEQ for tracks).
  8. 2 points
    Mr. Ricci, can you design me a ported box for the SI HS-24 with no more than 8 cu.ft. of enclosure volume? And can you tune the port to 12Hz please? You’re the bestest! Thanks Josh. Happy Holidays guys! Thanks for hosting such a magnificent and informative site!
  9. 1 point
    Reading through this thread has been really inspiring. I discovered new drivers that I would consider reference (IPAL and its brothers), and learned more about horn enclosures. It makes me want to attempt building a small horn loaded subwoofer for use with desktop speakers and the such, just for its high efficiency.
  10. 1 point
    Yep...I emailed Brian about the SP1-6000 plate amps a few weeks ago and he put me in contact with Justin. Brian says he still does consulting work for SP when needed but otherwise is retired.
  11. 1 point
    In other amplifier news, SpeakerPower is under new management since Brian has retired. Retail prices appear to have increased as well. http://www.speakerpower.net/about-us.html "CEO's Message Welcome, I am Justin Ryan, CEO of SpeakerPower. In 2018, I acquired SpeakerPower from its founder, Brian Oppegaard, upon his retirement. I am very excited to continue the growth and development of SpeakerPower. As an experienced executive in a variety of industries, and an MIT trained engineer, I know what it takes to develop exciting new products that satisfy the most demanding requirements of customers for their cutting edge products. With further investment in new products, I plan to build on SpeakerPower's 16 year track record of delivering high quality, powerful, efficient, and intelligent amplifiers. For OEM manufacturers in Professional and Home Theater markets, SpeakerPower provides the opportunity to have next-generation intelligent amplifiers in your self-powered loudspeaker line. Our complete turn-key approach means that it is as easy for you to install a SpeakerPower amplifier in your cabinet as a woofer, horn or compression driver. With our proven designs, you will be up and running quickly with minimal up-front investment. And our state-of-the-art digital signal processing and power technology will reinforce your image as a technological leader. With designs from 200 to 12,000 watts, we can meet your most critical needs. Users of SpeakerPower amplifiers enjoy high power and high efficiency, with intelligence designed to ensure continuous output in the most demanding applications. Our products are manufactured and supported right here in California. Our commitment to quality, technological acuity, and steadfast product support means your loudspeakers are powered with confidence. See what we can do for you today. Justin Ryan CEO"
  12. 1 point
    At least get a friend to take a picture of your face when you push those things for the first time. At 25 Hz, you're doing better than the vast majority of cinemas and almost all pro sound systems in existence. Going lower will definitely make a big difference with *some* movies (maybe 1 in 3 action/scifi) and a subtle difference with many of the others. Because of room gain, you don't necessarily need a lot of output at the "tuning frequency" of a horn if it's below ~30 Hz. A lot depends on what the room is doing. Mine ramps up like crazy to 20 Hz. IIRC, I theoretically can do near 130 dB sine waves with my subs and without using a huge amount of power) A pair of MicroWreckers at 20 Hz full tilt probably could destroy my home. I guess you'll find out what you get with them in your room.
  13. 1 point
    My point is that the Skhorn offers most of the same benefits as other sub horns, regardless of whether the Skhorn is technically a horn or not: The driver is relatively concealed, which helps filter unwanted driver distortion and noise. The expanding slot for the front provides acoustic loading at the upper end of its bandwidth. The vent/box resonance provides acoustic loading at the lower end. By "larger effective area" I think you are referring to directivity/dispersion control. The Skhorn doesn't provide much dispersion/directivity control, but most sub bass horns don't either because the waves are so long. What's probably relevant to you about the Skhorn is not that it isn't a true horn but that it that doesn't extend as low as you'd like for home theater content without plugging vents, which makes compression more likely. The Skhorn does look cleaner in the mid bass than the tapped horns do, so for music integration, I'd expect the Skhorn to typically give better results, but a lot depends on room, placement, setup, etc. I think you chose the MWs because you wanted as much extension as you could get while sticking with a horn, which may be more difficult (but certainly not impossible) to integrate with the mains. If money and floor space were not an issue, I'd suggest you maybe go with a Skhorn together with some sealed or vented subs dedicated to the bottom end. You could just leave them turned off when listening to music if you wanted an "all horn" system. Or maybe keep things simple and build a M.A.U.L.
