I'm not really familiar with diycable, so don't quote me on this, but I think these products are still in the design phase, based on reading through that thread. Anyway, I don't think you are anywhere near being ready to purchase anything yet.
That is a description of a 6th order bandpass, so if that's what you intend to make that's what it will look like. And yes, you can use a passive radiator anywhere where a port would go. Sometimes a pr will yeild significant benefits over a port, sometimes not so much.
Anyway, since you are fairly new to this, (and I'm bored) I'll give you a general idea of how I would approach this challenge and why I personally would design a subwoofer for this application that is considerably different than a subwoofer designed for high fidelity audio/home theatre playback. Keep in mind that I'm relatively new too, compared to some of the other people here and I'm sure not everyone would agree with my methods, preferring to design a more "musical" sub.
To explain this, I need to make a number of assumptions.
1. This is not intended to be used in musical playback at all, it will only be used as a sound / physical effects generator.
2. The frequency range will be limited to 10 - 30 hz. Probably not what you were expecting, but I have reasons.
3. The gallery room will be large (2500 sq feet) and over 90 percent of the surfaces (walls, ceiling, furniture, decorations) will be hard and reflective.
5. spl potential somewhere around 115 db (you don't HAVE to use it all, and a bit of headroom will inevitably reduce distortion).
6. Absolute max enclosure size for a single unit is restricted to 2 feet x 3 feet x 6 feet to guarantee access to most doorways, allow the box to be able to navigate a 90 degree turn in a narrow hallway, and hopefully small enough to be carried by 2 big men. Additional units to be added as needed, total package not to exceed 2000 liters (about 70 cubic feet or so).
7. Gallery visitors are free to move around the room at will. (No specific seating area.
This might not accurately reflect your situation but it gives a starting point for an example, since the point of this is not to provide a blueprint but to show how to start making one. First off, I think it's useful to understand how our hearing works. Below is a picture of the fletcher-munson curves. No need to study it too hard, just understand that it takes a lot more spl for very low frequencies to be audible at all, while we are extremely sensitive to midrange frequencies.
The reason I show this is to explain the first of my many reasons for choosing 10 - 30 hz as a desirable working frequency. The above chart clearly shows that any number of higher frequency issues can be painfully audible. Harmonics can be a huge problem, but even if those are eliminated the mechanical noise generated by the operation of the driver and the box can be clearly audible when blasting a 10 hz tone, since the tone will be largely inaudible but mechanical distortions and noise will not. This is why a bandpass is a good idea. Driver mechanical noises are stuck in the box. If the box itself is extensively braced internally, it won't make much noise either. For best effect, these types of distortion must be eliminated or else the box(es) will be very audible and distracting when it's not supposed to be.
Any higher frequency issues are going to be made worse by the room itself. A room with hard reflective surfaces and no absorbtive properties will make a big mess of the frequency response above the room's lowest mode. This mode will likely fall between 20 and 30 hz in a large room, as indicated by the red lines in the graph below. Above this point, response could deviate by +/- 20 db or more, (concrete will produce a stronger modal response than drywall walls and a carpet over wood floor). Below the lowest mode it's debatable what will happen. If your walls are concrete and the room is airtight you might get close to the theoretical max of 12 db boost per octave, but in a large soft walled room with open windows and doors you can't count on any room gain at all.
For the most part, the effects of the room have been largely eliminated since no output over 30 hz is required. The lowest modal peak will be somewhere between 20 - 30 hz, but other than that room modes won't be much concern. Using a higher frequency range could result in a big problem with multiple high amplitude modes as demonstrated by the yellow line in the chart below (just to give an idea of what could happen), and response will be dramatically different in different areas of the room. In an untreated room there's not much you can do about uneven response due to boundary conditions (louder in the corners than the middle of the room) but adding modal contributions would almost guarantee that every person in the room got a significantly different performance based on their location.
An externally hosted image should be here but it was not working when we last tested it.
Referring to the graph above again, this is not the type of response you will find in any musical/home theatre subwoofer. Usually you will see a rising response (it gets a bit louder as it goes higher). The response in this graph is opposite, it gets louder as it goes lower. The reason for this is because I am not expecting any more than 3 db max room gain below 20 hz, and at the same time I am expecting a fairly large modal peak somewhere directly above 20 hz. In the real world I think this might turn out to be an acceptable compromise, especially since this is a sound effects generator, not a musical sub. If anything, I'd rather design it to be a bit too heavy at 10 hz, since it can be easily tuned by changing the weights in the PR.
