Soundcraftsmen EQ I haven't seen one of them in years. I spent a lot of time with them in my younger years. A band I ran sound for had one for the stage monitors.
I am with you on the hearing, I have some ringing in my ears from years and years of loud audio and cars. My audio career started in car audio, talk about an environment that sucks for audio. But one thing it taught me was how to make a bad environment better by speaker placement and sound dampening. I also learned a lot about low frequency reproduction and if it is not right it can change the way the ring of a cymbal sounds. The tighter and lower the sub goes determines how natural that ring is. I know it sounds odd, but there is low frequency to the ring. I didn't believe it until a friend and I did a spectral analysis of a cymbal crash and the ring that follows.
Right now I am running my system with a 4 way crossover and started playing with the Minidsp. The part I like right off the bat is the versatility. My subs are sixth order design using a 2 pole high pass filter to cut off the low frequencies the driver is unable to reproduce. This help extend the low frequency and power handling. The Minidsp lets me better shape the filter and give me a steeper cut off slope.
I two close my eyes when listening or at night shut all the lights off and see if I can pick out the singers and instruments. The closer I get the balance on the system the clearer the image becomes. I also notice I can start to hear things like fingers on a guitar or violin, also if the recording is real good you can hear the breathing of the singer. One thing I find helpful when dialing a system in is piano or another instrument that has several octave range. It is a good way to find peaks or dips.
I am with you on the hearing, I have some ringing in my ears from years and years of loud audio and cars. My audio career started in car audio, talk about an environment that sucks for audio. But one thing it taught me was how to make a bad environment better by speaker placement and sound dampening. I also learned a lot about low frequency reproduction and if it is not right it can change the way the ring of a cymbal sounds. The tighter and lower the sub goes determines how natural that ring is. I know it sounds odd, but there is low frequency to the ring. I didn't believe it until a friend and I did a spectral analysis of a cymbal crash and the ring that follows.
Right now I am running my system with a 4 way crossover and started playing with the Minidsp. The part I like right off the bat is the versatility. My subs are sixth order design using a 2 pole high pass filter to cut off the low frequencies the driver is unable to reproduce. This help extend the low frequency and power handling. The Minidsp lets me better shape the filter and give me a steeper cut off slope.
I two close my eyes when listening or at night shut all the lights off and see if I can pick out the singers and instruments. The closer I get the balance on the system the clearer the image becomes. I also notice I can start to hear things like fingers on a guitar or violin, also if the recording is real good you can hear the breathing of the singer. One thing I find helpful when dialing a system in is piano or another instrument that has several octave range. It is a good way to find peaks or dips.
I was referring to the EQ and analizar, i do not remember the model, I borrow a description of how it worked, calibrating the sound of the room by means of a microphone.
Soundcraftsmen EQ ??? | Audiokarma Home Audio Stereo Discussion Forums
See post 8
It helps if you know how to use an EQ though!
Soundcraftsmen made that process a lot easier, with a "test disc" release. I can't remember if it's a double LP or just a gatefold, but on the inside cover are detailed instructions for how to use the recordings to properly adjust the EQ, as well as some other aspects of system set-up. You just follow the instructions and use the recorded tracks, setting one band at a time until each one (all of them) has been set. The process isn't difficult to get right, with that disc. You can find it in secondhand record shops sometimes, or listed on the big auction site; it isn't all that rare.
It's amazing how much better a lot of systems become when properly "dialed in" that way. Most people just play with settings until it "sounds good", and often they are pretty far off from what is optimal.
Soundcraftsmen also made a slightly more complicated "EQ/Analyzer" that had built-in tone generators and such. You would plug the supplied microphone into the jack on the front, and put the mic in the listening position. Then you'd generate the tones through the system, and adjust each channel; the visual indicators gave you a more accurate setting than guesswork ever could. I have this unit, too, and think it's great, except that the microphone I use isn't the original, so I cannot be sure that the settings are accurate. Double-checked against the test record, though, it seems pretty good.
Any similarity with Mini DSP + Umik 1 is not pure chance ..... Good ideas are copied, and, after all, already patents are expired! (I know they are not the same, it's just a joke, I rush to clarify before Ben points out my error)
Well, I suppose these prehistoric animals are not the ideal of a purist audiophile lover of absolute minimalism, full range speakers, SET 300 B, and OFC cables. They have antidiluvian audiophile concepts, not prehistoric ...., less is more ... hey you hear the difference between capacitor Duelund and Clarity?
But, at least, they have in common the wiring completely done by hand. From there the brand, handmade sound.
Soundcraftsmen EQ ??? | Audiokarma Home Audio Stereo Discussion Forums
See post 8
It helps if you know how to use an EQ though!
Soundcraftsmen made that process a lot easier, with a "test disc" release. I can't remember if it's a double LP or just a gatefold, but on the inside cover are detailed instructions for how to use the recordings to properly adjust the EQ, as well as some other aspects of system set-up. You just follow the instructions and use the recorded tracks, setting one band at a time until each one (all of them) has been set. The process isn't difficult to get right, with that disc. You can find it in secondhand record shops sometimes, or listed on the big auction site; it isn't all that rare.
