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Red Spade Audio

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About Red Spade Audio

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    Melbourne
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    Australia
  • First Name
    Paul

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  1. SVS SB1000 is probably what I would consider a minimum standard although the next model up is significantly cleaner (SB2000). Sometimes some of the older models come up in the classifieds. I've integrated a lot of these and they are a breeze to work with. Sorry, I know this is not helping with your budget at all.
  2. You may find this interesting: https://redspade-audio.blogspot.com/2020/09/the-surprising-reason-why-you-might.html The issue I find with subs around this price point is that they usually aren't very clean, even at modest levels. Is DIY an option you would consider? If so, I'd suggest a 12" Peerless XLS in a sealed box is a good option. That's the only kind of solution I would consider on a <$1k budget for a studio.
  3. As Al has eluded and mentioned at other times, adding a second sub is not always the solution many expect. Doubling up on identical subs adds +6 dB. 3 dB increase in sensitivity 3 dB increase due to twice the total power This only applies if the second sub is very close, so that both subs act as one larger sub. Beat me to it! There is no easy answer to the question you are asking based on the info we have on hand. In my experience, it's very difficult to make suggestions based on this kind of description. Mainly because we don't know what the room is doing, and that makes a world of difference. One person will say what you've just said and then I will test their room. What do I find? No problem that we can fix with a second sub. It might just be that their setup hasn't been calibrated very well for their particular tastes. Their existing sub may be all that they need. But then another person might say exactly the same thing and I find a major problem that does require a second sub. So in that scenario, it requires the two subs being placed in their optimal locations and also correctly calibrated. If the placement is sub-optimal or the calibrate isn't done well then either or both can undermine the improvement and in some cases be inferior to just one sub. This question comes up so often that I decided it was quicker to drop a post on the blog rather than keep saying the same things over and over again: http://redspade-audio.blogspot.com/2020/05/why-you-dont-need-two-subs.html There are some examples where the answer was fairly clear cut.
  4. "Darling, I promise you, there always was a giant return air duct in this corner! What do you think? That I just added a useless air duct in the corner for no good reason?!" If the matter goes to the high court of interior design, I had nothing to do with it! There is a mix of things you can look for, including bottom end extension, avoiding major dips, flattest overall response, highest output. The emphasis changes as you change the number of subs and also the number of listening positions you want to optimise. For one sub and one seat, the answer is often relatively straightforward. It's mostly about avoiding dips, as you can EQ out the peaks very well in that one position. As you start adding more seats you want to optimise, especially in more than one row and also as you start to consider more subs, the exercise becomes more complex. The answer leans more towards reducing seat to seat variation.
  5. There's always some risk of localisation with a single sub at the back of the room. Simply having a 4th order crossover at 80 Hz won't necessarily avoid the problem. Different subs vary in their tendency to be localised and different listeners vary in their sensitivity. I've ran demos like this countless times and a surprising number of people don't notice a problem, where I'd call it distracting. So there is always some degree of uncertainty. The best solution that I've found to the localisation issue is to have at least one front sub and to limit the rear sub to about 60 Hz. Often the rear sub will help with the midbass where front sub positions might have a major dip. Yes, I know this is not quite what you had in mind. Your DCX speakers could actually be used to run tests. One speaker goes into your listening position, the mic goes into sub positions you want to test. In a room that big with custom DIY on the table, I'd be thinking if you can find a creative solution ie. another position for a sub somewhere along the front wall. Perhaps something stealthy with slim proportions. Don't rule out multiple smaller drivers, or a coffee table sub or something made to look like part of the room. If you are feeling even more daring, there is also IB. The other factor is of course how each position impacts the room response. Sometimes positions like that work perfectly, sometimes they are awful. Sometimes they are so bad that even with plenty of power and EQ, they still behave badly. But in most cases, you could still expect better than no sub at all.
  6. I'd call 140 - 400Hz low midrange. Others may define this differently but I'd class midbass as approximately 40 - 60 Hz. I came up with the 120 dB midbass chest thump threshold based on a particular system that I designed and set up for a night club client. It was a 4 way horn loaded system. I found that once the level on the dance floor reached 120 dB around 45 - 55 Hz, you could feel that chest pounding sensation. The mids and highs were lower in level. Of course, using different music or even a system with a different response, you may find a very different result. The details around how you measure can also have a big impact. As a rule, clients don't specify SPL targets.
  7. Keep in mind that if you use high level inputs, this eliminates the chance of using EQ, either from your AVR or an external device. For this reason I'd call it the "last resort" option for systems that have no other way. In the vast majority of systems, it's a big compromise.
  8. When you reach a midbass level of 120 dB, I'd call that the "chest thump threshold." That's the easy part. There are too many variables to give a definitive answer in terms of power/m3. The room in particular adds so much uncertainty. If someone wanted to actually design a system to reach a specific target, it would take a process with several steps. It involves things like testing sub positions and measuring the actual response in the listening position for a known reference. Armed with the right data, I can then work backwards to determine how to reach the target. Power is just one of the parameters. In reality, people don't usually have a specific SPL target in mind.
  9. I've seen this many times in systems that I've tested, it's quite common. I've also seen many cases where the setup wasn't lacking in this aspect but they hadn't dialed in a suitable room curve. I've seen many systems where they actually have more actual in-room bass extension than they realised, yet they didn't have the impression of enough extension. Quite often there is a big difference between what people have and what they think they have. If you are talking about that live concert experience, in which you feel the kick drum thump in your chest, this is an experience very few people achieve at home. Most likely you won't get there if all you do is upgrade your sub. Even the Fathom range will fall short of delivering that chest thump in many rooms. Firstly, most subs lack the necessary fire power. Beyond this, it's also about having the right number of subs for your room, optimising their positions, and correctly integrating them. There are several steps involved, all of them essential.
  10. Enclosure has been picked up ... hope to see some photos!
  11. Pickup organised for tomorrow morning
  12. Further information: FREE! DIY acoustic panels. These came out of a room in which we installed new acoustic panels. Microfibre fabric is wrapped around a pine frame with approx 100mm thick acoustic material, with an air gap behind. These are approx 600 x 1250mm and the depth is around 170mm. Two panels. Given the air gap these should provide broadband absorption that works lower than most. Photos:
  13. Further information: This is a prototype enclosure one of my clients built as a practise run. I designed the sub for Rythmik parts (12" driver with plate amp) but it would suit other 12" drivers of similar size. Net volume is around 55L. Last I checked, the cabinets developed a crack - MDF does not like being left unsealed with machined edges stacked like this. So they need a little extra work. Photos:
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