Post continued from above...
When considering drivers to use at 10 hz, displacement is key. When using boxes to make 10 hz, low qts and low vas = small box, making these parameters a close second (assuming you can use PRs). As Mark mentioned the MaelstromX is a good choice, but the TempestX is also a good choice. Either of these is a logical choice since the PR's I linked to come from the same company, but neither is an available product yet AFAIK (except the tempestx). On the other hand, if you can wait, I think I remember seeing somewhere that both diycable and mach5audio are getting Australian dealers so either one might be a good bet. Mach5audio has no PR's but they do have the IXL 18 which is another good driver for this application.
The graph above is done with winisd, which is about as good as you are going to get for free. The graph shows the response of the IXL18 in a 4th order bandpass. At 15 cubic feet, it shows what I think is a resonable compromise of size vs spl vs frequency response vs power handling. Not too hard for 2 people to carry. 104 db/1m max spl from 10 - 30 hz (although it takes gobs of power to get there - your amp could drive one of these ok but you would need more amps if you make more than 1). Make 4 of these to hit 122 db/1m. This comes close spl goal set forth at the beginning (although output will vary with distance and will be erratic throughout the room) and fits the size requirement as well. This may seem to be a bit of overkill but it's not really, considering the size of the room and the fact that it's not good to run the subs at full power/excursion due to the effects of power/driver compression, port compression, distortion, noise, etc. (I did this 4th order bandpass simply because it's quicker and easier than 6th, and I'd recommend that you start with modelling 4th order first to get a feel for how these work and how winisd works before getting too complex - 6th order boxes are larger but can be significantly louder than 4th order - generally)
The problem with the graph above is that it uses a really large port. Cross sectional area is 64 square inches (it needs to be big due to the massive amounts of air being shifted) and length is over 6 meters (20 feet). Below is a picture that shows very generally (perhaps too simplistically? - and certainly not to scale) how resonant enclosures use ports for tuning purposes and why a PR is a good idea. All 3 of the boxes have the same tuning and the same general size. The first big box has a large internal area, so it does not need a large port to achieve the required tuning. The short port will provide a very smooth response with very very small amplitude peaks very very far apart, far outside the vent's passband - not noticable at all. The second box has a smaller internal volume and therefore needs a much longer port (same cross sectional area) to hit the same tuning. The harmonic peaks will be more severe in amplitude and closer together - but hopefully still well outside the vent's passband. In the third box, there is no actual box, you just attach the driver to one end of a really really long port. This is a transmission line and it needs stuffing to attenuate the many severe peaks in close proximity. In the case of the second box, the port could be replaced with a PR which could effectively reduce the size of the overall box by 50 percent (depending on the inital volume/port size ratio). There's a lot more to quarter wave theory than that, but that's a start.
And that's the short list of things I would consider before spending a dime (there's more but I'm time-limited here). Ideally though, you would be able to measure the response of the room, add treatments where necessary, have complete control over sub placement and audience seating, mix the audio track to take advantage of any remaining modal or other room effects, and so on. You can tune higher and make the overall system much louder (or smaller or cheaper, take your pick) but then have to deal with modal issues in an untreated reflective room. Additionally I think the lower you go (within reason - 10 hz lower limit) the more impressive the effect will be. A 30 hz high end is going to be plenty audible, so I think that range is a good mixture of audible vs tactile.
This example I've created would cost a minimum of $2000 for 4 suitable drivers and passives and box materials, no labor included. Those are US prices, probably much more by the time they get to your side of the world. Also at least 1 more amp would be required, 3 more would be better. Considering the cost I would weigh my options carefully and study the issues at hand extensively, or have someone smarter than me (and hopefully local) design it starting from room measurements (with a mic, not a tape measure).
And one last note - making the box(es) into a stage as GM mentioned, and seating the crowd ON the boxes will result in a tactile sensation in the air AND and earthquake from below - but this is a compromise as well and vent location would require attention.
Have fun.
When considering drivers to use at 10 hz, displacement is key. When using boxes to make 10 hz, low qts and low vas = small box, making these parameters a close second (assuming you can use PRs). As Mark mentioned the MaelstromX is a good choice, but the TempestX is also a good choice. Either of these is a logical choice since the PR's I linked to come from the same company, but neither is an available product yet AFAIK (except the tempestx). On the other hand, if you can wait, I think I remember seeing somewhere that both diycable and mach5audio are getting Australian dealers so either one might be a good bet. Mach5audio has no PR's but they do have the IXL 18 which is another good driver for this application.