  14. 1 point
    I would call the SKhorn a horn hybrid as it does behave like a horn in the upper end of its bandwidth and like a vented cabinet in the lower end. But really, I think obsessing about terminology misses out on the important nuances. When you use the term "force multiplication", I think you are describing the increase in efficiency that occurs as a result of an increase in acoustic impedance of the air adjacent to the driver. Put another way, the air near the driver is under more pressure than it normally would be without the "horn loading". Truth be told, there are many ways to accomplish this acoustic loading. One simple example that arises with subs in small rooms is placement of subs in or near a corner. The corner placement actually increases the acoustic impedance of the air, loading the driver like a horn would. Another way to increase acoustic loading is by placing multiple drivers next to one another. These strategies can be combined. For example, subs may be stacked in a corner in a floor to ceiling array, leading to an effective infinite line source and excellent acoustic loading. These do exactly the same things that horns do, and if one is flexible in one's thinking, one can see how such arrangements *are horns* for all practical purposes. This makes me think of "waveguide theory", which basically provides a new set of mathematical tools to analyze and understand horns. But at the time, horn speakers had a bad rep in audiophile circles for having screechy treble, so the people promoting the theory and speakers based around them insisted on calling their horns "waveguides", probably because the term was both less likely to sound offensive and more likely to sound sexy and innovative. BTW, I hold waveguide theory in high regard and believe it has contributed to far superior horn designs, but I think it's still silly to call a "horn" a "waveguide" just because it was optimized using the better theory.
  15. 1 point
    To add to this...The K series is set for a maximum draw of 32A slow average from the AC line to avoid tripping breakers. However with music signals this is quite a bit more than this seems. It is easy to pull more current for short durations but averaging even 20A with dynamic content is a LOT of power. I run into this with very long sine wave sweeps but this is not normal use. This is why amplifier current pull is rated at 1/8th or 1/4 duty cycle rather than 100%. The K20 at 1/4 duty cycle into 4 ohm bridged pulls 25A (230v AC).
  16. 1 point
    A K10 is more powerful and efficient than an FFA10k. On a pair of SKhorns 16A will be enough on the long. But you will see a voltage drop for sure and also you will see lots of amps drawn on the short term. On the K10 and K20 I have I've seen 47 amps at 225 V on display for large peaks. That's on the power supply, not the output stage. There I've seen 100 Amps and 220 V peaks on the K20 meaning 11KVA reactive power.
  17. 1 point
    I would recommend 2 drivers in series with a K20, one sub per channel. Or a SP12000. Or a driver per channel on SP12000 if you want to melt the coil in the first song. It works well with any amp capable of driving 2 ohm subs. The average and minimum load are higher than what one would get if one would use a pair of 4 ohm cabs per channel like a Stasys X, DBH218, F221 etc that would drop lower on minimums.
  18. 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.
  19. 1 point
  20. 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.
  21. 1 point
    You know it's odd I spend all this time trying to keep this thing as compact as possible for being a double 21 and everyone seems to say I wish it were bigger! Never would have expected that.