It's amazing how much better a lot of systems become when properly "dialed in" that way. Most people just play with settings until it "sounds good", and often they are pretty far off from what is optimal.
Soundcraftsmen also made a slightly more complicated "EQ/Analyzer" that had built-in tone generators and such. You would plug the supplied microphone into the jack on the front, and put the mic in the listening position. Then you'd generate the tones through the system, and adjust each channel; the visual indicators gave you a more accurate setting than guesswork ever could. I have this unit, too, and think it's great, except that the microphone I use isn't the original, so I cannot be sure that the settings are accurate. Double-checked against the test record, though, it seems pretty good.
Any similarity with Mini DSP + Umik 1 is not pure chance ..... Good ideas are copied, and, after all, already patents are expired! (I know they are not the same, it's just a joke, I rush to clarify before Ben points out my error)
Well, I suppose these prehistoric animals are not the ideal of a purist audiophile lover of absolute minimalism, full range speakers, SET 300 B, and OFC cables. They have antidiluvian audiophile concepts, not prehistoric ...., less is more ... hey you hear the difference between capacitor Duelund and Clarity?
But, at least, they have in common the wiring completely done by hand. From there the brand, handmade sound.
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Yes, that experience is very rewarding, luckily my hearing still perceives it!
But do not worry, there will always be someone who says:
"That is a consequence of a bad recording done, in a natural environment you do not listen to those details unless you are very close to the interpreter"
Sometimes I think if I should not have chosen to play the truco instead of chess, the pseudoscientists have bored me too much over the years. I think I lost a lot of fun ...
Truco ( Trick ) : Game of cards of my country that consists of constantly deceiving the rival lying aloud.
I have a new concern for everyone:
The calculations for a cabinet are made trying to be as accurate as possible, because we want to achieve the best sound.
If we already have the exact volume of the cabinet, but then we add buffer material inside it, the virtual volume will increase, as freddi pointed out earlier.
But, there are no exact formulas here, how much will it increase? 10%? 15 % ? And this percentage will also vary depending on the type of material used.
The bracing and the volume occupied by the tuning tube will be easy to add to the overall volume, but not the influence of the absorbent material.
In short, is it worth taking risks using material in my particular case, with large drivers and boxes?
I leave a study here:
Data-Bass
What do you think ?
Looking for information I found this and thought about making it known.
get stuffed [English]
( Reading the three parts in order will be more productive )
get stuffed [English]
In short, the stuffing pitfalls are:
Too much stuffing reducing the internal volume
Too little stuffing failing to attenuate standing waves and reflections back through the cone
Stuffing the wrong place failing to attenuate low-enough frequencies
Stuffing too tight & dense that simply reflects rather than absorbs
Stuffing too loose that slows rhythm by random movements
Hey ! this was not the other way around ?
All the bibliography that I have read says that the filling produces an increase in the volume of air in the box .......
Is there perhaps a point from which the effect is reversed?
Can anyone clarify this ?
In short, the stuffing pitfalls are:
Too much stuffing reducing the internal volume
Too little stuffing failing to attenuate standing waves and reflections back through the cone
Stuffing the wrong place failing to attenuate low-enough frequencies
Stuffing too tight & dense that simply reflects rather than absorbs
Stuffing too loose that slows rhythm by random movements
Hey ! this was not the other way around ?
All the bibliography that I have read says that the filling produces an increase in the volume of air in the box .......
Is there perhaps a point from which the effect is reversed?
Can anyone clarify this ?
Thanks GM !
I was reading this at this time:
Oh, my God, on top of suffering a mild tinnitus (luckily)
enjoy the music could explode my eyeballs ?
No sir, I think I mentioned it ... I'm not interested in THX standards .....
Buddy sub
" I do believe that in excess of 105dB @ 20hz qualifies for THX certification. Just over 100dB @ 15hz isn't too shabby either!
I read somewhere that the resonant frequency of the human eyeball is around 19hz, so if any "ghosts" appear, I'll know where they came from ! "
I was reading this at this time:
Oh, my God, on top of suffering a mild tinnitus (luckily)
enjoy the music could explode my eyeballs ?
No sir, I think I mentioned it ... I'm not interested in THX standards .....
Buddy sub
" I do believe that in excess of 105dB @ 20hz qualifies for THX certification. Just over 100dB @ 15hz isn't too shabby either!
I read somewhere that the resonant frequency of the human eyeball is around 19hz, so if any "ghosts" appear, I'll know where they came from ! "
I can only confirm part of the old days ...
CAR STEREO REVIEW®
March/April 1995
I see this article very useful, I will have to do calculations again ....
Remember the young or beginners, the percentages are not added or subtracted!
If you have 100 and you add 10 % is 110 !
Ok ?
But if you have 110 and you get 10%, you do not go back to 100 !
Give 99 !