The graph above is done with winisd, which is about as good as you are going to get for free. The graph shows the response of the IXL18 in a 4th order bandpass. At 15 cubic feet, it shows what I think is a resonable compromise of size vs spl vs frequency response vs power handling. Not too hard for 2 people to carry. 104 db/1m max spl from 10 - 30 hz (although it takes gobs of power to get there - your amp could drive one of these ok but you would need more amps if you make more than 1). Make 4 of these to hit 122 db/1m. This comes close spl goal set forth at the beginning (although output will vary with distance and will be erratic throughout the room) and fits the size requirement as well. This may seem to be a bit of overkill but it's not really, considering the size of the room and the fact that it's not good to run the subs at full power/excursion due to the effects of power/driver compression, port compression, distortion, noise, etc. (I did this 4th order bandpass simply because it's quicker and easier than 6th, and I'd recommend that you start with modelling 4th order first to get a feel for how these work and how winisd works before getting too complex - 6th order boxes are larger but can be significantly louder than 4th order - generally)
The problem with the graph above is that it uses a really large port. Cross sectional area is 64 square inches (it needs to be big due to the massive amounts of air being shifted) and length is over 6 meters (20 feet). Below is a picture that shows very generally (perhaps too simplistically? - and certainly not to scale) how resonant enclosures use ports for tuning purposes and why a PR is a good idea. All 3 of the boxes have the same tuning and the same general size. The first big box has a large internal area, so it does not need a large port to achieve the required tuning. The short port will provide a very smooth response with very very small amplitude peaks very very far apart, far outside the vent's passband - not noticable at all. The second box has a smaller internal volume and therefore needs a much longer port (same cross sectional area) to hit the same tuning. The harmonic peaks will be more severe in amplitude and closer together - but hopefully still well outside the vent's passband. In the third box, there is no actual box, you just attach the driver to one end of a really really long port. This is a transmission line and it needs stuffing to attenuate the many severe peaks in close proximity. In the case of the second box, the port could be replaced with a PR which could effectively reduce the size of the overall box by 50 percent (depending on the inital volume/port size ratio). There's a lot more to quarter wave theory than that, but that's a start.
An externally hosted image should be here but it was not working when we last tested it.
And that's the short list of things I would consider before spending a dime (there's more but I'm time-limited here). Ideally though, you would be able to measure the response of the room, add treatments where necessary, have complete control over sub placement and audience seating, mix the audio track to take advantage of any remaining modal or other room effects, and so on. You can tune higher and make the overall system much louder (or smaller or cheaper, take your pick) but then have to deal with modal issues in an untreated reflective room. Additionally I think the lower you go (within reason - 10 hz lower limit) the more impressive the effect will be. A 30 hz high end is going to be plenty audible, so I think that range is a good mixture of audible vs tactile.
This example I've created would cost a minimum of $2000 for 4 suitable drivers and passives and box materials, no labor included. Those are US prices, probably much more by the time they get to your side of the world. Also at least 1 more amp would be required, 3 more would be better. Considering the cost I would weigh my options carefully and study the issues at hand extensively, or have someone smarter than me (and hopefully local) design it starting from room measurements (with a mic, not a tape measure).
And one last note - making the box(es) into a stage as GM mentioned, and seating the crowd ON the boxes will result in a tactile sensation in the air AND and earthquake from below - but this is a compromise as well and vent location would require attention.
Have fun.
This sounds like a job for El-Pipo....
Check this out, construction plans and everthing....
http://www.passdiy.com/projects/el-pipe-o-4.htm
You likely will need more than 300 watts though if yoiu want decent ouput.
Retsel
Check this out, construction plans and everthing....
http://www.passdiy.com/projects/el-pipe-o-4.htm
You likely will need more than 300 watts though if yoiu want decent ouput.
Retsel
Justaguy,
Again, surprisingly impressed that someone is willing to lend their ear so wholly - thankyou. Inspiring in more ways than one.
I have a copy of ISD, which I have split my poor Macbook Pro in half to run. I will go over a few of the drivers out there and see what it does in terms of predictions. The bandpass makes sense to me - thankyou for explaining!
The room, or gallery, changes. This is an art exhibition, not a theatre movie showing, and the exhibition will be re-located several times. One room I know is concrete floor, very heavy wooden warehouse walls and ceiling, around 20 x 12 x 2.5m in size. Another has wooden floors and ceilings and is the same general volume but squarer and with higher ceilings. I am being vague and general, but you get my drift. Gallery spaces vary greatly and I realise that this is VERY problematic. I am going to start some basic research on room acoustics over the net.
