Been there, done that and still haven't completed all the repairs going on nine years later. 
I 'dropped' the ceiling and popped nails, screws, split seams throughout my 1952 stick built, floating floor built G.I. tract home as well as severely cracking/partially collapsing a concrete block foundation column in the living (listening) room playing pipe organ and movie LFE at ~live/reference levels through a pair of ServoDrive Contrabass kits/500 W once I got the CD/DVD player isolated enough.
Bottom line, as long as I live in this house, really low frequencies at high SPL will be nothing more than a faint sense of 'fullness' if I don't build an acoustically free standing cinema extension out back designed to withstand such forces and has a low enough Fs to keep from irritating neighbors six houses away.
GM
I 'dropped' the ceiling and popped nails, screws, split seams throughout my 1952 stick built, floating floor built G.I. tract home as well as severely cracking/partially collapsing a concrete block foundation column in the living (listening) room playing pipe organ and movie LFE at ~live/reference levels through a pair of ServoDrive Contrabass kits/500 W once I got the CD/DVD player isolated enough.
Bottom line, as long as I live in this house, really low frequencies at high SPL will be nothing more than a faint sense of 'fullness' if I don't build an acoustically free standing cinema extension out back designed to withstand such forces and has a low enough Fs to keep from irritating neighbors six houses away.
GM
screamersusa said:
You can't do damage to humans with your speakers, except hearing damage, which will be caused rather by frequencies above 1kHz. Cant find the links now, but if you search for Thomas Danleys posts in the lab archive, you will find links to US government studies, that clearly show that low frequencies in the air are not harmfull for your organs. Vibrations in hard materials are a different matter, but wont be caused by your speakers. Tom did a much better job at explaining this than i can, so read his posts, if you dont belief me.
Infrasound Toxicological Study
http://ntp.niehs.nih.gov/ntp/htdocs/Chem_Background/ExSumPdf/Infrasound.pdf
http://ntp.niehs.nih.gov/ntp/htdocs/Chem_Background/ExSumPdf/Infrasound.pdf
I've picked out the range between 4m30s and 4m50s in 'Glow Bug'. This is what Audacity's spectrum analyzer puts out:
- the subhamronic rumble in such a compressed track is difficult to analyze,
- lowest peak at 32Hz (9dB down below max. level),
- largest peak at 50Hz (9dB above the lowest peak).
Around 4m29s there's a 28Hz peak at 20dB down below max. level, so we can consider this is the lowest intentional content.
So while the lowest 'notes' are significantly below the track's maximum level, it would not suffice to use a speaker that is 9dB down at 32Hz. This would result in the range around 32Hz being down 18dB below 50Hz!
If I may chime in with my opinion based on experience on drum'n'bass floats, open airs and in clubs: You need wide bandwith, but not extreme maximum SPL. If the lowest harmonics get through, it's usually sufficient. You don't need gut crunching pressure below 50Hz, just a flat roll off without too much group delay.
In case your venue(s) demand high SPL due to room shape or size, few enclosures with extreme SPL are usually a bad idea - simply due to regulatory (legal) and medical reasons, as was stated earlier.
Instead, such situations call for a larger number of enclosures in order to shape the pressure distribution (or 'sound field').
Cheers,
Sebastian.
- the subhamronic rumble in such a compressed track is difficult to analyze,
- lowest peak at 32Hz (9dB down below max. level),
- largest peak at 50Hz (9dB above the lowest peak).
Around 4m29s there's a 28Hz peak at 20dB down below max. level, so we can consider this is the lowest intentional content.
So while the lowest 'notes' are significantly below the track's maximum level, it would not suffice to use a speaker that is 9dB down at 32Hz. This would result in the range around 32Hz being down 18dB below 50Hz!
If I may chime in with my opinion based on experience on drum'n'bass floats, open airs and in clubs: You need wide bandwith, but not extreme maximum SPL. If the lowest harmonics get through, it's usually sufficient. You don't need gut crunching pressure below 50Hz, just a flat roll off without too much group delay.
