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About iversons13

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  1. Interestingly I've had the same issue with a RX-V3800 powering Focal 826v. I just ignored it and put it down to room acoustics. There's very basic tests available online (e.g. youtube) to test phase, and it's usually quite obvious when there's an issue with the front L and R.
  2. I have a SVS PB12-plus I may be willing to part with. It's about as close to the PB13 as you can get. Gloss black. Located in Perth. We can discuss it further in PM if you're interested. Cheers Steve
  3. There's so many variables when it comes to subwoofer positioning and subsequent integration that you really are flying blind without the ability to take baseline measurements and re-measure as you make changes. I would start by buying the umik-1 and doing some initial sweeps. Test one sub by itself, then the other, then both combined and start to get an understanding of the interaction. At this point you can experiment with positioning, with the goal to find positions that are as flat as possible, but also compensate for the shortcomings of each placement. By that I mean, if one sub has a big dip at 50hz, that you ensure the other sub is measuring a good output in this range. At this point unless you get really lucky with placement or your AVR can do a decent job of integration, some form stand alone bass management/EQ will likely be required for multiple subs. There's some affordable solutions out there, like the mini DSP 2x4, and most have guides online about the integration process. Room treatments are definitely still something to pursue, but probably not for this particular issue. The broadband suff you've proposed is mainly used to clean up mid bass, mid range and top end reverb. If your goal is to address problem frequencies that are sub 80hz, you'll need some seriously large corner traps or a diaphrammatic solution tailored for for your specific problem frequency range. Depending on construction method you could also investigate converting your seating riser into a big trap. Otherwise, what you're proposing will likely make the bass even more prominent, as the rest of the reverberations will be killed off, giving you that "dead" top end characteristic.
  4. Agree with WasM, room analysis and treatments if you haven't already ventured down this path. Or alternatively, professional audio and video calibration. These processes may actually assist in identifying the system's weak points, too, which will inform future equipment upgrades.
  5. I'll be going DIY frame too, but want to stay away from fibreglass if possible. To give people a rough idea of price, I was quoted $275 for XHD 50mm, 6 sheets of 2400x1200, in white. I'm told the black is more expensive.
  6. Has anyone been able to source black XHD recently? I tried through an insulation mob here in WA and got the common response that it's made to order for commercial quantities only. Group buy anyone?
  7. I've read, though I'm yet to try it, that an electric heated knife does the trick. Works by melting through the fibres rather than cutting in the traditional sense.
  8. A few things I wish I gave more thought to: 1. Build in provisions for surround wides, ie 9.1.x. Filling in the gap between mains and side surrounds is the next level for immersive audio. Wiring can always be run down the track but it gets tricky if your door is right in the preferred speaker location. 2. Consider room acoustics now. If it's a rectangular room, simulation software can predict room modes, which will guide room size and seating location, which in turn determines speaker placement. Also look to integrate treatments into any baffle walls, risers etc you may be building. 3. This one was mentioned, but now is the time to determine your sound isolation needs. There's no fixing a leaky room post construction. 4. If possible find a way to house the projector and equipment in an adjacent room or partition. Similarly, it adds a little bit of extra wow factor when all speakers are concealed so the sound can be heard but not seen. 5. If you're going with two rows of seats, multiple subs will likely be required to achieve a consistent bass response. 4 subs positioned at the 1/4 way points on the front and rear walls, or subs at the mid points on all 4 walls are proven locations. This may affect door location or, at the very least, add to the cabling and power requirements.
  9. But unless I'm mistaken OP is referring to a "small" room here, where bass response is greatly affected by standing waves. The exact effect of these waves is dependent on wavelength, boundary dimensions and boundary construction (in addition to speaker and listener position in the room). By source material I presume you mean literature? In which case Floyd Toole's Sound Reproduction is one of my go to sources, though to help the discussion here's a relevant article I found with a quick google: https://realtraps.com/art_small_rooms.htm
  10. I would've thought that room dimensions, speaker placement, listening position, or perhaps system tuning or amount of soft furnishings may be the culprit here. I was always of the belief that a lightly constructed room was beneficial for sound quality, in particular bass reproduction, as some of the destructive energy is able to transmit through the boundaries. That said, I guess if the walls are completely uninsulated then resonances could be an issue.
  11. If pairing, go with the sub that is closest to the SVS in frequency response and power. Having said that, I would try the SVS by itself first and expirement from there. Multiple subs can help with consistency across listening positions, but if you're only worried about your seat, a single sub is easier to integrate, particularly without measurement equipment.
  12. It's a good idea to consider room acoustics at the same time as the interior design. Whether you just settle on a few DIY panels to assist with mid and high reverb, or you go down the path of comprehensive, integrated room treatments (eg false walls, upholstered panels, stretch fabric systems), you'll potentially save yourself time and money by factoring these plans into the design up front. Remember the room itself has more influence over sound quality than any other component. So whilst a nice dark room is required to optimise video performance, if you simply slap some dark paint on bare walls and the ceiling, you may find yourself re-designing the room again down the track, or adding elements to the room that look like an after thought. Decorating a room intended for sound reproduction is as much an exercise in function as it is aesthetics.
  13. Same brand/drivers as the mains if possible to timbre match, though this isn't as critical for surrounds as it is across the LCR. For a single row of seats I'd use a monopole design, though this can be a matter of preference. As far as installation goes, if they can't be installed at 90 degrees, angle them in towards the listening position and very little will be compromised. Elevated 500mm above ear level sounds ideal to me. Unless you intend on going down the ATMOS path, the fun front to rear panning effects are usually things like planes, birds, explosions etc, and a little height helps with the realism.
  14. I went from a single PB-12 Plus to dual SB13-Ultras with the hope of filling in a dip around 50hz. Dedicated room, single row of seating 4.7 x 4.2m. I also tried running all three. After a day of experimenting with location, measuring and tuning (and granted I need to spend a lot more time than this) I found that the seat to seat consistency improved with the duals, to the point of being almost identical, and the headroom increased a little, however the 50hz dip remained. Even when introducing the third sub I couldn't smooth the response. For now I've put it down to a nasty axial node made worse by my solid room construction. I'll have another go at tuning the bass, but not until I try and treat the room.
  15. I don't think Martini HD and XHD is carried by Bunnings any more. I missed the boat, too.
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