Jump to content


  • Content count

  • Joined

  • Last visited

  • Days Won


SME last won the day on July 14

SME had the most liked content!

Community Reputation

201 Excellent

About SME

  • Rank
    Super Bass Overlord

Profile Information

  • Gender
    Not Telling

Recent Profile Visitors

289 profile views
  1. Do you have the Bob Katz Space Shuttle Launch recording? As far as I know, it is not clipped, but I could be wrong. The Danley fireworks recordings are definitely clipped and pretty severely at that.
  2. Nope. It shouldn't be a problem anyway, but even if it were, the LFE channel gets filtered at 120 Hz in the playback pipeline.
  3. The first place I saw it was someone (I forget his/her handle) with all the JBL cinema gear. He/she was a bit moody (not sure of a nicer way to put it), and one day he/she got upset over who knows what and edited all of his/her posts here, removing all their content. My wife is insisting that we re-watch STID. I guess I'll get to hear how much a "good system" makes a difference. Hopefully I can still hear afterwards...
  4. The better my system gets, the less clipping bothers me. I think clipping tends to bring out the worst in any speaker it encounters. I actually enjoyed Thor quite a bit cranked up way higher than I would have imagined liking it before. (BEQ helped too.) I'd still prefer that the tracks were cleaner though.
  5. Interesting that so many people are describing struggle from their sub systems on "Kong". Form the PvA, it doesn't look that bad. The level score is only 4 star. What's going on here? Are people hearing the clipping in the track and thinking it's their systems? I'll comment when I watch it, being that I have (1) lots of headroom above 20 Hz; and (2)a peak level indicators display to tell me approximately how close I'm get to clipping myself. From what it looks like, I expect my sub system will seriously kill on this track. Too bad GOTG2 appears humped and filtered. Maybe BEQ can do it some favors.
  6. BEQ? Are you crazy? I'm not sure I'll be able to play back a BEQed version at my typical reference level. Look at that near-DC peak that's already pushing up to -20 dBFS. Edit: I guess that's what Crowson's are for. I am starting to think about getting those some day.
  7. Faital 15PR400, BMS 4594 MTM

    The SEOS horn is rounded along the vertical edges, although not as much as the horizontal edges, which I believe are much more important for the same reasons that we typically arrange drivers in a vertical pattern as opposed to a horizontal pattern. I guess you're right though that a lot of horns have little to no rounding at all. The trade-off on the SEOS is that it doesn't hold pattern as low for its size. But if one was to go through the trouble of creating large round-overs to reduce diffraction, more space would be needed anyway. It's rather more convenient to relying on diffraction control within the horn, IMO. Every application is different though. The SEOS horns are not known to load as much as many other horns, so for pro application also, they may not be best.
  8. Faital 15PR400, BMS 4594 MTM

    I'm a fan of the SEOS horns, and they do lose vertical pattern earlier like you describe. I'm not sure it's that big of a deal though as far as diffraction is concerned. My SEOS-15 measurements (in a box with approximately 1" of border) suggests that it loses its vertical pattern starting at around 2.5 kHz. The wavelength at that frequency is about 5", so the roundovers are going to have to be pretty big to control that. However, the primary effect of diffraction is to basically hold a vertical pattern (a somewhat wider one) to a bit lower than frequency than the horn alone would probably hold. If I do the pseudo-line, the horn will be sandwiched between the mid and the mid/bass-woofer sections, so it will probably allow more sound to travel up and down the baffle front. Again, I rather doubt this is a big deal.
  9. Real life sounds - instantaneous loudness

