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SME

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Everything posted by SME

  1. SME

    Ascendo

    What @Ricci said, but also how is the oak floor constructed? Is it suspended over another floor or above the slab? Or is it right on the slab? The difference in that regard isn't huge, but it's there. Much more important is the room geometry (including adjoining spaces that are normally open to the main space) and specific placements within the room.
  2. Or a floor resonance. And for that matter, I believe that audibility thresholds for content at the frequency extremes within typical audio program can be much lower than audibility thresholds for pure sine waves. Pure sine waves are actually extremely unnatural sounds and may be one of the worst possible "test signals" for assessing human hearing. Real sounds almost always have lots of THD, and audio programs almost always have additional THD---because it sounds better (in moderation). The tricky thing is that the audibility of ULF is probably very dependent on the quality of the r
  3. SME

    Ascendo

    Room dimensions and rough floor plan would also be helpful information.
  4. Thanks! Hopefully the "burn-in" phenomenon is normal and is something that's usually done at the factory.
  5. I can't recall where, but I have read that many brand new electronic components (capacitors among some things) do have a break-in process, but it is very rapid, essentially done after the component has been charged for a few seconds. Distortion of 0.1% isn't exactly high---*it* might be slightly audible in an amp depending on the particular nature of it---but if the problem vanishes after pushing it briefly, it doesn't seem like anything of much practical concern. However, this does suggest that Hypex is not testing the finished components at their specifications before shipping them. I
  6. Thanks for doing this! Those CVR amps definitely look attractive from a value perspective. It's nice to know your doesn't run like a furnace. Amps typically sound very similar when operating within their performance capabilities. However, differences are still possible for a few reasons: Amps typically use a high-pass filter to protect them and/or the speaker(s) from inaudible DC signals, and they vary a lot with regard to where the HPF kicks in. However, most amps don't start rolling off until 20 Hz if not much lower. This is something that should show up in the REW measurements if
  7. I don't know if the size and/or dimensions work, but this looks like the design you want: https://www.avsforum.com/threads/reed-exodus-anarchy-25hz-tapped-horn.1238398/ Edit to add: A caveat is that it requires a high-order (DSP) crossover. You really need the crossover to cut the output above 80-100 Hz or else it won't sound very good.
  8. Wow. Nice looking setup! Just so you know, the frequency response / sound quality of these designs depends quite a lot on the drivers that are installed. Using drivers with weak motor strength like the cheap car audio drivers you used probably won't sound nearly as good or give you nearly as much output as using driver(s) with a strong motor like the ones recommended. If building new SKRAMs, I suggest going through the trouble of finding/buying nicer drivers for them, and if there's any possibility of modifying the old cabinets to accept better drivers, definitely consider doing th
  9. Distortion matters in two ways. First, the flexing of the panels might involve enough "excursion" to be nonlinear, which would *generate new distortion*. Second, the panel resonances may *amplify existing distortion* produced by the driver inconsistently across frequencies. These are actually very different mechanisms. For example, light stuffing may address the problem of amplification by absorbing the higher harmonics before they can leak out, but it might not be thick enough to control energy build-up at the fundamental frequency of the panel where "excursion" is greatest. And yes,
  10. Ahh, very interesting. If that's true, then perhaps measuring distortion might be a decent proxy to assess how well the speaker construction is controlling these mechanical resonances. Seeing the comment by @peniku8 above reminds me of our regret from last time you visited. Recall that you ran your speaker with the mid-range crossed much lower (like 150 Hz?) because it was better contained than the woofers. You specifically did this to avoid the cabinet resonance problems, but we wondered if my EQ system would fix the problem or if the non-linearity/distortion too big of an issue.
  11. SME