If you want to do the exact opposite, if you previously added 10%, to subtract it you have to do 110 divided 1.10 = 100
This is useful for calculating the boxes. if WinISD gave an ideal result of 100, and you consider that the filler increased 20% of volume, build the box of 100 divided 1.20 ..
I always use stuffing to defuse the waves off the back of speaker. Then I use it to fine tune the cabinet by measuring closed box Q. Also port length calculations to reverse calculate the box volume the speaker sees. Helmholtz works very good for this because the port only works at a given frequency based on cabinet volume. It is good to remember adding or subtracting stuffing will change tuning and closed box Q.
15hz I love it, that's the frequency were an earthquake happens. I used to have a sub that would do 17hz solid (-3db point) and at 15hz was only down 4.5db. I did reproduce the effects of an earthquake in a trailer park I was living in when I first got married. After found out it was knocking stuff off shelves 6 trailers down. needless to say I didn't do that any more. The fun you can have with a few beers and a signal generator.
15hz I love it, that's the frequency were an earthquake happens. I used to have a sub that would do 17hz solid (-3db point) and at 15hz was only down 4.5db. I did reproduce the effects of an earthquake in a trailer park I was living in when I first got married. After found out it was knocking stuff off shelves 6 trailers down. needless to say I didn't do that any more. The fun you can have with a few beers and a signal generator.
That must have been impressive, now, tell me, your eyeballs survived the experience or are you writing me with the Braille system ? ....
what was your sub ?
I think he simply moved his things from the car to his living room.....
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It was a JBL 2245h qts .27 after adding weight to the cone fs 12.5. Tuning ended up at 17 with 6db boost at 17 2 pole hp filter. My son has that sub now and lives next door, so I still hear and feel it playing. I am still looking for another JBL with those specs, I just got lucky on that one. Here is my current system still need to make grills.
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I see excellent specifications in that speaker ...
Components - 2245H
Has anyone returned to manufacture something like that ?
Really hard to believe, have you searched well ?
Nice system !
I have bought several 2245h drivers in the 30 plus years since I got that one and none have come close. Unfortunately JBL does not make that driver any more, so I buy blown up drivers off eBay and recone them. I found that the 2245h and the 2240h use the same basket. The sad part is I have bought so many I could build a duplicate of my front system for my rear.
I have looked had for a replacement to that driver. It seems most companies want to build high Q drivers (.4 to 1) and use a light cone. In my opinion the light cones just don't have the drive behind them for low frequency reproduction and the light cones have a tendency to deform when driven hard. But I will keep looking.
I have looked had for a replacement to that driver. It seems most companies want to build high Q drivers (.4 to 1) and use a light cone. In my opinion the light cones just don't have the drive behind them for low frequency reproduction and the light cones have a tendency to deform when driven hard. But I will keep looking.
Brian, that is a nice driver and would like to try one in a EV Patrician folded horn. Even thought the specs are good and has the ability to make a great sounding sub. It falls more into the horn or TL cabinet design. Both designs I wish I had time to play with.
I look for drivers with the Q down in the .25 to .27 range with fs below 20hz. The other part of the old JBL 2245h is the micro gap on the voice coil. I guess that is the reason I keep going back. I have went as far as talking to local magnet companies to see if I could get the magnet structure re-charged. Sadly none had the ability or the want to do it.
This is one of the reasons I like coming on here, that is a driver I hadn't seen. I now have in the back of my mind for a folded horn with a flare rate of 15 to 20 hertz. I'm sure my wife will love that, she already thinks I've lost my mind with the system I have.
I look for drivers with the Q down in the .25 to .27 range with fs below 20hz. The other part of the old JBL 2245h is the micro gap on the voice coil. I guess that is the reason I keep going back. I have went as far as talking to local magnet companies to see if I could get the magnet structure re-charged. Sadly none had the ability or the want to do it.
This is one of the reasons I like coming on here, that is a driver I hadn't seen. I now have in the back of my mind for a folded horn with a flare rate of 15 to 20 hertz. I'm sure my wife will love that, she already thinks I've lost my mind with the system I have.
I do not understand that, is it the problem of demagnetization of alnico magnets? That is true ? Wow, my JBL is already 40 years old ....
It does not specify the PDF if the magnet is Alnico or ceramic ... (but I can assure you it is not Neodymium
)http://www.jblpro.com/pages/components/2245H.pdf
Xlim is 25 mm!
Eminence Delta Pro18 A that I will use is 15 mm ....
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Yes, all magnets will lose some of there magmatism over time. Also some of the drivers I have gotten the voice coil was burnt up and magnets and heat don't mix. I am most likely being too picky, but I feel the stronger the magnet the better control the driver will have.
I'm just one of those guys that can't leave well enough alone. That's probably why I have so many projects I need to finish. Audio is only one of my hobbies and probably the lest expensive.
I'm just one of those guys that can't leave well enough alone. That's probably why I have so many projects I need to finish. Audio is only one of my hobbies and probably the lest expensive.
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