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Bossobass Dave

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Everything posted by Bossobass Dave

  1. What mains? Do you have measurements of the current draw while playing a 29 Hz sine tone?
  2. Nope. I see the K-10 but no FR for the K-20 and no FR I can find for any SP amp. Mic'd sweeps are not reliable FR measurements of amp rolloff. What I'm saying is that it is not a proper comparison of amplifiers to compare a single channel that is a full bridge configuration amplifier of amplifier A to a single channel that is a half bridge configuration channel of amplifier B. The 'flaw' is in the test methodology and, therefore, the results. I would have thought that was obvious in looking at the comparisons page of the SP site. The roll off characteristics of either of the amplifiers is not apparent from any data presented and in that respect I assume nothing. How many bridged channels an amplifier may have is not relevant to my comment. I haven't doubted the raw output data, but I do question the 1 ohm operation claim. Again, I don't doubt certain situations permit that sort of stupid-high current draw, but I don't think your system presents such a situation. I don't believe you operate anywhere near 1 ohm. If you have any data to the contrary, please post it.
  3. Thanks for this. I like Brian and his products but have never liked his comparison data because I believe it is heavily biased toward his product. To be more specific, his amplifiers are all full bridge configuration. The SP 2 channel amplifiers are the equivalent to 2 full bridge amplifiers and thus cannot be bridged. Comparing a full bridge amp to a single channel of a half bridge configuration is like comparing 2 dual VC drivers with one of the drivers using only one of it's VCs. Although interesting, it's not relevant data. The SP amps weren't running 2 ohms in stereo. With Class D the efficiency is increased by feeding the back EMF to the PS to recycle the power that is otherwise lost to heat. That's why the 2nd channel cancellation is the cure for bus pumping at <100 Hz amplification, but the FR is pertinent. Class D amps that offer half bridge channels usually have a relatively high FR roll off and aren't intended for use to reproduce content to 3 Hz at maximum output. Also, combined with a higher, steeper roll off, a large enough cap reservoir could also prevent bus pumping in a half bridge configuration. This ^^^ is why I also would love to see the FRs of the amps. It's a simple procedure and roll off characteristic is imperative data in any sub amp comparison for obvious reasons. Amplifiers enter a quantum dimension proportional to frequency as frequency decreases.
  4. The only speaks placed like the scaled drawing are the dual sub stacks and the CC. I just randomly grabbed a Dolby 7.1 plot and copied it for the drawing and the SBR and SBL are future when I move to 7.2.4 with 4 ceiling speaks. I'll post then and you can spill the beans. It will, as always, be much appreciated. Man, this visit and reciprocal visit thing is so far overdue I'm embarrassed to even mention it. It's gonna get cold soon. I'd love to get to your place before then and you're always welcome here in the Shahlit Town.
  5. Layout before build to scale to make sure everything would fit: Section to make sure riser would work: Signal chain hardware: Speakers: Seating and monitor:
  6. Dudes, I'm like so put off you are clogging up this thread with decoder noise. I had to wade through a page to get to nuthin'.... Where's da BASS???
  7. Just watched The Gunman with Sean Penn. Good flick. Usual gunshots and explosions and one scene out of the blue with unexpected ULF. Big hit at 16-22 Hz with a spread from 3 to 60 Hz. Chapter 18, no spoiler: Niiiiiice.
  8. It's about flippin' time! I've stopped referencing your site because of the lack of updates. Please pop in and keep us informed of any progress and let us know if we can be of any assistance. Also, pop into the GEAR side of the forums and start a thread. Should produce memorable quotes, usable graphs and a great list of titles for you guys to use and reference.
  9. Must be a different mix/disc than the rental I used when it was first released. I would have noted it and probably graphed it. Even the peak hold Nube graphed doesn't show that content.
  10. I took the 2 screen caps from the club scene and combined them onto one graph. You're right, Aj, this scene is over 3 minutes of full bandwidth transients. I'll also reiterate my previous observation about the background drone of every even numbered frequency from 4 Hz through 114 Hz... awesome stuff. I enjoyed it. Actually, the sound elevated the movie from ho-hum to excellent, IMO.
