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Showing content with the highest reputation since 10/16/2018 in all areas

  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
    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,
  4. 1 point
    FWIW, I liked TLJ as a film a lot more after the second watch. It's definitely flawed, but what SW film isn't? Yes! Because the channel architecture includes the LFE channel for extra bass headroom, any film mixer that wants to use LFE in the mix must effectively use some kind of bass management when creating it. Microphones and synthesizers don't tend to spit out separate LFE tracks, and I doubt the sound designers deliver content with separate LFE either. Even if they did, it wouldn't allow optimal budgeting of headroom in the mix, so basically it comes down to the mixer to figure out how to distribute the sub bass between the different channels of the mix. I'm sure many different strategies are employed including the wacky filtering schemes seen in TLJ and many other movies. I wouldn't be surprised if a lot of the bass that appears to have been filtered from the surrounds was simply re-routed to LFE instead. This is probably why almost every one of the BEQs developed by @maxmercy uses quite different filters on each channel, and why I believe this approach is usually necessary for good BEQ sound quality. Even then, it's probably not possible to fix everything. The bass management on the production side may be applying very different filters to sound that is redirected from each mains channel to LFE. For example with TLJ, it's possible that the 40-60 Hz part of the LFE channel contains a lot more bass that goes with sounds in the surround channels than screen channels, but below 40 Hz, it's a more even mix of screens and surrounds. So any adjustments made to LFE could have different effects on the surrounds vs. the mains. Lastly, we need to remind ourselves that bass management on playback systems has a lot of problems too. Probably very few systems out there have neutral sounding bass for sounds on all 7.1+ channels of a soundtrack because of sub crossover phase issues. The more savvy home theater people know to optimize sub delay for best sub crossover response, which makes a *huge* difference, but this is only possible on one channel (i.e. the center channel for movie optimization) or some weighted sum (i.e. left+right for music optimization). How many people here or anywhere have good response in the sub XO region on their surround and overhead channels? Yes, those channels do get used for bass, and they get used a lot more now because immersive formats for the cinema specify bass management for the surrounds. I personally have the capability to optimize bass management completely and separately for each mains channel and for LFE, which is itself optimized to blend best with simultaneous content in the center channel. IMO, this should be a minimum requirement for a "high performance" home theate, but it's not possible to do this with any standard home theater processors I know of (without spending 6 figures $ at least). I doubt very many "Atmos at home" production systems have that capability, which means they aren't hearing the bass right on their own soundtracks. (Sadly, I wouldn't be surprised if many of these don't even have the sub distance optimized for best center channel response.) At least Atmos in the cinema specifies that surround and overhead channels be bass managed to separate "surround subs" located closer to the back of the room, which probably helps a lot, but Atmos for home is still essentially a 7.1+ format.
  5. 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.
  6. 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.
  7. 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.
  8. 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?
  9. 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!
  10. 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
  11. 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.
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