In case your venue(s) demand high SPL due to room shape or size, few enclosures with extreme SPL are usually a bad idea - simply due to regulatory (legal) and medical reasons, as was stated earlier.
Instead, such situations call for a larger number of enclosures in order to shape the pressure distribution (or 'sound field').
Cheers,
Sebastian.
Attachments
Sorry to dispute you guys but.....
Some people are idiots and think it's great to stand less than 3 feet from 4 subs at full blast. I personally put a keyboard bass player in the hospital by accident. The doctors claimed his insides looked as I described. His sounds were tuned such that they were pushing lots of subsonics. He was hit with a double 18 and double 15 plus his own amp, unfiltered at 2500w (crest watts), while standing within one foot of the stack. His clothes were moving like the wind.
Normally you shouldnt hurt anyone, but it seems were talking about synth bass below 40 hz at high volume, so I thought I'd better mention that which I have actually experienced firsthand.
Extreme example, yes..... but there is usually one moron in the crowd somewhere too drunk to notice the splitting headache that is warning them that they are in trouble and should probably, MOVE!
Normal stuff just beats the crap out of you, synth stuff has potential issues in an unfiltered system.
I'm just passing on my experiences to file in the back of your head in case you see any warning signs. To be forewarned of a real possibility (versus theory), is to be forearmed.
Best wishes all..... gotta go make noise.
Some people are idiots and think it's great to stand less than 3 feet from 4 subs at full blast. I personally put a keyboard bass player in the hospital by accident. The doctors claimed his insides looked as I described. His sounds were tuned such that they were pushing lots of subsonics. He was hit with a double 18 and double 15 plus his own amp, unfiltered at 2500w (crest watts), while standing within one foot of the stack. His clothes were moving like the wind.
Normally you shouldnt hurt anyone, but it seems were talking about synth bass below 40 hz at high volume, so I thought I'd better mention that which I have actually experienced firsthand.
Extreme example, yes..... but there is usually one moron in the crowd somewhere too drunk to notice the splitting headache that is warning them that they are in trouble and should probably, MOVE!
Normal stuff just beats the crap out of you, synth stuff has potential issues in an unfiltered system.
I'm just passing on my experiences to file in the back of your head in case you see any warning signs. To be forewarned of a real possibility (versus theory), is to be forearmed.
Best wishes all..... gotta go make noise.
Here is your 4m30second spike in glowbug. Yes it's there, yes it's low, but very short lived, and there are about a dozen events like this in the entire track.
Good catch.
This is down in the 'room gain' discussion on how much gain you get from your room, vs how fast is your sub falling off in response.
I agree, set up the system to play back 'flat' and then let the music speak for itself.
The sim I gave xstephanx actually had decreasing xmax below 40hz, as well as reduced output due to the rear chamber size, and the 'short' horn. If he didn't have sufficient room gain to offset the falling response below 40hz, some 25-30hz narrow q bump that doesn't exaggerate xmax at 40hz, could be accomplished if you are only driving in the 60volt range to start with, without exceeding xmax or pmax.
Knowing your system, your room, and your music allows you to design a system that accomplishes your needs.
Hopefully some exploration on the music end in these last few posts has been sufficient to help define what is, and what isn't needed.
Good catch.
This is down in the 'room gain' discussion on how much gain you get from your room, vs how fast is your sub falling off in response.
I agree, set up the system to play back 'flat' and then let the music speak for itself.
The sim I gave xstephanx actually had decreasing xmax below 40hz, as well as reduced output due to the rear chamber size, and the 'short' horn. If he didn't have sufficient room gain to offset the falling response below 40hz, some 25-30hz narrow q bump that doesn't exaggerate xmax at 40hz, could be accomplished if you are only driving in the 60volt range to start with, without exceeding xmax or pmax.
Knowing your system, your room, and your music allows you to design a system that accomplishes your needs.
