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Everything posted by Infrasonic

  1. Good "bass tester" for Xbox-360

    Battlefield Bad Company 2 was pretty good. The first Dead Space had great sound.
  2. You will. Exams end eventually. Aww. Yep. Lots of surface area. Proper midbass reproduction. First-most, they are there for front/rear sub blending. Used for smoothing the response of the whole. At the time, there was no intention of a sub riser so in a way I thought they would be "nearfield" but I chose to take that road after every one else started putting their subs AT their seat. Like, 1" away. So I can't really call them nearfield these days cuz they are about 3-4ft away. The subriser is the nearfield sub.... now. It's not. Just a step up. Idk... about an inch or so behind the motor. Plenty of room around the drivers though. No. Not necessarily. You have the opportunity to actually choose your drivers. I had two on hand and made it work. My riser both fits into the room and is ideally sized.
  3. Actually, the whole system is quite underpowered but that's okay because I make up a lot with the very high sensitivity. Having a subbass system that is >100dB sensitive means cool running amps too. There are seven subbass enclosures in my HT room. Six identical dual-opposed sealed enclosures. Four up front, two in rear. Each approx. 8cuft each. Four up front house the eight Stereo Integrity HT18's. The two in the rear house four Sound Splinter RLp18's. Then the riser with the last two SS RLp18's. The riser is very simple. Top and bottom are just some 5/8" or 3/4" plywood. I don't remember exactly. *laughs* Not even really high end stuff either but solid. The walls are made from 2x8's cut to the length I wanted for this size. There is a single 2x4 in the middle (running between the two drivers). The extra baffle pieces were added to accommodate the depth of the RLp driver. The riser is the only enclosure I've ever built that I didn't really "design". Just thought it up in my head and then simulated to "make sure". Certainly couldn't simulate how it was going to feel. Had to build it to really know for sure.
  4. Right. Don't worry about it. You'll get what you get. I don't see it as a "problem" but more of an unknown, for you. Don't worry about it. I don't see how it would help out in your case at all, no. But... my riser is powered by a single Behringer Europower 4000, bridged to a 4ohm load (two 8ohm drivers in parallel). My entire front sub-bass system is power by a single Cerwin Vega CV5000 running stereo 2ohm. The two rear subs are powered by a single Behringer iNuke 4-6000, bridged to two 4ohm loads.
  5. Yes of course I did. Although I was using the Omnimic system, if that counts. Noting this, "fine tuning" my riser system had more to do with feel than how it measured audibly. Trial, error and time listening to (feeling?) actual program material is a major part of the process. It's just not very scientific sounding.
  6. Will do. I do know that the Xcurve is not baked into the actual mix. This EQ is part of the calibration of the system in the room itself. Not apart of the mix. "compared to how things work for music (no standards) and "home mixes.." Well... now see. That's the problem. You're conflating issues that exist across a varying multitude of different circumstances, layouts, equipment, expectations, etc. What can be applied as good methods for one market will not yield identical results in another. You're probably going to go on a long thing about inroom response and different attenuation levels and response shapes and all that stuff. Large room acoustics =/= small room acoustics. Omg... who'd of guessed. Well. You didn't have to. There are parts in what you say that are accurate and some that are wildly inaccurate. But that's okay. I'm too lazy (and at work ) to even bother correcting anything. Either way, I already look like an asshole and just don't have it in me to defend my own statements. Ya'll believe whatever you want to believe. Don't have the energy to debate against full audiophile mode. Sorry. I just enjoy movies, enjoy how they are made (even when it frustrates me) and like to replicate the cinema experience at home. *shrugs* Lol, I have outlived my usefulness on these audio boards. I'm just here to have a good time.
  7. While this is true I wouldn't use this as any kind of metric to justify anything less capable. You know.... unless you have to.
  8. I'd have to double-check with my friend but... I think the X-curve is no longer a thing in modern cinema mixes. Afaik, that stopped in the 90's/2000's when sound started being delivered in uncompressed PCM. We have better screen materials these days and better compression horn technology.
  9. Yeah. It's definitely been his MO since TDKR. Hey... don't think I don't agree with you. But if that's what the guy wanted it to sound like, who am I to argue? Well.... that's a good question! Let's argue about it. Usually this particular subject revolves back to dialog intelligibility and Nolan has had plenty of very mainstream news about that sort of thing with all his past movies since TDKR. Christopher Nolan is excellent at story telling but dude-bro needs to get his hearing checked or something.
  10. Well.... it was intense. As A/V nerds we may scoff at the thought of this Satan-bred, pure-evil stuff called "clipping" but like it or not, it did have the desired effect. It's fucking loud. It's harsh. I'd imagine it was on that beach...and in all the various marine vessels...and in the Spitfires being shot at. All his films are mixed like this. Would expect nothing different from Nolan.
  11. Nothing to be ashamed of. A flat PvA is no indication at all that the rest of the mix will sound good whatsoever.
  12. beats by Dre Executive Review

    Honestly, I use Bose bluetooth around-the-ear headphones. I like the convenience.
  13. (8) Ported Incriminator Audio Judge 21" build