  11. Please note that I bumped the SW level by +6dB per Abraham's rating and suggestion for this film. It turned out nicely at the seats and I could have bumped it a couple more, IMO.
  12. here's an animation of the comparison of my system mic'd at the seats vs the digital stream from the SW output of the OPPO 105: Yeah, this one is def unfiltered. Hard as hades to get that last few Hz into the subs. Notice that at the beginning of the chapter (this cap is most of chapter 11), there is ULF only, from 3-20 Hz with the emphasis on the lowest band. Just wobble, no audible bass. Awesome.
  13. I bought this BR immediately because it will have the distinction of being the only movie ever dedicated to Tony Scott by his brother, Ridley Scott... 2 of my favorite directors of all time. There are several scenes with ULF only that I'll likely graph when I get a chance and I'd like to see the movie again before voting, but the first impression is positive. Ancient Egypt, the world's first super power, has always fascinated me and still does. The Hebrew Scriptures book Exodus contains a LOT of info that scholars have debated for centuries and is certainly a difficult task to be able to condense it into a feature film. I'm sure the experts will pick this one apart while the average heathen will know nothing about the literary and historical accuracies debate and just be rating another movie. In the meanwhile, here are 5 scenes that show good MWB content:
  14. As you all know, you'll only be able to draw wattage according to the mains outlet, a dedicated 20A = 2400W and a dedicated 30A = 3600 at 120 Volts, long term. 30A is brutal current for any amplifier I've ever tested... except one. Transient requirements to the bottom of the signal chain is what matters with soundtrack reproduction (see Adam's thread re: HTTYD Red Death dragon crash scene, et al, measurements) during which we've measured 33+ amps peak draw from a dedicated 120V-30A home run. I believe it's the secret to accurate playback, assuming the subwoofer at the end of the line can handle the input signal. Others' opinion may vary. C'est la vie. In any case, this amplifier is badass in any book on the subject:
  15. Rare case or not, the ULF is relative and not dependent on MVL. Pac Rim is filtered. Running it at +10dB will not reveal anything that isn't there in the first place. EQ vs Pac Rim: There are cases where the DVD vs BR and/or the 5.1 mix vs the 7.1 mix are vastly different in content and/or level and that has resulted in some wowing a soundtrack that I thought grossly anemic. Prometheus and Thor are 2 examples. Thor BR is +10dB louder than Thor DVD and Prometheus 5.1 is +10dB louder than the 7.1 mix. Master & Commander is the first one that alerted me to a possible reason for huge differences in subjective opinions being that there is a huge difference in content between DVD and BR, etc. Transformers is one disc that I always bumped the sub during playback because it's level is low and bumping the SW trim brought out the ULF and low end overall. But, playback level doesn't add content.
  16. I hear ya, Max... loud & clear. To be clear as crystal, my recent comments regarding EQ were sparked by Nube's subjective comments that the low end was mid-bass with droning 29 Hz content, which is bullshit, plain and simple, and needed to be clarified, IMO. The problem really is that no one caps scenes using the waterfall/waveform features of SL. Those will ALWAYS separate the facts from the subjective comments and certainly eliminate the need for alterations of the peak hold/average graph, IMO.
  17. The average is taken over the entire length of the movie, so soundtracks with more content will show a higher average even if the content is identical.
  18. I gave this movie top honors for 2014. Not a chance I would do that if it's extension is 23 Hz. Yes, you can clearly see the big spike at 54 Hz (actually, it's a dual spike at around 52.X & 53.X Hz), but when the floor ripples, there's plenty of <20 Hz content. The low end effects in this movie rival any movie in my collection for originality, variety and extension. It just isn't a constant drone of low end like some enjoy more, but there is no category for minutes of LFE per minutes of length of movie. Plus, the scene in ch 13, worth the price of admission in itself, is nearly a minute of mayhem. For comparison's sake, the FOTP scene that makes it a 5 star movie lasts 1/2 as long. It has some content below everyone's radar and a spike at 32 Hz, but not much else in the scene or in the rest of the movie. I understand that metrics and anomalies co-exist. I'm just sayin' don't let the ratings fool you on this one. It has the goods and it's a tad better movie to watch than the FOTPs of the cinema world.
