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Everything posted by FOH

  1. "I could send you an SP4 at the drop of a hat." Testing that bad boy would be interesting. They output a lot of drivers, it only makes sense to see what they can do. I remember when talking to Scott at Fi, when ordering my IB drivers, iirc ... he explained since they're typical sales were primarily car audio, they can essentially customize many of their offering's parameters more aligned to a HT user's needs. Whether or not they still mix and match various pieces, I don't know. Josh, thanks for all your work ... tremendous.
  2. Nube, thanks for the heads up about the splitting of the forum topics ... Bass Gear, and Bass Content, had no idea and likely wouldn't have noticed. The bass content is just fantastic. The bass gear is too, but I just wish there were more gear discussions/contributions, because the contributors around these parts is certainly high quality. Thanks for the heads up.
  3. Yeah, that gtg, like the January gtg, looked like a good one. Having met the principals involved at the Jan Heavyweights gtg, I knew it'd be a lot of fun. Those guys know how to do it up. As I said repeatedly in my huge review of the previous gtg, I found the best part is placing a face to a name and meeting like minded enthusiasts. This particular group possessing strong and unfiltered zeal for all relevant aspects of these gatherings. Josh and I discussed carpooling to the previous gtg, but it just didn't work out. Josh, I'm glad you achieved what you wanted with the break ... sounds like a wise move. Looking forward to your further work with Audioholics.
  4. $175,000,000 budget for this thing! While they're throwing that type of money around, just throw out everything below 40hz too ...
  5. "Gravity for me was the single best bass experience I have ever had. Phenomenal in all areas. 5 star hands down for me." Wow, very cool. As I shared in the poll thread, saw it in the theater, can't wait to check it out at home.
  6. Finally got the opportunity for Elysium, really enjoyed the spectral balance ... Nube was right .. it's got the stuff, and I really enjoy the way the effects were implemented (sound design). Few big bombastic broadband high level effects, but the deep pulsating stuff, the room shaking energy,... was both appropriate for the scenes and well executed. The movie, decent but that's another review. Again, the balance ... lovely, few if any crushing, reach for the volume effects. Just the deep stuff, loved the sound of this one because of the balance Nube, thanks for graphing this one, some good demo worthy material, I'd have to view it again to single out my faves. Thanks
  7. We too watched Rush last night. I echo much of the sentiment, a fantastic film with nice balanced mix that never draws attention to itself. It really captured the 70's quite well, IMO. The portrayal of the F1 scene, but focused primarily just on these two players, just refreshingly good for a racing film,... most suck, this didn't. I'll elaborate more about ST specifics in another post. Highly recommended. Ron Howard did a great job, I saw countless period details that were spot on.
  8. "As usual, thanks to those that put this thread together. This is my goto thread for movie bass. I don't even look in the other bass thread anymore." ^ this, +1 Yep, made that switch back in '12, there is no stronger, soundtrack savvy group than the core of this thread.
  9. Nube, just a thank you for the hidden spoiler approach, thanks for that. It's tough discussing these things and looking for recommendations, yet not wanting excessive details that may ruin the enjoyment of a movie night. Actually, I enjoy knowing as little as possible, the discovery seems to add so much.
  10. Thanks for all that Nube, much appreciated, that's a lot of work. . Looking forward to the opportunity to check out Elysium, exceptional sound, that's intriguing. wrt De Niro, he can do comedy I guess, but I like him more in his classic, stereotypical roles myself. He had another surprise appearance on SNL this past week, it was pretty good ... for what it was. I like the new cast, fwiw. On an unrelated note, performing some testing yesterday, damn the 50cal scene in Hurt Locker is a mammoth effect, one of my faves.