Hopefully some exploration on the music end in these last few posts has been sufficient to help define what is, and what isn't needed.
Attachments
Thanks.
My take on what's needed and what's not:
Let's not forget that even the most crazy synth track is produced by humans with the intention to be consumed by humans.
Those producers use monitor speakers from this planet, i.e. non-ideal speakers as they are commercially available and well known to the studio and pro users.
So even if a large scale sound reinforcement bass system is not capable of reproducing the lowest content of the spectrum with full power (due to thermal or excursion limits), it's not inevitably a problem. After all, the producers and musicians use non-ideal speakers, too.
Cheers,
Sebastian.
PS: I'm following this thread since a while, as I'm interrested in what DIYers can come up with - even compared to more traditional commercial products.
The thing I'm missing is the smart way of using our possibilities to build multiple small and inexpensive subs more easily than large, powerful and expensive ones (like from commercial manufacturers).
I think the ultimate DIY way of building a high profile bass system does not lie in chasing after what's already on the market - although I admit this to be a good exercise and a lot of building fun.
A lot of those manufacturers are doing a switch to smarter solutions like arrays (in order to concentrate the SPL where it's required), sophisticated controlling (in order to max out every speakers excursion capability without risking expensive damages), and such.
My take on what's needed and what's not:
Let's not forget that even the most crazy synth track is produced by humans with the intention to be consumed by humans.
Those producers use monitor speakers from this planet, i.e. non-ideal speakers as they are commercially available and well known to the studio and pro users.
So even if a large scale sound reinforcement bass system is not capable of reproducing the lowest content of the spectrum with full power (due to thermal or excursion limits), it's not inevitably a problem. After all, the producers and musicians use non-ideal speakers, too.
Cheers,
Sebastian.
PS: I'm following this thread since a while, as I'm interrested in what DIYers can come up with - even compared to more traditional commercial products.
The thing I'm missing is the smart way of using our possibilities to build multiple small and inexpensive subs more easily than large, powerful and expensive ones (like from commercial manufacturers).
I think the ultimate DIY way of building a high profile bass system does not lie in chasing after what's already on the market - although I admit this to be a good exercise and a lot of building fun.
A lot of those manufacturers are doing a switch to smarter solutions like arrays (in order to concentrate the SPL where it's required), sophisticated controlling (in order to max out every speakers excursion capability without risking expensive damages), and such.
SEK:
Great comments. I actually agree and have been on a quest lately for a cheap/modular/small system...
For grins I put this comparison together, a pair of my baby 220liter FLH's verses the selenium 18 FLH that I sim'd earlier for xstephanx.
The 55--2421's are pmax limited, and the selenium is xmax limited.
At their limits, things look interesting.... if not just downright similar...
Great comments. I actually agree and have been on a quest lately for a cheap/modular/small system...
For grins I put this comparison together, a pair of my baby 220liter FLH's verses the selenium 18 FLH that I sim'd earlier for xstephanx.
The 55--2421's are pmax limited, and the selenium is xmax limited.
At their limits, things look interesting.... if not just downright similar...
Attachments
to add to what was stated earlier, studio monitors generally don't go below 40hz at 0 db, they roll off. There are often lots of subsonic things going on with synth tracks that are not properly mastered and are not heard or caught by the inexperienced engineers. Many using little tiny "monitors" with a boomy sub.
Everything in the audio path has limits. Proper mastering assures these limits are not exceeded. Most commercial dance tracks are actually cut off below 40 and many are compressed to hell and have a 50-80 hz boost. This is so they'll have maximum impact on any trashy system they are played on. Personally I notice some of my favorite dance tracks sound like dogmeat on the PA, and not much sub content is even there. They are also maximized for transmission use which has even more limits than regular audio.
Frankly if you can hit 30hz reasonably well, you should be quite happy.
Put a digital crossover on your system and add a steep roll off just above your xmax problem, and another above 16k.
The low one saves your cabinets and conserves power (more spl where you want it), the upper one tweaks out nasties in the synths and ultra high frequencies that fry tweeters while preventing oscillations as well.
