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maxmercy last won the day on April 18

maxmercy had the most liked content!

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About maxmercy

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    Ultra Bass Overlord

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    NW FL
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    Lots of stuff....too much, in fact

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  1. Mr Allen at HPS4000 has been echoing your sentiments for some time: http://www.hps4000.com/pages/articles_page_.html Even though he considers <27Hz not part of the audible spectrum (he is not wrong depending on frame of reference, hence his choice on subwoofer low corner), he has some solid ideas in those articles, and addresses many of the things we complain about here. JSS
  2. Commercial cinemas, when designed, implemented, and maintained properly provide a great low frequency experience, similar to a well done live concert. The caveat is that the experience does not extend much lower than 25-30Hz. Most impact/slam is between 40-100Hz and even higher in frequency. We are freaks here that can monitor and playback the lowest frequencies, that are often taken out of a mix that is CREATED and is meant to be played on a cinema system (25-30Hz vented, high sensitivity subwoofers). While mixing stages have existed in the past that could monitor into the low teens Hz-wise, most cannot monitor below the high-20s. We sometimes are surprised by mixes that do not exclude the content below 30Hz, as those mixes are a significantly different experience in a properly equipped home theatre. Your friends may simply be used to a certain frequency and level of low frequency experience, and call that 'good'. The EQ mixing described is in the Bass EQ for movies thread on this forum. JSS
  3. Othorn - HT capable?

    That B&C driver models well in horns, you should do well with the Wreckers. Headroom is a good thing. JSS
  4. The Incredible Hulk is still the track I compare all others to. A close second is the Star Trek reboot, War of the Worlds, and all of the 5-Star films on the first page of the thread. For lots of 20Hz and below energy, Battle:LA is hard to beat as well. JSS
  5. Othorn - HT capable?

    F20 and THT are very similar. THT is tuned higher (~25Hz), and is a little smaller. Lilmike and I fired up his first F20 build IIRC, and it is capable, but it does need the extra bracing, the first one was not extensively braced if memory serves right, and 1 or 2 outer panels were moving with content. I have not heard the Othorn, though. Tapped horns will generally give you more higher order harmonics due to the position of the driver cone. Running sweeps through sealed and resonant systems does reveal some differences, but after signal shaping, and driven at reasonable levels, the differences get smaller and smaller. Turning up the SPL will make the differences more audible. Ricci is probably one of the most experienced people on earth regarding what differing subwoofer systems sound like with high power sweeps and the differences between them. If you have multiple sealed systems, they can sound very much like a horn, it is just that you need more of them, b/c in a horn, excursion is kept low through the operating band. You need multiple sealed units to accomplish the same SPL as a horn with similar low excursion levels. F20s are big, but not that big, and on their sides may fit under your mains well, and can be finished in a similar fashion. They are not that hard to build, and the drivers for them are not budget breakers, but all of the designs you have listed were carefully designed and if well implemented and integrated, should do very well for your goals. JSS
  6. Othorn - HT capable?

    Build two of lilmike's F20s (well braced) to get the lowpassed horn sound it seems you desire. If that isn't enough, build two more. A direct radiator or direct radiator + vent will sound different than a front loaded horn, and a tapped horn will sound different than a front-loaded horn where the driver is buried and not near the mouth. My guess is you will like the front loaded horn from the posts above. The F20 will do well. If you need more extension, in the same cabinet volume, look at tapped horns or a hybrid design like the SKHorn. Front loaded folded horns will sound like they have 'cleaner' bass due to the lowpass effect the cabinets have. Only multiple sealed or vented cabs can duplicate it, and even then, not exactly. JSS
  7. Small yet Mighty. The tale of the 12's

    Nearfield subs done right can change an HT experience. It is VERY easy to overdo it with them, though. JSS
  8. Sundown ZV4 18D2 - sealed enclosure

    Which foam factory product do you use? JSS
  9. I do not have overhead channels, maybe someone who runs ATMOS at home can chime in. My surrounds are mounted high, so an effect panning between two surround speakers sounds like it is 'overhead', like the mailroom scene in Fantastic Beasts. JSS
  10. Finn's head bumping into the thing above his hospital bed when he wakes up. JSS
  11. The Bass EQ for Movies Thread

    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
  12. 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
  13. Will post up later today. In short, it is a quieter, but very dynamic track that doesn't clip. JSS
  14. The Bass EQ for Movies Thread

    LCRS were shelved away at significantly different rates, similar L/R/S, and then C was very different with more ULF. BigMarket and escape from same was very good, as was the initial damaged ship flying over the pearls. Significant content there. Decent film, but like Dredd, not sure there is enough traction for a sequel. JSS
  15. The Bass EQ for Movies Thread

    Valerian and the City of 1000 Planets: Good improvement on this one, esp the Intruder scenes. Tough correction, lots more infra in C than in LRS. LFE Gain -7dB Low Shelf 17Hz, S=2.5, +3dB Low Shelf 18Hz, S=2.5, +3dB Low Shelf 19Hz, S=2.5, +3dB Low Shelf 20Hz, S=2.5, +3dB Low Shelf 34Hz, S=0.5, +0.75dB Low Shelf 36Hz, S=0.5, +0.75dB Low Shelf 38Hz, S=0.5, +0.75dB Low Shelf 40Hz, S=0.5, +0.75dB Center Gain -7dB Low Shelf 30Hz, S=2.5, +3.75dB (4 filters for total of 15dB) Low Shelf 60Hz, S=0.5, +3dB LRS Gain -7dB Low Shelf 25Hz, S= 2.5, +6dB Low Shelf 26Hz, S=2.5, +6dB Low Shelf 27Hz, S=2.5, +6dB Low Shelf 28Hz, S=2.5, +6dB Low Shelf 50Hz, S=0.5, +1dB Low Shelf 52Hz, S=0.5, +1dB Low Shelf 54Hz, S=0.5, +1dB Low Shelf 56Hz, S=0.5, +1dB Low Shelf 70Hz, S=0.5, +1dB JSS