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Red Spade Audio

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About Red Spade Audio

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  • Location
    Melbourne
  • Country
    Australia
  • First Name
    Paul
  1. The Dolby Atmos Path

    Hi Stuart. Yes - we have a premium Atmos speaker, available in kit or finished form. This is a high output design based around a pro style coaxial with an 8" midwoofer and compression driver.
  2. The Dolby Atmos Path

    Initially I didn't think it was worth it. My initial concern is that it might water the budget down, meaning a larger number of lower quality speakers. My first Atmos experience also demonstrated poor use of the technology. However, an AES (Melbourne) presentation at Soundfirm changed my mind. I wrote a little about it here: http://redspade-audio.blogspot.com.au/2015/02/dolby-atmos-is-it-worth-pursuing.html The evening included a very impressive demo taken from Gravity. The room was a medium/large commercial sized theatre and the impressive thing was the greater degree of creative freedom to move sounds through the room. It also has more subtle possibilities.
  3. A system to thump me in the chest

    The experience is going to be different in every system and room. I've heard many different Dynaudio speakers in many different rooms, ranging from their smaller stand mounts to their larger models. I personally like how they sound and I'd describe them as well balanced overall. I wouldn't call them lean in the bass as a rule but where that is the listening experience, the cause is most likely to be room related.
  4. The new "Listening Room"

    My suggestion is don't try to glue it just yet - try it out first. Perhaps even propping it up on your shelf or a chair as a trial. Then if you want to keep it, modify your panel slightly so you can fix it to the wall. Your panel then might glue on to the back or you might modify a frame so it just sits in there. If you want to glue it on, two options to consider. One is a simple flat foam absorber. You can get them in modules which may or may not work. Foam is not ideal for many things but for what you want here, it's actually fine. Another option is black polymax XHD - not much I can say there without getting into trouble with the rules as this is one of our products. Thickness - 50mm is my suggestion. The thickness determines how low in frequency it will absorb. Thin panels absorb only highs. Thicker panels start to provide absorption into the lower midrange region and this provides balance.
  5. The new "Listening Room"

    Sound stage depth is one challenge but there is another that's equally or perhaps even more important. The reflection off a bare flat surface creates comb filtering. It sounds bad in a highly reverberant room but in an average room, the worst aspects are tamed by furniture, furnishing, carpet etc. The unfortunate thing is that people often stop there and don't find out how much improvement they can get. In a system like this, which already sounds very good, it can come as a surprise. The right treatment takes you to another level of transparency and the sound becomes smoother and more natural. With dipoles you can enhance the depth and at the same time get a more natural and transparent sound. Sound stage depth in a small room is always a challenge - your best chance is diffusion. What you are doing with diffusion is taking a discrete reflection and redirecting it in all directions, which tends to lead to the reflections arriving later having traveled further around the room. Therefore those reflections are coming to your ears at a lower level and later in time. This is similar to making your room larger except the sound would tend to be better than if you simply had a larger room. So you have a few options for the front wall: 1. Diffuser - the ideal (acoustic) choice even if not your wife's first choice 2. Scatter panel 3. Wall art 4. Weird stuff that no one knows anything about For your panel to work acoustically, it needs to operate either on the basis of amplitude or phase. Most diffusers work on the phase principle, where different depth parts provide high frequency diffusion for a limited range of HF where it matters most. With your panel, the depths are quite small and not much different, so it would work better on the principle of amplitude - like say for example RPD BAD panels or Vicoustic Wavewood. In other words, if you had an absorber (say black) behind your creation, the different sizes and widths would give you scattering, based on the fact that the gaps between would absorb. So my suggestion in a nutshell: consider trying an absorber behind. It will give you a little absorption in the midrange and then scattering in higher frequencies.
  6. A system to thump me in the chest

    Thanks for clarifying. As you've no doubt found, test signals can be quite revealing when it comes to ports with compression issues. You can hear a port chuffing with a noise signal (even at quite low levels) where you may not notice it on music. A port that is chuffing has considerable compression. A woofer driven hard also has degraded dynamic performance. These things could possibly explain what you observed.
  7. A system to thump me in the chest

    By lower volumes do you mean the position of your volume control?
  8. A system to thump me in the chest

    Those meters can vary from unit to unit considerably, so take the result with a bucket of salt! I'm not sure what you're asking. Lower SPL compared to how they are perceived? Lower SPL compared to the sense of chest thump? There is always the possibility that people are talking about something that isn't entirely the same. That makes this difficult. However, I'd suggest that the chest thump experience is actually fairly simple. There is an SPL threshold above which you feel it. It's not related to higher frequencies. You can turn up a sub on its own and thump away. As long as it delivers enough output in the midbass, your chest will thump. Higher frequencies are needed not to deliver thump but for that bass energy to be connected to the rest of the music. Generally the bass needs a higher SPL level, otherwise by the time you hit the chest thump threshold, your ears will be ringing.
  9. A system to thump me in the chest