40 HZ has a very nice below the belly button punch. I personally don't like the chest punch most people go for.
4th cab built. will finish tomorrow, will go into battle tomorrow.
I'll report back on how 4 work.
Everything in the audio path has limits. Proper mastering assures these limits are not exceeded. Most commercial dance tracks are actually cut off below 40 and many are compressed to hell and have a 50-80 hz boost. This is so they'll have maximum impact on any trashy system they are played on. Personally I notice some of my favorite dance tracks sound like dogmeat on the PA, and not much sub content is even there. They are also maximized for transmission use which has even more limits than regular audio.
Frankly if you can hit 30hz reasonably well, you should be quite happy.
Put a digital crossover on your system and add a steep roll off just above your xmax problem, and another above 16k.
The low one saves your cabinets and conserves power (more spl where you want it), the upper one tweaks out nasties in the synths and ultra high frequencies that fry tweeters while preventing oscillations as well.
40 HZ has a very nice below the belly button punch. I personally don't like the chest punch most people go for.
4th cab built. will finish tomorrow, will go into battle tomorrow.
I'll report back on how 4 work.
this is turning into a very informative day!
about being physically affected by bass. theres a club here in toronto called circa, and in their main room (HUGE room) they use 3 towers of 16 4x18 jbl cabs, and a couple more stacks of 4 4x18s other places. i noticed that dancing over by the front two sub towers, you get a little dizzy from the bassline (it wasnt the alcohol, i was dry that night). after a while my body adjusted to it though, but later when i walked outside and the bassline became absent i was a little dizzy again.
ive never heard of people being hospitalised though, i mean, youd think if 30hz at hgih spl was so bad for you, car audio SPL competitions would have EMS on standby!
edit: and good luck with the last cab screamer, when are we gonna get some measurements for the stack of 4?
about being physically affected by bass. theres a club here in toronto called circa, and in their main room (HUGE room) they use 3 towers of 16 4x18 jbl cabs, and a couple more stacks of 4 4x18s other places. i noticed that dancing over by the front two sub towers, you get a little dizzy from the bassline (it wasnt the alcohol, i was dry that night). after a while my body adjusted to it though, but later when i walked outside and the bassline became absent i was a little dizzy again.
ive never heard of people being hospitalised though, i mean, youd think if 30hz at hgih spl was so bad for you, car audio SPL competitions would have EMS on standby!
edit: and good luck with the last cab screamer, when are we gonna get some measurements for the stack of 4?
xstephanx said:
There is a reason why certain forms of techno were banned in the united States. Deaths. Non- musical idiots were programming beats that rapidly changed from normal human rhythm to epilleptic sezure rhythm. At high spl such beat changes can cause heart palpatations and seizures in normal sober people who have no history of such problems. Add drugs and alchohol and you have a recipe for disaster. We didn't have real 30hz subs back then. You have to keep the beat changes within a certain range to prevent this. It's been years and I don't quite remember the exact details. That stuff played in a car with our modern advances in car audio...oooouch!.
The effect is similar to an offset chest punch (Flam). Your first fist makes contact with the attackers breast plate, the other fist makes contact just slightly behind the first as the pressure of the first punch dissipates. The effect takes away the attackers breath and make the heart skip or trigger a flutter. Very effective. Saved my rear a few times but I certainly don't want my music to do it to me..
Ems is usually there at sanctioned pro competitions, look around.
Or they used to be, here in Florida and NY. It used to be you didn't run the system at full volume except for a short time at the judging stage. That fatigue you get after loud music is due to the pounding your body takes over a period of time. Delivered in one single instant blow it would probably crush you.
Detail on the cabs will probably appear early next week on my next day off. I've been busy ramping up the other 2 clubs and doing repairs.
Great thread! Normally when I've seen this sort of thing discussed I've just heard "you do not to go below 40Hz" with little or no reason why.