  11. Josh, is the "happy little guy" the Schlafly Kölsch, or the fat tire surround ... subwoofer? what's the SI driver in the pic? I'm not familiar with it, but that's some surround ... Looking forward to your Audioholics reviews, always solid stuff there. Thanks
  12. Sealed JBL 2242HPL 25Hz vented AE TD18H+ Apollo Sealed AE TD18H+ Apollo MTX 9515-44 tiny passive radiator box with dual 15" VMP's (18 and 30Hz tunings to correspond with typical HT and car audio tunes) Extra small sealed LMS 5400 Ultra and larger sealed MTX 9515-44 tests (to collect data to have directly comparable very small sealed and medium sized sealed for each driver and use to evaluate the effects on output, distortion, sensitivity, etc...) LMS 5400 Ultra dual 18" VMP passive radiator system with 18Hz and 30Hz tunings BMS 18N862 Sealed AE TD15M Apollo sealed and vented (need to build a 15" enclosure for vented.) ^ ^ ^ All good stuff there, especially interested in anything related to the AE TD18H+ Apollo But this; I also have a number of investigative things I would like to do like measuring the gain of at least a few more vehicles and rooms and doing some distortion measurements with push pull drivers versus push push. Is very, very cool. Reciprocal gains from the room, push-pull experiments, great stuff ... love to read it. Keep us informed/let us know how to help. Something I think would be an asset to the work you're doing here is better quality free air driver excursion videos. Please, no offense intended, however the previous ones could certainly be better. As always, if there's something needed from the community here, I'd think the majority would sure like to help. I can't speak for everyone, but I know I'd help most anyway I could. Thanks for everything.
  13. ^ This ... good stuff, especially the Orbit Shifter. Although I'm an IB/multiple sealed dude, I suspect the Orbit Shifter is really something special, whereas a properly blended pair would likely please even the most hearty appetite. The SpeakerPower amplifiers are a huge component of the success and subjective goodness that both Seaton and JTR enjoy. Those amps are everything most anyone wants in a sub amp. So yeah, like Infrasonic, I'm interested in the OS being tested too. I know full well what the SubM is capable of. Again, I agree with the Utilimax, the SI 24", and the AE TD18h+ Admittedly, all that is a wish list and maybe tough to pull off, but it'd sure be interesting reading. "prototype LMS-R2"
  14. JSS, I want to make clear, I unequivocally agree on all points. What blows me away is that these armchair quarterback critiques from myself for example, aren't based upon subjective elements of their work. These are the most fundamental tenets of recording/mixing ... preserve the FR of the signal path and recorded event, maximize signal/noise, and no audible clipping! Poor execution of their craft, at best. At worst and in my opinion, these are termination of employment offenses. Primum non nocere, or as Chris Carter would say, c'mon man!
  15. Thanks for the Shaun of the Dead recommendation, we'll check it out. You're right. But when they absolutely pour truckloads of cash at a major release, I mean hundreds and hundreds of millions, ... you'd think they'd not miss the technical mark. Perhaps it's deadline related, whereas all the marketing is targeted to meet established hard deadlines ... regardless where they are with a mix. Like you said, the shot caller mandating certain characteristics like more level, limiting, clipping ..., then "were good, move along, what's next?" ... mere speculation and I'd hope it's not like that ... but mistakes are common and mediocre quality is too.
  16. I neglected to mention, currently with (4)15"s and (4)18"s, I've got a lot of displacement, but the structural moans and groans are both a little un-nerving, and somewhat distracting.
  17. ^ ^ ^ CraigJohn over at AVS turned me onto Crowson transducers a couple years ago. I'm very interested and implementing them into my sub system has been my plan as well, such actuators don't get any better than Crowson's offerings. You're right, proper time delay is vital .. as is overall level. I've been in contact with other users as well, almost pulled the trigger a year ago, held off because I changed our seating a bit. Why don't you contact Crowson, wrt signal path roll-off etc?
  18. The first thing one learns upon getting into audio recording, mixing, at any level ... newb, enthusiast, or even as a professional; audible distortion from clipping/overload is not acceptable. It is inexplicable to me that these audibly distorted releases make it into the marketplace. I understand artistic overload for a specific effect, I get that. But these instances of heavily compressed/hard limited audibly distorted material just makes me scratch my head. ----- Yeah, the center is tasked with a heavy workload. If you want a solid playback experience in the home, it's gotta be executed properly. It really pays for it to be robustly capable and free from compression/thermal modulated effects, certainly not downsized relative to the L&R, .. if anything it needs to be more capable. Also, the wave-launch distorting diffraction and cabinet resonances that accompany most A/V furniture (not all), certainly doesn't help, and from my recent experiments is worse than I previously thought.