    Yes. The system had apparently been calibrated using JBL's new SDP-75 processor only hours before, and it sounded like the calibration had set the subs to run real hot, perhaps even boosting them below their tuning. That's strange because the system is supposed to rely on data about the limits of each sub to avoid excessive boosts. I'm sure it didn't help that the demos were seriously cranked too, probably beyond cinema reference level at the front seats. That's pretty much what I experience in my room. Except that at 11 Hz, the floor shakes too much to make a fair judgment. Below 10 Hz, I'm not sure I'm able to get enough output for any real pressure from sine waves, but I might get some from transients. I still need to do the HPF test with the Darth Vader cruiser clip in "Rogue One" with BEQ.
  10. Yeah, I once wished for "excess group delay" in the overlay windows, but I hardly pay attention to that anymore. I'm almost always looking at things windowed now. Except for low frequencies, I believe most reflections should not be EQed whether they induce excess delay or not. That's part of what the spatial averaging helps with. The reflections will induce peaks and dips that shift with measurement location, so averaging things help remove them so I avoid correcting them.
  11. Faital 15PR400, BMS 4594 MTM

    Small radius corners are pointless if you are using a good horn. The horn should keep most sound away from the edges, so it can't diffract. For low frequencies from the woofer, a small radius doesn't do anything because it needs to be on the order of the wavelength to matter. My cabinets have sharp edges, but I may some day build multi-segmented pieces to attach to their sides, essentially a rough round-overs from front to back, to effectively smooth out the diffraction of the lower frequencies. The low frequencies won't care about the individual segments, and it'll be much easier and cheaper to build than anything curved or multi-layered.
  12. Real life sounds - instantaneous loudness

    Yep. When listening to pure tones, one hears before feeling, but for typical mixed content, the sub bass mainly contributes feeling, unless the sub is producing a lot of harmonics on its own. The subs I heard the other night were obviously doing that, and while it impressed the audience with how loud they were, it was a totally different experience from, for example, my viewing of "Thor" last night, which probably involved similar SPL or more. Actually, there was a kind of funny moment while I was over at the place with the JBL subs. The host played the Dolby Atmos "Amaze" demo, which has a few effects with modest ULF subharmonics. Right before the part which there's a time lapse of storm clouds and some words like "thundering bass", I told him "the next effect has 14 Hz in it". Then the effect hit and the whole house shuddered and there was a loud "THUNK" after which the bass ended abruptly before the effect was done. Then I saw him running over to the system to turn it down because it had slammed the subs into the limiter. I wonder if he bottomed the subs on that one? Whoops.
  13. Real life sounds - instantaneous loudness

    I bet if this experiment were repeated with subwoofer tones, the trends seen would be even more extreme. The other night, I heard another system with some JBL subs, ported to 25 Hz or whatever, and I couldn't believe how loud they were. My own subs at the same SPL are barely there. When bass is reproduced cleanly, there's remarkably little to hear. It's almost all feeling.
  14. Faital 15PR400, BMS 4594 MTM

    So far it absolutely has been. And I'm already way far gone on the complexity thing. I'm running 14 output channels (but only 5.1 input), completely custom DSP with practically unlimited filtering capability, matrix processing, etc. I find that there is a narrow region around "perfect" within which the great are made. That's true despite the variability in the source content. As for diffraction, that's something that happens at edges and not surfaces. And often times, more edge is a good thing if the sound wave passes around it over a greater distance / time period. Diffraction is an unavoidable fact in audio, so the right approach is to design for and take advantage of it. That's essentially how horns/waveguides work to steer the sound into a desired pattern. But I'm maybe a special case because I love sound so much and actually have the skills to do what I do. That doesn't mean I have the knowledge of what is right to do. It's been a very fun learning experience, and it's great to go back and listen to stuff that had been harsh, muddy, or congested before and to hear clear, sweet, smooth sound. You know, the kind where it doesn't even sound loud until you try speak and can't hear your own voice or you turn it off and realize that your ears need time to recover.
  15. Faital 15PR400, BMS 4594 MTM

    I had the same problem with my mains, which are at 45 Hz vs. closer to 55 Hz (to be used with subs) to limit excursion related distortion. My ports have the two flared ends connected directly together so can't really go any shorter. It's not a big deal though. These speakers handle movies at reference levels without flinching. I'm thinking of enhancing them with low-mid/MBM units to create a kind of shadowed pseudo-line array. With those in use, the mains woofers won't be pushed nearly as much.