Another genre people claim they need low bass is Dubstep, but when listening to it and watching the RTA display on the DCX2496, I find it only occasionally goes below 40Hz, this song is a good example (shame the file is distorted however):
la roux - in for the kill (skream's let's get ravey remix)
I won't hotlink the file but it's on this website, link right in the middle:
http://discodust.blogspot.com/2009/02/la-roux-skream.html
I bet this would sound rather nice on screamers rig, plenty of 40Hz for ya.
Quick question, am I right in saying TH's low end sensitivity rolls off more sharply compared to a FLH? Or is this just down to the tuning and driver choice?
A good solution when producing is to listen to your mix on good headphones also, as this will allow you to hear things at the extreme lows and highs...
When doing a course on music production I was told to use a shelf filter at 20Hz to remove any subsonics, I guess this is more important when recording from a mic, but it's not a bad idea even if you're just using samples and synths...
Another genre people claim they need low bass is Dubstep, but when listening to it and watching the RTA display on the DCX2496, I find it only occasionally goes below 40Hz, this song is a good example (shame the file is distorted however):
la roux - in for the kill (skream's let's get ravey remix)
I won't hotlink the file but it's on this website, link right in the middle:
http://discodust.blogspot.com/2009/02/la-roux-skream.html
I bet this would sound rather nice on screamers rig, plenty of 40Hz for ya.
Quick question, am I right in saying TH's low end sensitivity rolls off more sharply compared to a FLH? Or is this just down to the tuning and driver choice?
Yep, I've been using some Event TR8 studio monitors, and they start to roll off below 40Hz and they're not small... In the past I've been guilty of using some random midi hifi speakers and a car sub as my monitoring setup!screamersusa said:
A good solution when producing is to listen to your mix on good headphones also, as this will allow you to hear things at the extreme lows and highs...
When doing a course on music production I was told to use a shelf filter at 20Hz to remove any subsonics, I guess this is more important when recording from a mic, but it's not a bad idea even if you're just using samples and synths...
Let me quote Tom directly:
"Hi
While there is a great deal of "lore and urban legend" surrounding very low frequency sound, much of it turns out to be untrue. Low frequency sound in general makes a poor weapon. The first real scientific study of its effects were in the beginnings of the space race where it was discovered that mechanical vibration of the body was much more of a concern than low frequency airborne sound. Many "bad things" do happen with mechanically applied vibrations dependent on the frequency and axis of motion.
One of few texts covering the initial scientific work is in the book "Infrasound and Low Frequency Vibration" by W. Tempest.
So far as hearing damage, at a fixed actual SPL, very low frequencies are found to be much less damaging that higher ones with the greatest susceptibility to damage being in the 3-4 KHz range. This is why industry uses weighted scales which include progressively less low frequency weight in the measurement when judging potential risk of hearing damage.
Also it turns out that intense low frequencies are a common part of modern life, just slamming a car door with the windows rolled up can produce a low frequency impulse over 140 dB. Even changes in weather cause large equivalent "sound" pressures.
I was the primary acoustic researcher at Intersonincs inc., an R&D company which also built flight hardware for the space shuttle which used acoustic levitation (165-175dB sound and shown in the movie "Mystery of the Sphinx" with Charlton Heston). We also built Specialized acoustic sources, like one for the Colorado highway department building a source to investigate trigering avalanches without explosives or to clean air filters at power plants or simulate the space plane's sonic boom on the outside of a house.
This house sized sonic boom system could (at 2 meters from the house wall ) produce 132 dB from 5 kHz down to 3 Hz (the low section was a 50 cubic meter per second displacement, push pull flow modulator I designed, pat# 5140641) (shown on the TV show beyond 2000 as "the speakers from Hell" (more like project from hell, it was so hard)).
We also made one for testing building construction for BBN, a sonic boom simulator which could produce 165 dB down to 5 Hz and could literally tear off doors and windows.