The audience will be standing in one general area around 3-6 metres in front of a screen/wall projection (depending on acoustics - woried about the screen getting quite a visual tremolo effect). There are other small sculpture items in the gallery which will be a part of it, but as long as the audio there is not totally overbearing, all good.
The cost you mention is do-able, especially as I can re-jig the drivers and extra amp to alternate use, further down the track.
The amount of sound pressure you are talking about seems quite intense - I think I need to trial out something that comes close to a single box like you have mentioned, and see where I need to go - more, or different, or if it is fine. I need some real experience designing, making and then testing.
I realise that diycable are not stocking these things yet, and yes, I do need to look into it all further. I just get excited....
I need to get a handle on the general principles as you say. The voice of reason wins out in a ridiculouly boy-ish pursuit. Cheers.
Thanks again,
Sean.
Again, surprisingly impressed that someone is willing to lend their ear so wholly - thankyou. Inspiring in more ways than one.
I have a copy of ISD, which I have split my poor Macbook Pro in half to run. I will go over a few of the drivers out there and see what it does in terms of predictions. The bandpass makes sense to me - thankyou for explaining!
The room, or gallery, changes. This is an art exhibition, not a theatre movie showing, and the exhibition will be re-located several times. One room I know is concrete floor, very heavy wooden warehouse walls and ceiling, around 20 x 12 x 2.5m in size. Another has wooden floors and ceilings and is the same general volume but squarer and with higher ceilings. I am being vague and general, but you get my drift. Gallery spaces vary greatly and I realise that this is VERY problematic. I am going to start some basic research on room acoustics over the net.
The audience will be standing in one general area around 3-6 metres in front of a screen/wall projection (depending on acoustics - woried about the screen getting quite a visual tremolo effect). There are other small sculpture items in the gallery which will be a part of it, but as long as the audio there is not totally overbearing, all good.
The cost you mention is do-able, especially as I can re-jig the drivers and extra amp to alternate use, further down the track.
The amount of sound pressure you are talking about seems quite intense - I think I need to trial out something that comes close to a single box like you have mentioned, and see where I need to go - more, or different, or if it is fine. I need some real experience designing, making and then testing.
I realise that diycable are not stocking these things yet, and yes, I do need to look into it all further. I just get excited....
I need to get a handle on the general principles as you say. The voice of reason wins out in a ridiculouly boy-ish pursuit. Cheers.
Thanks again,
Sean.
Just figured I'd quickly drop in here and point out that our Australian distributor www.audiomarketplace.com has stock of the Tempest-X and will be receiving a pallet of the Maelstrom's when they ship in a few days.
The PR-18 is not yet available but should be in late June early July. The engineering is done, right now we are just waiting on the production que.
The cost of shipping these beasties to Oz is cost prohibitive so having a local dealer has real value, both for the original purchase and for the follow-up support they can provide.
Kevin Haskins
The PR-18 is not yet available but should be in late June early July. The engineering is done, right now we are just waiting on the production que.
The cost of shipping these beasties to Oz is cost prohibitive so having a local dealer has real value, both for the original purchase and for the follow-up support they can provide.
Kevin Haskins
orangealpaca said:
If listeners/Viewers of the display are likely to be standing in a particularly limited area, you could consider low, dense platform(s) with bass shaker array(s).
If well-integrated with conventional speakers/subs (with a sane lower limit of say 35 Hz), the effect could be quite convincing, and not gimmicky like a Disney ride.
I know shakers aren't audiophile approved, so don't flame me folks - Just a pragmatic suggestion! Given that the objective is for effect, not musical fidelity, it's worth considering.
Certainly more cost-effective and transportable, and will perform more consistently in such varying venues.
Just a thought . . .
-- Mark
thanks for the thoughts tubamark - i will look into shakers - not too sure where to start but will track something down and see what the rub is.... i really am after a sort of pressure effect, not just a rumble, so i will see what people say about it.
and thanks kevin for the australian distributor link! i will chat with them....
much appreciated,
sean.
and thanks kevin for the australian distributor link! i will chat with them....
much appreciated,
sean.
Hi Sean,
I had a few more thoughts for what you are doing...