    Better late than never. Now you get to move them.
  14. New SVS Ultra 16"

    Were they attached to sharks, at least? Yes, indeed. I'm sure there is a good reason why they chose this specific driver for the task. But also... ...wasn't this an under-hung driver? IIRC, the sealed version of this system used an over-hung version of the driver. Should definitely change some paramters... ...but just doesn't seem like an optimal driver for the alignment. Welcome to DB, ITR. Good stuff.
  15. New SVS Ultra 16"

    Interesting. What device was used to derive those parameters, ITR?
  16. I knew there was a reason I liked you. Ehhh.... soundwise, wah? It's a riser. Just make sure to uhh....do whatever SME says with the "sealed" and all that stuff.
  17. Heheh. Yeah, maybe! Me too. I don't understand all the things that are going on. Thanks. While I do have a lot of woofer power in my room. The single dual 18 riser swamps the output of the rest of the subs. At least in regards to overall intensity and tactile-ness. I doubt "room gain" has any impact on the tactile-ness of the riser. I think it would be just as tactile outside in a field. EQ does have an effect, yes. I didn't have to do much at all. The "response" (going by feeling) was always adequate, as far as I could tell. Got really into it when I got wrapped up in the Vibsensor testing. Months and months spent adjusting this and that. Times I would be happy with the results, other times I hated it. Tried running it off completely for a while, then I was back and re-adjusted more. Took a while to get it where I like it now. There isn't so much EQ work as there is just getting the levels right. I have plenty of capabilities left on the table but I like it how I have it set now simply supplementing the rest of the HT system rather than being so saturated by it it overtook the rest of the HT experience. Got to this happy point where I don't feel the need to adjust anything but the volume (and maybe tweak the bass/treble tone here or there) and I like this spot. That's what I thought until I built this riser. Now I know there is a dagger that can pierce the heart of the evil dragon we call the 'concrete slab'. It's not the only countermeasure either as you are aware.
  18. You're probably right. Though I never felt ULF effects like that on several other similarly capable nearfield systems. Some even more powerful than mine.
  19. What I mean is trying to attain a finished product with a "F3 of something..." will be irrelevant because that F3 you simulated will no longer be the actual inroom F3. The riser will extend down as low as your electronics and displacement allow.
  20. Simulated F3's and net Q numbers are irrelevant in this case. You will cross low (your stated intention was 30hz and down) and will likely use EQ. Anything between .577 and .8 is fine.
  21. Very little. Of course you can feel some vibration while standing on the "floor" of the riser but it is insignificant compared to what is felt while sitting on the futon. It very much does. The mattress and any one on it. Some ULF effect are not unlike this: More motion when sitting.
  22. Imho, all the specifics of attaining some ideal F3 are not so useful in this case. It's of my opinion that the real factor to consider is the momentum or inertia of the transducer. Because these will allow you to physical couple yourself to the bass you don't have to look at SPL numbers, alone. Because it really doesn't tell you all you need to know. What I'm about to say is worth discussion in it's own thread but for maximum sensation in the lowest frequencies, frequency response will not tell you how well you feel and perceive said frequencies. I've seen and been in lots of theaters that measure flat to single digits at the seat and the sensation never matches the actual audible response. Like all subwoofers intended for fidelity, aiming for an alignment between maximally flat .707 to critically damped .5 is preferred. It's of my opinion that the excursion profile plays a part on how the tactile response is shaped. A maximally flat .707Qtc would have excursion profile that rises rapidly and then flattens out. A critically damped .5Qtc will have a slowly raising excursion that continues to increase as frequency decreases. I haven't tested this but I think it can affect things too. Anyway, as long as the volume of this riser is large enough to be of optimal Qtc range then it is fine for a subwoofer riser. Don't get all hung up on meeting some specific number of F3 as it will all be irrelevant in actual use. You'll be EQ'ing this like any other bass system. Lol. Looks like centimeters. Some people like to make their riser flimsy or flex naturally. I did not design mine to be like that. In fact, it has one single 2x4 down the middle (short-wise) just to keep it from having any flex. It's the inertia of the twin 18's that provides the awesome ULF effect at the seat. Not the middle of the riser where there is zero contact with anything. I get the idea behind it but after doing the build, it's not important. There is tremendous ULF "trampoline effect" at my seat even with a stiffened riser floor.
  23. Ah... nice! EDIT: And now including the FV18. Even better.
  24. Of tactile transducers, I mostly agree with this post. Crowson's are by far the most "natural" feeling transducer system I've ever experienced. Best way I could describe them is that they felt like sitting on a subwoofer (in a good way). BK's tend to be a big heavy-handed in their effect, mostly. I can only think of one or two times I thought the BK integration was seamless enough that I wouldn't have guessed that they were BK's. So I think with the right setup BK's can be alright too. They are certainly cheaper than Crowson's. Another cool thing about Crowson's that justify's their higher price is that they are also the smallest (yet very effective) of the bunch. A full size BK isn't a huge thing but it's large enough to notice or not fit at all under certain kinds of seating. Crowson's slip right under the feet of essentially any type of seat or chair. Very versatile that way.