In the process, also making the Servodrives, with these and other acoustic projects I have slowly explored the level of sensation possible at low frequencies with and without hearing protection depending. Take the sonic boom thing, 132 dB has a peak pressure of about 2 pounds per square foot, at 3 Hz, 132 dB is about 12 dB over your ears threshold of
hearing so you CAN hear 3 Hz but at only 12dB above the threshold, it isn't that loud.
You also feel 3 Hz (since there is a barometric change, changing the pressure on your body).
What it is like is as if you were in a speeding car, going in and out of a short small tunnel 3 times a second.
The actual signal was more fun, the wave from a sonic boom is shaped like a letter N, a fast rise (requiring bw to 3-4
KHz) up to some pressure, then a straight line decay to some negative value, then a fast recovery to zero with some over shoot. The fundamental frequency of the N is at 3 Hz and the sound is a distance KA---BOOM and lots of fun when your in front, makes your hair and cloths move and you flinch every time..
I did hundreds of slow sine sweeps with the TEF, some standing in front, all with some exposure to vlf sound.
I guess my point is, in all that I never once wet or soiled my pants, got an erection, vomited or anything else other than feeling the flight or fight instinct.
I stayed well below the "max" levels in the book mentioned above as well.
I suppose if one set the thing off in a shopping center the day after Thanksgiving it would cause a panic and terror but to me it would seem that it is not being familiar with the sound rather than its actual harm which makes them run.
Come to think of it, one thing were were studying was how much panic the sonic boom caused on the people inside the house.
On the other hand, one can argue that sonic weapons are still the most popular, like the ones falling from the sky in aGfanistan, a high peak SPL impulsive point source produced by a fast chemical reaction in a very strong but catastrophically failed container..
TD"
taken from http://www.live-audio.com/messages/archive4/121407.html
"Hi
While there is a great deal of "lore and urban legend" surrounding very low frequency sound, much of it turns out to be untrue. Low frequency sound in general makes a poor weapon. The first real scientific study of its effects were in the beginnings of the space race where it was discovered that mechanical vibration of the body was much more of a concern than low frequency airborne sound. Many "bad things" do happen with mechanically applied vibrations dependent on the frequency and axis of motion.
One of few texts covering the initial scientific work is in the book "Infrasound and Low Frequency Vibration" by W. Tempest.
So far as hearing damage, at a fixed actual SPL, very low frequencies are found to be much less damaging that higher ones with the greatest susceptibility to damage being in the 3-4 KHz range. This is why industry uses weighted scales which include progressively less low frequency weight in the measurement when judging potential risk of hearing damage.
Also it turns out that intense low frequencies are a common part of modern life, just slamming a car door with the windows rolled up can produce a low frequency impulse over 140 dB. Even changes in weather cause large equivalent "sound" pressures.
I was the primary acoustic researcher at Intersonincs inc., an R&D company which also built flight hardware for the space shuttle which used acoustic levitation (165-175dB sound and shown in the movie "Mystery of the Sphinx" with Charlton Heston). We also built Specialized acoustic sources, like one for the Colorado highway department building a source to investigate trigering avalanches without explosives or to clean air filters at power plants or simulate the space plane's sonic boom on the outside of a house.
This house sized sonic boom system could (at 2 meters from the house wall ) produce 132 dB from 5 kHz down to 3 Hz (the low section was a 50 cubic meter per second displacement, push pull flow modulator I designed, pat# 5140641) (shown on the TV show beyond 2000 as "the speakers from Hell" (more like project from hell, it was so hard)).
We also made one for testing building construction for BBN, a sonic boom simulator which could produce 165 dB down to 5 Hz and could literally tear off doors and windows.
In the process, also making the Servodrives, with these and other acoustic projects I have slowly explored the level of sensation possible at low frequencies with and without hearing protection depending. Take the sonic boom thing, 132 dB has a peak pressure of about 2 pounds per square foot, at 3 Hz, 132 dB is about 12 dB over your ears threshold of
hearing so you CAN hear 3 Hz but at only 12dB above the threshold, it isn't that loud.
