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Bossobass Dave

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Bossobass Dave last won the day on July 22 2018

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About Bossobass Dave

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  1. Thanks for the link. I've read this and the auto EQ vs the "target FR" articles in the past. I compared (one of many that have changed with remodels and changes in hardware over the past 15 years of measuring in-room) my response at the LP to the results of the auto EQ article. 1) One guy preferred the low end bumped +15dB (IIRC). 2) IMO, 1dB/octave, which amounts to (+/-5dB) is tantamount to a flat response without EQ post smoothing, which I don't use. 3) My high end is bumped because I've lost a chunk of hearing capability up there, but I don't find a more rolled off high end
  2. I responded to your thread based on your OP in which you declared that it's sad that any authority would suggest the best calibration from a recorded source playback system is a flat response. You declared it, right here and now, to be bullshit with no disclaimer. You support that absurd declaration by mentioning "numerous blind listening studies conducted by Harman" though you don't define numerous nor do you cite any of them. I've said about a thousand or more times; the equal loudness curves are built into all commercially available recorded material. I have been a participant in enough
  3. Okey Dokey, we're in unrecoverable mode now... I've played electric bass for some 50 years now. Not sure if you're that confused or yanking my chain? I'm keenly aware of its range and possible harmonics that may or may not survive production methods. You can't write music without knowing the ranges of the instruments involved. Actual bass instruments have fundamentals in the bass range. Their harmonics are played back by satellites and are far easier to manipulate to taste. My basses are all 4 string and cover low E (41.2 Hz) to 2 octaves higher E on the G string (123.5). A 100 Hz
  4. To be clear, my concern and comments are confined to the subwoofer (RB+LFE+10dB summed signal) and the crossover region of the subwoofer and the satellites. A few of us have discussed and explored windowing in years past. I was once told that I need to use 'X' window for better accuracy of measurement, for whatever 'scientific' reason, which I forget now. Smoothing can take you all the way to anechoic response, as in a close mic with 1/2 octave smoothing (which is always what I've used). Shown below id the no-smoothing vs 1/2 octave smoothing close mic of my subwoofer system:
  5. Your 3-5dB boosted sub sounds hot because it is. FR is never useless.
  6. No, I'm not aware of a single production disc that includes the mix desk FR, but some do include the mix playback level, which goes to the influence of equal loudness curves. I'm aware that some mixers try their product through different systems (most don't do that as a mix tool), but they rarely adjust the final mix for those results, in my recording studio experiences. And, the mastering stage is where the final mix is actually done, where none I've ever known left their seat during the mastering process. The next time you're involved in a studio, run the FR measurement yourself and
  7. My opinion is that every recording should come with a FR taken at the mix desk with mix level noted. Rooms are the largest variable and should be treated accordingly. Ham fisted use of parametric EQ has been the bane of audio playback. Studying the distortion preferences of the general public has nothing to do with proper calibration. Relying on Harmon is akin to asking Pfizer if drugs are good for your health. I read a Harmon study years back and saw this FRM graph. And when I normalized the graph to what we're used to studying... the house curve-looking graph is actually a fl
  8. Define the terms. Cite the studies. How do you calibrate your subwoofers to the satellites?
  9. Exactly the problem, IMO. One man's "bloated" is another man's "thin". They are both meaningless terms to the reader. Mark mentioned decay earlier. As a matter of physics, generally speaking, the lower the frequency, the longer the decay, the more weight in the presentation. If a recording is brick wall filtered at 30 Hz, no amount of SW trim boost will add the weight that will be perceived when the same content is unfiltered. Subjective silliness aside (I'll use that word as no one has built a cross on which to hang Seaton for using it) "I like the filtered version better" "I like the
  10. Of course not. Since the bandwidth includes quite a bit of infrasonic content, and boundary rigidity and transmission losses are not trivial, the reaction of the environment can completely change the presentation. I think the point of the OP is calibration method and the results therefrom. Back to Olive quote, with a different emphasis this time: The experiments I've looked into, since both of my sons are musicians who both record and mix their own audio creations and who both mix in the nearfield with a subwoofer, is along the lines of what Olive says in the quoted article.
  11. Hi Rowan, Can you post any data that helps explain your preference vs flat response? Trying to stay on topic here with calibration methods that explain preferences. For example, I've found that what most people think is a flat calibration is usually far from it.
  12. This post sums you up perfectly and is probably why you end up apologizing in PM regularly.
  13. Hacksaw Ridge: Digits vs Mic'd Doesn't sound thin (or any of the silly adjectives used to describe accurate playback in these forums) at all. The Oscar winning re-recording mixer saw to that. I'm pretty sure SME is talking about calibration methods here and not trying to argue that anarchy is the preferred course because otherwise sensibilities might be triggered. A flat response is the reference in-room. It's just common sense. What one does to the response after that is his or her choice... of course, but not relevant to calibration.
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