  19. Been away from these pages for a while, so much to comment on. I'll start by expressing thanks for Open Range. Infrasonic had it right, "sharp, percussive bass" for sure. I was turned on to Open Range by Mark Seaton, because of it's demo worthy soundtrack. A good movie for sure, but those incredibly demanding transient hits pack a punch with the right system. Looking at those SL graphs, you can clearly see why it's so percussive and demanding... high level, decade wide blasts from about 10hz-100hz. Spectrally, they vary, but those thin horizontal red lines, each blast clearly separated by the blue. My system is tailor made for effects like these, but a year ago at Cedia, I experienced an Open Range demo on the über expensive Steinway Lyngdorf line source system. Hands down, I'd never heard any transients like this ever before. These tall dipoles (15)5", and a line of AMT folded ribbons, with maybe (24)12"s, stunning impact that makes you jump, amazing. I've detailed that particular demo session before, so I won't add to that. Looking at those SL graphs, I see why. Again, headroom is our friend. Even hearing that demo many times, the average level wasn't appreciably higher than usual, but the peak energy from the gunshot effects packed much more energy than any previous listen. So again, this further bolsters the often cited axiom that compression effects, affect the playback sooner, and is often more impactful than is otherwise known. Resolving demanding peak energy accurately is a tall order. Also, I appreciate the heads up wrt Kon-Tiki.
  20. Makes sense to me. Granted, many of us, ...myself included, may be more accustomed to the more visually impressive offset. But maxmercy's methodology and accompanying explanation above, makes some good points to me (having never used SL). Yes, getting used to the color scale would just take a bit of time, and both the audibility and headroom elements of the methodology do appear tenable.
  21. Nice score. I realize they're power-house amps, combined with the high sens boxes, as insane as it sounds ... have you explored their limits? Can you describe the fans, and how they operate at idle, in normal use, when hitting it hard, etc.? What type of line side power/how are you feeding them? Any noteworthy power related comments? On a related note, has anyone read or experienced first hand, anything worth sharing about the ProLite, class D series from Crest?
  22. Typical Hollywood cookie cutter fare often produces the meat and potatoes of what threads like this live for. But you're right, it was refreshingly different, and pulled me in and took me on a ride. That's why I threw it out there.
  23. I want to thank Nube and anyone else that submitted graphs for Olympus Has Fallen. The various discussions about it, and posts here about it I skipped over, as to try to preserve as many details as possible about the big scenes and any plot surprises, etc. We watched it last night, the effects didn't disappoint. I see now there was really few aspects of the plot that needed preservation , but it was fun, well worth the time, and extraordinarily demanding of the subwoofer system. Subjectively, that may have been the toughest material I've likely ever put our home through. Fwiw; mid 70's, big sprawling all brick ranch, built on a crawl, and everything was pumping pretty aggressively during that one. My son, set up with pillows and lying on the floor, and at the conclusion of the big well known scene, jumped up and said "put it on pause, ... man that was like a back massage! I've never felt anything like that before." Easter Sunday
  24. Yeah, sucks doesn't it. Who knows what's at play. it could be "artistic license" from the idiot shot-caller sitting in the session, asking, urging, insisting that the engineers up the levels, and hit the format hard. Louder's better, right? The film industry prides themselves on standards, laughingly pointing out the lack thereof throughout their brethren in the music world. Who knows what happened. (I was an early adopter of DAT. I remember making mix tape/greatest hits DAT recordings of CDs. You'd have to search out the hottest peak on the recording, and set levels accordingly. Once or maybe twice the levels would come up within a dB or so of full scale, .. and that was it. These days, finding the recorded peak would be much easier.) We enjoyed two movies this weekend. Now You See Me, and Place Beyond the Pines. It's a good thing we watched NYSM first, because the latter was so heavy, so cerebral, just damn good IMO. That said, for me, it is so compellingly exhausting. Had never seen it/heard of it, took a chance and it paid. Not a special effects spectacular, by any measure. Now You See Me had some nice LFE. Thanks
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