You also feel 3 Hz (since there is a barometric change, changing the pressure on your body).
What it is like is as if you were in a speeding car, going in and out of a short small tunnel 3 times a second.
The actual signal was more fun, the wave from a sonic boom is shaped like a letter N, a fast rise (requiring bw to 3-4
KHz) up to some pressure, then a straight line decay to some negative value, then a fast recovery to zero with some over shoot. The fundamental frequency of the N is at 3 Hz and the sound is a distance KA---BOOM and lots of fun when your in front, makes your hair and cloths move and you flinch every time..
I did hundreds of slow sine sweeps with the TEF, some standing in front, all with some exposure to vlf sound.
I guess my point is, in all that I never once wet or soiled my pants, got an erection, vomited or anything else other than feeling the flight or fight instinct.
I stayed well below the "max" levels in the book mentioned above as well.
I suppose if one set the thing off in a shopping center the day after Thanksgiving it would cause a panic and terror but to me it would seem that it is not being familiar with the sound rather than its actual harm which makes them run.
Come to think of it, one thing were were studying was how much panic the sonic boom caused on the people inside the house.
On the other hand, one can argue that sonic weapons are still the most popular, like the ones falling from the sky in aGfanistan, a high peak SPL impulsive point source produced by a fast chemical reaction in a very strong but catastrophically failed container..
TD"
taken from http://www.live-audio.com/messages/archive4/121407.html
OK
So if Danley reads this. Please let me know this.
If I stood at the mouth of your matter horn with it at full power. No filters 30 Hz and below that it would not cause serious damage? Hearing not included.
I have built sonic canons.
I can attest to the fact that sh!t hurts. But this isn't a speaker.
Also
I built some 18 cubic foot McCauley 6174 reflex subs for a mate in Louisville back in the 90's These were used for 30 Hz and under at 1600 watts each (x6) In a 15K sq ft room you could not be at the back of the room due to the fact your eye balls giggled around in your skull making you sick and my testicles were doing the same thing (which could be a erectile turn on I guess)
I have nerve damage in my right ear from
a Butthole Surfers concert at the Masquerade in ATL (Danley if you guys are going to do sound there again please let me know so that I can attend). I could not fight my way away from the stacks. I had my finger in my ears the hole night or I probably would be deaf in that ear.
I am finishing off my Mini clones.
I removed the "compression" and now have it firing directly into the hole section. Bought a Behringer test mic and will do outdoor testing in about 2 weeks or so when weather and time permits.
Also on previous post.
Unless your doing HT or cheap small speakers with low Pmax why would you do iso TH? I am not. I need the cone area more than more Pmax. But thanks for posting. I should start on the test one soon. Money permitting.
So if Danley reads this. Please let me know this.
If I stood at the mouth of your matter horn with it at full power. No filters 30 Hz and below that it would not cause serious damage? Hearing not included.
I have built sonic canons.
I can attest to the fact that sh!t hurts. But this isn't a speaker.
Also
I built some 18 cubic foot McCauley 6174 reflex subs for a mate in Louisville back in the 90's These were used for 30 Hz and under at 1600 watts each (x6) In a 15K sq ft room you could not be at the back of the room due to the fact your eye balls giggled around in your skull making you sick and my testicles were doing the same thing (which could be a erectile turn on I guess)
I have nerve damage in my right ear from
a Butthole Surfers concert at the Masquerade in ATL (Danley if you guys are going to do sound there again please let me know so that I can attend). I could not fight my way away from the stacks. I had my finger in my ears the hole night or I probably would be deaf in that ear.
I am finishing off my Mini clones.
I removed the "compression" and now have it firing directly into the hole section. Bought a Behringer test mic and will do outdoor testing in about 2 weeks or so when weather and time permits.
Also on previous post.
Unless your doing HT or cheap small speakers with low Pmax why would you do iso TH? I am not. I need the cone area more than more Pmax. But thanks for posting. I should start on the test one soon. Money permitting.