  22. 1 point
    I agree with you in part, but I think the differences can be greater than you'd think. A lot will depend on the particular mix and also the particular playback system and possibly some subjective preference. In TLJ, the failure to recover ULF from the surrounds is a sin of omission, which is relatively minor. Yes, it does mean that a spaceship might lose its weightiness as it pans from the front, overhead and to the rear, but at least the sound is not worse than what you started with. I picked the surrounds in my example because the difference is quite dramatic on paper and is one that we could all agree would be very audible with those discrete surround effects. However the front LRC channels are another story. Even though they roll-off at a similar point, their shapes are still quite different from LFE. So an EQ solution that is optimized to the mono sum average (which is dominated by LFE), could introduce new humps or bumps into the front LRC that weren't there before. Here's where we *can disagree* about what's audible and what's not. Though arguing from personal experience, even quite small bumps can be audibly degrading. Much depends on shape and bandwidth of the feature, in addition to the level, and also ... Audibility of differences will depend on the playback system. Systems with substantial bass problems may not reveal degrading resonances as readily. (That's not a virtue as such systems also fail to reveal a lot of content.) For example, a BEQ filter applied to front LRC that increases ULF while adding a slight bump around 55 Hz may have a pronounced boom around that area in general, but on a system with a severe boomy room mode at 45 Hz, the problem at 55 Hz may be hardly noticed. The BEQ might be an unqualified improvement on this flawed system, but on a system with very clean bass response, the 55 Hz bump may be much more obvious and degrading. If you had to choose between full ULF extension and balanced response between the deep bass, mid-bass, and upper bass, which would you choose? Personally, I'll take the balanced response over the ULF extension any day. IMO, the ULF is the least important frequency range. I believe the notion that "[global] BEQ that gives 80-90% of the improvement" is overly optimistic, but I am also inclined to judge the soundtrack for what it will sound like on a revealing system vs. an "average" one. So practically speaking, a global BEQ may be an improvement for most people who choose to use it, even if it does degrade other aspects of the bass somewhat. And I do understand that most people who have EQ capability at all can only use it on the sub output. I agree many filtered tracks can be improved to an extent with a global BEQ and that it's worth doing even if an independent channels BEQ would sound better. But I'm skeptical that a global BEQ will always be better than nothing at all. Focusing only on ULF, a BEQed track will always seem to be an improvement, but if one considers the sound as a whole, BEQ that introduces new bass resonances in some of the channels could end up sounding worse than nothing at all. Again, a lot is going to depend on the playback system. When doing these BEQs (whether global or channel-independent), it's very important to listen to the results on a system that is as accurate and revealing as possible. (This is probably my biggest gripe with the AVSForum thread where it appears BEQs are being developed using all eyes and no ears.)
  23. 1 point
    bit quiet round here recently but in case anyone is watching... latest beta builds have a bunch of features around seeing the impact of filters on the waveform and being able to zoom into the spectrum for slices of the track while also seeing the overall track. The avs thread has some pics and details - https://www.avsforum.com/forum/113-subwoofers-bass-transducers/2995212-bass-eq-filtered-movies.html#post57032634
  24. 1 point
    @SME, the interest for bass-eq is very, very low considering the huge impact on sound experience. One reason for that is that very few people actually has a sound system capable of reproducing full range with decent capacity and quality. One purpose of this thread was to create awareness, so that the producers deliver better, unfiltered sound in their movies. No bass-eq necessary. Only a few movies deliver that, even today it is rare to see a new release with full frequency range intact. The reason why is that they are clueless - they have no idea that anything is missing in their sound track. No producer would allow a filtered movie to be released if they knew their product could deliver a much better and more involving experience. Most people play the bd and have no option to change the sound track, the only option is to use eq in a dsp somewhere in the chain, and since all decent bass systems has a dsp, it is convenient to implement bass-eq on the bass-system. The drawback is that you can not do individual filtering of the channels. But compared to no bass-eq, this is a good and very useable alternative. I prefer to do individual corrections, because it is better, @maxmercy is very clear on this, he is the true bass-eq purist among us.
  25. 1 point
    Bosso, if this is directed at me, I certainly don't hate Nick. But I am tired of the constant AVS bashing around here. It's turning this forum very negative. Nick bashes AVS and then goes there to announce products. I called him out on this one time and he told me I'm the kind of person that makes people want to leave forums and compared me to Hitler. Nice If Nick doesn't want to answer questions about his driver because it causes forum issues, all he has to do is say he'd rather not share those details. The meaning of his post was not apparent to me... Perhaps this forum could take it's own critique and stop being so negative. If this is a place for a few people to whine about AVS all the time, then I'd rather not be here. As many problems as AVS has, poking fun and whining about it here doesn't make this place better.