I think you might be surprised as to how much output is sufficient (as in not quite as much as you might think), and for simplicity's sake, a 4th order bandpass using a PR in place of the port is very effective and less complicated to both adjust and get right. This also will make for a more compact package. I would consider a modern pro amplifier as it will be MUCH lighter for much greater output, and in this case, more power allows you smaller packages. FWIW, I would not recommend tuning quite as low and tilted in the manner just a guy wanted, as you will kill the subjective loudness (speaking from experience here), and even tuned higher it will already be plenty clean in operation.
Now here's an interesting idea...
Depending on the size of your display area, and if it is against a wall or more open, there are some very fun tricks you can play with a cheap crossover or DSP (Behringer DCX2496 is the easiest for this). You ideally would want go be able to measure the results, but it will be close enough just with the calculated values. The idea here is that with 2 or more subwoofers and some space between them, you have the option to very easily set up a cardioid sub system, and your limited bandwidth requirement makes this quite easy.
A cardioid will be MUCH quieter behind and at 90 deg to the direction the two subwoofers are spaced appart. In other words, you would have one sub somewhat in front of the display, one at the back, and the energy would mostly go forward after a flip of polarity and some delay on one of the boxes. The effectiveness and usefullness reduces greatly if you are backed up against a wall, but it has two benefits in situ. First, you annoy fewer people with the rumbling, and two, you get someone's attention more when they step in the forward direction of the display.
The trade off is the separation distance vs. output. The further they are appart, the more efficient the two subs will be to lower frequencies. The closer they are, the less output you get down low, so you would need more boxes, power, and/or EQ. This is something to look at AFTER you get a working subwoofer that does what you need.
I had a few more thoughts for what you are doing...
I think you might be surprised as to how much output is sufficient (as in not quite as much as you might think), and for simplicity's sake, a 4th order bandpass using a PR in place of the port is very effective and less complicated to both adjust and get right. This also will make for a more compact package. I would consider a modern pro amplifier as it will be MUCH lighter for much greater output, and in this case, more power allows you smaller packages. FWIW, I would not recommend tuning quite as low and tilted in the manner just a guy wanted, as you will kill the subjective loudness (speaking from experience here), and even tuned higher it will already be plenty clean in operation.
Now here's an interesting idea...
Depending on the size of your display area, and if it is against a wall or more open, there are some very fun tricks you can play with a cheap crossover or DSP (Behringer DCX2496 is the easiest for this). You ideally would want go be able to measure the results, but it will be close enough just with the calculated values. The idea here is that with 2 or more subwoofers and some space between them, you have the option to very easily set up a cardioid sub system, and your limited bandwidth requirement makes this quite easy.
A cardioid will be MUCH quieter behind and at 90 deg to the direction the two subwoofers are spaced appart. In other words, you would have one sub somewhat in front of the display, one at the back, and the energy would mostly go forward after a flip of polarity and some delay on one of the boxes. The effectiveness and usefullness reduces greatly if you are backed up against a wall, but it has two benefits in situ. First, you annoy fewer people with the rumbling, and two, you get someone's attention more when they step in the forward direction of the display.
The trade off is the separation distance vs. output. The further they are appart, the more efficient the two subs will be to lower frequencies. The closer they are, the less output you get down low, so you would need more boxes, power, and/or EQ. This is something to look at AFTER you get a working subwoofer that does what you need.
Mark,
That all makes sense - I can play with 4th-order until I feel more confident and then move on if needed.
I like the thoughts about playing with a concentrated field - this would be wise and would help greatly not to annoy others (gallery staff for one!) Not sure how well this will work with such low frequencies, but it would definitely be worth a try....
I would like to play with a Tempest 15" with passive radiators in a 4th-order enclosure to begin with, but am going to just content myself getting used to Winisd and the general design parameters....
Thanks for your help, and to everyone else also!
Sean.
That all makes sense - I can play with 4th-order until I feel more confident and then move on if needed.
I like the thoughts about playing with a concentrated field - this would be wise and would help greatly not to annoy others (gallery staff for one!) Not sure how well this will work with such low frequencies, but it would definitely be worth a try....
I would like to play with a Tempest 15" with passive radiators in a 4th-order enclosure to begin with, but am going to just content myself getting used to Winisd and the general design parameters....
Thanks for your help, and to everyone else also!
Sean.
I'm certainly not going to argue with Mark, he's been at this game a lot longer than I have. And the cardiod wave dispersion pattern has a lot of merit. I never would have thought of it. There are a couple of added benefits to this idea that he did not mention. First, the subs themselves are a visual cue of where the audience should be (somewhere in the general area between the subs) so they act as an audience containment field instead of having people wander aimlessly throughout the room. Second unmentioned benefit is that the less sound that gets outside of the sound containment field, the less that sound will mess with the room modes.
