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Red Spade Audio

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  1. Red Spade Audio

    Atmos setup advice

    SB1000 is a pretty good suggestion for a small room on a budget. One problem you might have with dialogue is that movies are mixed with commercial cinemas in mind. In other words, they have more dynamic range than you can often use at home, which means if you set the volume to avoid dynamic scenes becoming loud, the normal dialogue at talking level is too quiet. In some cases, it's a simple matter of volume. The simplest solution is choosing an AVR with a night listening mode, which compresses the dynamic range, so that dialogue is louder without the louder parts of the movie becoming too loud. Other causes could be things like speaker placement and room acoustics although the latter is more likely to give you problems in a much larger room that is very bright. In a small room of those dimensions, you will tend to face bass issues. Any sub, no matter how good, is likely to sound boomy in the mid to upper bass and it can get especially bad when listening up against the rear wall. EQ is essential.
  2. Red Spade Audio

    Toeing in speakers.

    Not surprised
  3. Red Spade Audio

    Sub in middle of room not corner

    After over a decade of testing, one clear lesson is that no single position best fits all. Without testing the acoustic response of all the positions that are feasible, it's just not possible to give you a real answer.
  4. Red Spade Audio

    Toeing in speakers.

    I'm NOT! Firstly, it's a good point to consider what the speaker designer or manufacturer has said. Where possible it's also beneficial to appreciate the reasons. Does it address a technical issue? Or does it reflect the views of the designer and how they actually voiced the speaker? Geddes speakers have a fairly large dip on axis, caused by the axi symmetric waveguides he used. It disappears fairly quickly as you move off axis, so you can easily remove it from the direct path with toe in. Fortunately it works out well for other reasons also. With the PSE horn, the elliptical design avoids rapid changes as you move off axis. That means you can listen on axis without problems. The set up process regarding toe in and placement is the same as for any speakers with constant directivity. The main difference with the PSE horn, compared to 2 way designs with only a tweeter horn, is that the midrange maintains the same pattern. CD designs respond differently to toe in.
  5. Red Spade Audio

    Free Standing or Flush Mount Speaker's.

    It really depends on context. Flush mounting eliminates baffle edge diffraction and bafflestep loss. So you get higher sensitivity and you eliminate a few frequency response issues. These are nice technical advantages but in a music system it also takes away the opportunity to maximise sound stage depth. If it's a home theatre system in which you also listen to music, if it's 50/50 flush mounted might not be your ultimate option. However, if the system is more focused on home theatre, then what you ideally want is 3 front speakers behind an AT screen. In that situation, flush mounting is a logical next step. Alternatively, you can in that situation, create a false wall made of acoustic material - then you can get both flush mounting and a large bass trap at the same time across the entire front wall. Give it some depth and you might even hide an equipment rack as well. If you don't have the space for that, then flush mounting with shallow profile speakers can also some some other problems. In my living room system, I installed speakers flush in the wall cavity. In my living room, it was actually the only good option. In a home theatre system, concerns like getting a large screen and matching voices to the picture tend to take priority over sound stage depth, which is not really an issue. An AT screen also avoids awkward compromises people tend to make with centre channel speakers.
  6. Red Spade Audio

    Toeing in speakers.

    Notice I said if you want to maximise depth. All else being equal, these things will create greater depth. It's worth keeping in mind that the perception of depth is first created by the recording itself and then modified by the speakers and room. Often in a room analysis session, I will demonstrate some of these to a client. It's important to use a given track and not compare too many variables at once.
  7. Red Spade Audio

    Toeing in speakers.

    Something I cooked up earlier: https://www.stereo.net.au/features/speaker-toe-whats-it-all-about If you want to maximise sound stage depth, as a general rule you need: 1. Space behind speakers 2. A reflective front wall 3. Diffusion rather than absorption on the front wall 4. Speaker toe in 5. Reduced clutter - furniture can take away the breathing space you gave your speakers 6. Speakers with some rear firing energy (dipoles and omnis take this one step further) It needs a trial and error process. Some speakers are finicky with toe in, others give you more latitude to play with.
  8. Part of the early discussion on the design was about size, sensitivity and extension. They are related. Before we even had that discussion, we took some in-room measurements and discovered that in this setup, there wasn't an integration advantage in having bass from the mains. In other words, the subs could be positioned to work just as well. With that in mind, we were able to maximise on sensitivity and minimise on extension, weight and size. You wouldn't think so to see them in the flesh, but these are technically speaking "small satellites."
  9. The modules have 3 class D amp modules, each with 500W into 4 ohms or 250W into 8 ohms along with linear phase crossovers and PEQ filters on all inputs and output channels. Like MiniDSP units, these have enough output PEQ filters to tame most workable designs but there are also way more input PEQ filters than I've ever needed to use. The amps have low distortion, low noise floor and a flat frequency response. Class D means light weight (which really helps here) and low heat (which is also handy in this situation where they are being installed behind and AT screen).
  10. Red Spade Audio

    Ideal Cabinet Construction?