    Ascendo

    Thanks! I was not familiar with Ascendo and know nothing about them except for what's on their web page. Subs with 32" cones and larger are very rare. I expect such a large cone sub should do ULF bass very well, but a large cone is not strictly required. Multiple smaller subs can do just as well, and multiple subs in general give superior sound quality in small rooms when placed at different room locations. I think 21" is a very good "sweet spot size from a design standpoint. As drivers get bigger, you need bigger cabinets to get the most out of them, and once you go above 21", the c
  12. Something that might help is to put gasket tape in the areas where the metal grill makes physical contact with the wood.
  13. Thanks for the clarification! DJing is an interesting case because you're using content that was mastered but you're also essentially doing a live show. And to make it more bizarre, it's like you're working with a different band every time you switch songs.
  14. *jaw drop* At 30 cuft, those things are going to be huge though!
  15. Thanks for the clarification! And it's probably best to disregard what I said above. I don't think this is the same driver as in Funk's top-of-the-line 24s, but I may be wrong. It should still perform very well with a big enough box and enough power. Is there a power handling spec?
  16. Is your suggestion specific to live concert music presentations? I'm wondering because I believe mastered music usually has lots of tricks like that applied already. Of course, most mastered music doesn't much rely on "headroom" either. Also, my system has high headroom, and when I turn music up to high SPL, I don't usually notice mud that wasn't there before. If anything, more SPL usually helps a little bit. I reckon that mud is the cause of that audiophile trope: "those speakers really open up when played louder." Indeed! Or maybe the sound is just muddy. Likewise: "those speake
  17. If I had some cash lying around, I would be tempted by this. The driver looks a similar to the ones I own except that this one has a lot more Mms and maybe a tiny bit less BL^/Re. High frequency efficiency is probably -3 dB lower on this one than mine, but it should be similar or greater in efficiency to mine at low frequencies and may have less distortion too. And now you're thinking of doing the 24"? Funk's 24" are monsters! I hope you can post the updated specs.
  18. There's a lot of unpack here, and I mostly agree with you but can't resist the opportunity to say more. I also want to expand on the idea of subjectivity and describe at least two distinct forms of it. First there is aesthetic subjectivity, which has everything to do with our preferences for music types, artists, etc. The creative process is all about subjectivity, and there's no general theory that will suffice to explain or predict this kind of subjectivity. On the other hand, there is the kind of subjective preference that tends to correlate amongst a universal audience. More likely t
  19. I'd argue the situation is a bit more complicated than described here. First, I agree that there's a lot of variation between content with regard to bass balance---much more so than for higher frequencies. I'm not sure how much correlation there is in this regard within of specific genres, but I'd certainly expect to see some correlation of content produced put out by the same mixer(s) and/or mastering engineers. Second, the subjective spectral balance depends not just on the very broad aspects of the shape, but also on finer aspects and on how these different aspects interact. Whe
  20. That's a fascinating contraption. The bass appears to be directional down to very low frequencies. I wonder what happens below 10 Hz? One source says that the Ripole configuration has its effective resonance below the driver Fs, with the given example being lower by a factor of roughly 1/sqrt(2). The Ultimax specs indicate an Fs of 19.5 Hz, suggesting a Ripole resonance at 13.78 Hz, but the measurements don't show any drop below there. Hmm.
  21. With just two subs, you almost always want positive summation in the listening area. With 3 or more subs, assuming you have enough headroom to spare, it may or may not be useful to run some of the subs out of phase from the others, at least for some frequencies. For example, the double-bass array involves configuring the rear subs using delay and phase inversion to cancel out what would be the rear-wall reflection. That is definitely not positive summation---by design! My own system is configured so that the mid-bass modules behind my sofa interfere somewhat with the sound from the (ma
  22. Is the room drawn to scale? It looks like a small room, and unfortunately it looks like your seats will fall right in the lengthwise null. I didn't mean to say that modal/standing-wave resonances aren't important. They usually do come into play in small rooms. It's just that other considerations are also important, and that study largely ignored those things. How response affects how the bass "sounds" is anything but simple. Putting a sub in a corner without other sub(s) in opposing corners to "cancel out" the standing waves does in fact increase the coupling of the sub to the room's
  23. Good question! Originally, yes. Although first I should clarify that the shape of the spatially averaged response depends quite a bit on what measurements you include in the average. IIRC, I was flat in the MLP where there was a kind of mid-bass "power ally" effect, but had rise toward the bottom in the outer seats. I'm pretty sure I went back and made broad-shape tweaks to get the sound to "my liking". And by "flat", I only meant for the sub anyway. I totally agree that flat in-room FR will almost always sound too thin and bright. What you're doing for your room is essentially what
  24. Sure! But your picture is missing a whole lot of *braces*. Other things to consider: material use is inefficient vs. a more square-like shape. And, the enclosure will develop internal standing wave resonances that are particularly low. You'll definitely want more depth of stuffing/fill at each end. Also, see my replies to your other thread about preferring corner placement for higher efficiency among other things.
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