My entire example was based on the assumption that your "hard" untreated room(s) are the nastiest type to deal with and modal contributions would swamp the response, but if you can deal with this somewhat, by using a cardiod system, then you have more flexibility to tune higher and that just makes everything a whole lot cheaper and easier.
My entire example was based on the assumption that your "hard" untreated room(s) are the nastiest type to deal with and modal contributions would swamp the response, but if you can deal with this somewhat, by using a cardiod system, then you have more flexibility to tune higher and that just makes everything a whole lot cheaper and easier.
Ah yes - these things are indeed arcane and i need to do a lot of research - containment through the cardioid arrangement sounds very promising, especially for reducing all those waves out into the surrounding areas and bugging the shop/gallery/residents next door and such.... That would be very sweet!
First I need to design a flexible set of passive radiator subs, and then I will get into effects after I have that under control more. And BEFORE that, just getting my head around enclosure design and construction....
This is all so much more help than I thought I would get!
Thanks again, and I will be sure to actually post some results and thoughts post the design stage....
This was a trial crash with a machine I am completely re-doing, using an old 16mm high speed film camera (milliken) and 192khz recording of the collision slowed down to match. I will play with the sound ALOT to get the effect I want, but want to use the actual sound of the collision as the source (will of course be completely processed beyond recognition....) The crashes will be now on a smaller scale (the one in the video was with 2 foot tall 0.9mm sheet steel boxes with welded edges - too strong! they will be copper and silver and about 8 inches tall now....) I am building a much more controllable box-crashing-machine, with more power (last one was powered by 4 pairs of motorcycle springs primed with a 4WD winch and held in place with a very heavy roller latch mechanism - quite insane.)
http://www.4shared.com/dir/6824613/e2a345aa/sharing.html
No, please do not ask why! I am using the cover-all excuse of Art with a capital A.
Cheers,
Sean.
First I need to design a flexible set of passive radiator subs, and then I will get into effects after I have that under control more. And BEFORE that, just getting my head around enclosure design and construction....
This is all so much more help than I thought I would get!
Thanks again, and I will be sure to actually post some results and thoughts post the design stage....
This was a trial crash with a machine I am completely re-doing, using an old 16mm high speed film camera (milliken) and 192khz recording of the collision slowed down to match. I will play with the sound ALOT to get the effect I want, but want to use the actual sound of the collision as the source (will of course be completely processed beyond recognition....) The crashes will be now on a smaller scale (the one in the video was with 2 foot tall 0.9mm sheet steel boxes with welded edges - too strong! they will be copper and silver and about 8 inches tall now....) I am building a much more controllable box-crashing-machine, with more power (last one was powered by 4 pairs of motorcycle springs primed with a 4WD winch and held in place with a very heavy roller latch mechanism - quite insane.)
http://www.4shared.com/dir/6824613/e2a345aa/sharing.html
No, please do not ask why! I am using the cover-all excuse of Art with a capital A.
Cheers,
Sean.
I think I like it;
I may not know much about "ART" but I know what catches my attention and looking at the short clip; I think I can see a bit of a glimmer of what you are trying to purvey here.
Will there be sounds of people groaning and screaming laid over the infra-bass or just that low threatening rumble??
I may not know much about "ART" but I know what catches my attention and looking at the short clip; I think I can see a bit of a glimmer of what you are trying to purvey here.
Will there be sounds of people groaning and screaming laid over the infra-bass or just that low threatening rumble??
thanks moondog.
it is actually about the way we interact with each other and how we leave our mark upon one another, inflicting changes, and allowing each other to see the way we are constrcuted - blah blah blah....
this is not the place for it, being an audio forum, but just wanted to give you a general idea of the thoughts behind it.
the sound will be purely the shockwave of collision, with low rumbles that are all taken from lowered recordings of the original crashes of metal boxes.
thanks for the interest!
sean.
it is actually about the way we interact with each other and how we leave our mark upon one another, inflicting changes, and allowing each other to see the way we are constrcuted - blah blah blah....
this is not the place for it, being an audio forum, but just wanted to give you a general idea of the thoughts behind it.
the sound will be purely the shockwave of collision, with low rumbles that are all taken from lowered recordings of the original crashes of metal boxes.
thanks for the interest!
sean.
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