    There is a thread somewhere in which Terry documented his cabinet build. It wasn't concrete. Going from memory here, he used an MDF skeleton and troweled on plaster. An ideal box is never a combination of already-chosen drivers and the first design you come up with. If you really want ideal, you need to build prototypes and test multiple drivers. At least one of those two things - either the box design or the drivers (and preferably both), needs to be flexible. If you're committed to the drivers, then I'd suggest that you build prototypes and experiment with fill, bracing and the baffle design. Keeping in mind also that drivers vary in their sensitivity to the shape of the baffle. Sometimes you can get away with jumping right in with an uber box but there is always the risk that problems can emerge that you didn't expect. It might not actually result in the ultimate in performance. Keep in mind that you might be able to move an ultra heavy box into your room, but before that you need to be able to handle it in the workshop. Everything becomes exponentially more difficult with weight - building it, painting it, testing it. Moving it into the room is the least of your concerns. If you can't actually take proper measurements for the crossover because it's too heavy to elevate, then that's a serious compromise.
  11. Red Spade Audio

    Advice Wanted: Upgrading Home Theatre - What to buy?

    Thanks for the mention Snoop. Square rooms cause the lateral depth and width modes to occur at the same frequency, which will tend to cause the bass to boom severely. Different dimensions for depth and width tend to spread out the modes. With smaller dimensions, around 3 - 4m this tends to place the first order lateral modes in the midbass. With larger dimensions the audible effect can be more benign. With 5.8 square the first order lateral modes would be around 30 Hz. The first order lateral mode is the one which is most likely to be easily seen in measurements, where many others predicted by models aren't so clearly identified. You want to match speakers with similar characteristics, which does not necessarily restrict you to one brand. Look no further than StereoNET for articles on treatment ....... (actually do look further but this is a start) https://www.stereo.net.au/features/room-treatment-what-difference-does-it-make https://www.stereo.net.au/features/room-treatment-series-part-one-bass-traps
  12. Red Spade Audio

    High Efficiency 3 way

    I'm a tentative yes at the moment
  13. Red Spade Audio

    High Efficiency 3 way

    You're welcome. Low mms is never an informed basis for choosing one driver over another. On its own it means nothing at all. A lot of myths surrounds that one parameter so keep in mind that most of what you can read about it is probably misleading. This is one area where intuition will take you in the wrong direction. Micro detail. This is mostly about the high frequency behaviour. Everything in your system (potentially) influences this aspect but your music, speakers and room are the main suspects. The shape of the response in your listening position and the proportion of direct to reverberant energy are key factors. The off axis response is critical because in a room you hear both direct and reflected sound. It also informs decisions about the crossover. If you just measure the gated axial response and correct for it, you will make some bad decisions. It's also part of the decision regarding the crossover point you choose. Whether a sub makes sense in your room depends mostly on room acoustics. Do you get a good room interaction where your mains can be located? Subs can be placed where they work best and sometimes it can be make or break. The only way to know is test both drivers under the same conditions. A very good suggestion! Parts Express seem to still have it - Celestion CDX1-1746 It has a PET diaphragm with a similar sonic signature to DE250 One more thing. If the midrange sounded congested, it could be many things (too many to mention) but it won't be the choice of driver. There are drivers that could have been at fault, but not that one.
  14. Red Spade Audio

    High Efficiency 3 way

    Actually, I wouldn't use a bolt on compression driver with a threaded horn/waveguide - getting the adaptors to work is a real PITA.
  15. Red Spade Audio

    High Efficiency 3 way

    Sounds like a great project but if you are wanting to emulate the sound of JBL 4367, I'd say most of your choices are taking you in quite a different direction, unless you want a very vague similarity. You might get similar dynamic range but otherwise you could expect a very different sounding speaker. If you want to try and get closer with a DIY project, you might consider something like a SEOS 12" with a good ported 12" woofer, or even one of the clones of the JBL progressive transition waveguide, which performs very well with DE250. Dayton and Pyle both make clones. LTH is a nicely made and good sounding horn. Not my favourite choice for a passive design due to the tendency to need quite a bit of mid band response shaping but with a DSP crossover, no problem. STH100 is also a good choice. With a project like this, keep in mind that off axis measurements are critical. You will also find that when you measure the drivers on an actual baffle, the response won't look like the curves you see on driver data sheets.