    Was this 90 dBA measured with a phone app or SPL meter? Why it matters. If you measure 90 dB (unweighted) in the midbass with a calibrated device, you won't get a chest thump. It would be more like a chest whisper. (From your description, you probably have more bass than 90 dB). You need closer to 120 dB in the midbass, give or take. There is a point where you start to feel it and there is a point where you get a sensation like your heart pumping after sprinting as hard as you can. SPL meters are often inaccurate and they reveal little about the bass content when weighted. So measuring 90 dBA you might be getting some thump from a room related peak which is much higher than 90 dB. 120 dB sounds extreme but in the bass range, it's not nearly as "loud" as many people think. That sense of being "too loud" tends to come from mid and high frequencies. Most people prefer more SPL in the bass as it gives a sense of balance and weight. You can have a system that measures flat all the way down to 30 Hz where you listen and it may actually sound anemic in the bass. This is why people are often surprised at how the bass measures in their system.
  10. A system to thump me in the chest

    Not many systems really deliver chest thump. It's something you can't buy. Getting that experience is a combination of chest thumpy music speakers and amps with the right headroom a room which supports it the right setup (which could include position of speakers and listening position and/or EQ) I did an interesting consult for a night club client who wanted to maximise the chest thump and minimise noise control issues. The job was to balance these two things. Too much low bass meant noise complaints. Not enough bass in the right region meant an underwhelming experience. In this particular instance, I had to quantify it in terms of frequency response and SPL. I had to create a room curve with EQ and then filter out bass which didn't significantly add to it. Many rooms provide this with room modes. If you happen to get a big lumpy peak from a room mode centred on 50 Hz then you have a chance to get that thump from any speaker with enough headroom. It won't tend to be tight and controlled bass and in most cases, the combination of peaks and dips from room modes will give you a mixed experience. Counting on the room to provide you with the chest thump will give you poor decay performance. The most basic recipe is a 3 way system or 2 way + sub. The system with a sub has a better chance because you can position the sub, or more than one in optimal locations. The most critical aspects are position and the ability to shape the bass response you achieve where you listen. More conventional hifi speakers aren't designed with any of this in mind. Very often they are optimised for more extension than you need at the cost of getting headroom in the midbass where you will actually feel the thump. Also keep in mind that you need to listen quite loud, because chest thump happens at quite high SPL. Turn down a club system and you won't get that experience at all.
  11. Polymax XHD black acoustic panels

    We only offer XHD in 50mm black. For a few reasons: 1. Much easier to cut 2. You can build up two layers to get 100mm 3. Almost all inquiries are for this one 4. As a bass trap, 50mm can actually work better
  12. Eraudio Minipanels 505 - Entry Level my foot.

    It all starts with the bandwidth. On the bottom end, you probably want around 40 Hz bass extension. On the top you want at least 200 Hz, possibly higher. You have to consider both. An open baffle with wings to achieve more bass extension before EQ will have limited useful top end. Further, once you get below around 200 Hz, we enter the modal region. A dipole here doesn't eliminate the room issues that dominate. In fact, if you look at a dipole compared to a monopole in the same position, both can suffer modal ringing to the same extent. My suggestion is a fairly conventional monopole (sealed or ported) with a good quality woofer with good midrange extension. 8 - 12" SB Acoustics woofers are a good start for your search. With a U frame, you either end up with making them large or using sub drivers with EQ. Neither are very good compromises where you want to cross at 200 Hz or higher. Nicely done! Clever use of architrave. I have one of these I never got around to using. Perhaps not quite the same - one of the Involve Audio kits. Out of curiosity I measured it some time ago. The vertical beaming was dramatic but what stood out in my mind was an interesting effect when playing music as the panel was high up on my measurement rig (outdoors). Standing next to the panel in the null, there was a bizarre ventriloquist effect. The sound was bouncing off the nearest wall and it gave the effect of the music coming from a location well beyond the other side of the wall!
  13. How to handle multi Subwoofer setup

    Not necessarily. A sub sitting right next to a woofer could be lagging behind due to the acoustic low pass filter. In some cases, they won't even be close. Mini DSP have some great tools for calibrating subs. The best positions for subs tends to vary based on the room, available positions, the location of chairs and the priority given to different seats. Harman configurations tend to work well for simple rectangular rooms where your main goal is avoiding seat to seat variation. In the more common situation where one prime seat is the priority (most say that when I ask), there are usually one or two specific locations that work out better. If you aren't determined to have stereo subs, then it can work out simpler to set mains to small and cross to the subs at 80 Hz. With MiniDSP you can take one LFE output and EQ the subs either as if they were one or individually. Individual calibration does have advantages.
  14. To sub or not to sub

    I can definitely see the appeal. One thing to keep in mind. I've tested many different correction systems to verify the results, including the Antimode along with systems built into subs and receivers. I've seen all kinds of results. In some cases, no correction being applied at all. In others, a fairly poor correction. And in some cases, a "correction" that does more harm than good. It happens more often than one might expect. Hence, if you are counting on these units because you want to avoid measuring, it may or may not be the solution you are hoping for. Ideally, if using a unit like Antimode, consider testing before and after with REW to verify the results.
  15. To sub or not to sub

    MiniDSP UMIK or Dayton UMM6 are the simplest choices for running REW. If using a laptop, the sound card might not be up to the task. You can check this by running a sound card calibration in REW. (Open preferences - sound card tab and follow instructions in the help window (at the bottom). On a PC, you're more likely to be able to use the sound card. On a laptop, you might need to add an external sound card. Alternatively, you get an audio interface with phantom power and an XLR measurement mic like Dayton EMM6.
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