  19. I just have 2 scenes. We loved the flick and Denzel pulls it off yet again. Man On Fire reprise. It's a def buy for me:
  20. Actually, harmonics appear in SpecLab the same as everything else the mic pics up does, including noise to -60dB. My point is not that SL doesn't detect it, but rather, it simply isn't generated by the subs when the signal is complex vs steady state. Frequency response non-linearity explains the differences you see in the comparisons, as you guessed. But, there are no differences in the area focused on in the HTTYD scene (they are virtually identical) and yet there is an obvious difference in the Irene scene which clearly shows 2HD that does not belong there (and 3HD is obviously masked by the effect). In both effects, the fundamental is the same, the system is the same, the levels are the same, the mic position is the same, the room is the same... in fact, only the input signal is different. I've found this phenomenon to hold true in countless examples of comparison of complex effects vs Irene, and now EOT. My own theory is that this is related to IMD in a way no one has suspected. In fact, when I finally post the theory, backed by measurements, I have no doubt about it's reaction from pretty much everyone. I may conclude that my theory is unfounded and just accept the phenomenon as a good thing and leave it at that. Ilkka concluded that IMD exactly tracked THD so he eliminated the spectral contamination portion of his battery of tests as redundant. I tried to persuade him otherwise, but Ilk rarely followed mu suggestions and it was he who had to do the extra work or not, so I let it go. But, I have used the spectral contamination data from the tests he did conduct and post the results of using the same drivers in 2 of the cases. This is just a curious result in my data. But rest assured, if there is no harmonic distortion in the spectrograph, then there is none being generated. The ACO Pacific rig is accurate and SL graphs what is being fed into it without discrimination.
  21. If there are pure sine sweeps as LFE in various soundtracks, can you post the speclab of one here, as I'm not aware of any? Some years back, Axiom conducted a listening test focused on what the threshold is for audibility in the subwoofer range. The results were surprising to most and caused a lot of howls and jeers. Link: http://www.axiomaudio.com/distortion Conclusion notes: I'm positive that I've conducted the largest body of comparison spectrograph measurements off the disc compared to mic'd at the seats from the subwoofers ever. As I've mentioned before, curiously, there is no detectable harmonic distortion found in any of those results with the exception of sine wave-based effects. Here are some examples that should show harmonics with even cursory examination, if they were present: Plane Crash Scene in WOTW: Red Death Crash Scene from HTTYD: Neither THD nor IMD tests have ever been conducted using program source. But, I know this: If I input a 5 Hz sine wave @ 0dBFS, like the low end burst shown in the HTTYD scene , I'll clearly see the 2HD distortion at 10 Hz in speclab, whereas none shows up when the entire effect plays. That phenomenon needs to be examined, IMO. I've scoured dozens of these comparisons using different SL settings over the years and have never found a calculable trace of harmonic distortion. Regarding the EOT effect, it really appears to be a sine wave that was sent through an effects processor. Otherwise, it makes no sense. But, it follows a similar pattern of effect creation in that it consists of a fundamental with odd-order overtones, like the chopper blades in Irene and others.
  22. The curious thing, IMO, is that all of the complex sound effects show no harmonic distortion in my scrutiny of the digital v mic'd versions in speclab. It's only in the extended and relatively very high level sine wave effects like EOT and Irene that show harmonics that don't belong. For example, comparing the Red Death dragon crash in HTTYD digita v mic'd, I saw zero harmonics of the big 3-5 Hz hit and which portion should have shown harmonics that don't belong if there had been any at 2HD. Yet, I saw 3% 2HD of the 6 Hz fundamental in Irene at reference level. Although I find that result curious and worthy of examination, if anyone is ever gonna try to convince me that they will detect harmonics that don't belong at 10% THD ('T' for TOTAL) in effects like those found in the MWB we all crave... ...I'm gonna have to stick with "Ain't gonna happen"
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