A spectrum analysis of the "The Sound of Silence" by Disturbed is shown below. It's quite apparent that this track has little low-frequency content below about 55Hz. That seems to tally with what I heard when I listened to this track. Your system can't "dig" into something that isn't there in the first place.
Below is a frequency analysis of "Angel" by Sarah McLachlan. This track straight away sounds like it has more low-frequency energy than the previous one. This seems to be borne out by the analysis results, which show that there is a much greater amount of bass energy at 58Hz in the plot.
Your subwoofers are very capable in reproducing low-frequency energy. However, the recordings you have referred to certainly will not plumb anywhere close to the depths that the subwoofers are actually able to go down to.
Have you tried playing the opening minute or so of Pink Floyd's "The Dark Side Of The Moon" album. The heartbeat sound definitively has low-frequency content around 30Hz.
The song "White Teeth Teens" by Lorde also has 30Hz low-frequency content, as shown in the spectral analysis results below.
To really test out your system, try listening to Daft Punk's "Disk Wars". This has lots of low-frequency content, some of which extends down to 18Hz, 24Hz, and 29Hz. If you still can't hear/feel that on your system, then maybe there is a setup problem?
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While your playback system doesn't necessarily have to go lower than 40Hz for most program material it is fun to be able to play lower for the few tracks that exist. A system (which is including the room !) with a lower cutoff frequency - and everything else being equal - does make less errors at 40 Hz than one that just reaches these 40 Hz.
A Boesendorfer Imperial does indeed go lower than 20 Hz, as do some church organs. With analog synthesizers there is almost no limit. But that doesn't mean that the grand piano can produce its fundamentals with high levels. Because even a Grand Piano is too small to be able to emit very large wavelengths with high efficiency. While the instrument as such is huge it is still smaller than the larger wavelengths it produces (and the "excursion" of a piano is also on the lower side). I would say that lots of the deep frequencies it reproduces are mainly perceived by their overtones. But it is still good if also the lowest frequencies can be reproduced accurately.
And I don't want to start discussions about the fact that it is actually impossible to make a really accurate two-channel recording of any acoustic instrument. It will always be some sort of approximation .....
A Boesendorfer Imperial does indeed go lower than 20 Hz, as do some church organs. With analog synthesizers there is almost no limit. But that doesn't mean that the grand piano can produce its fundamentals with high levels. Because even a Grand Piano is too small to be able to emit very large wavelengths with high efficiency. While the instrument as such is huge it is still smaller than the larger wavelengths it produces (and the "excursion" of a piano is also on the lower side). I would say that lots of the deep frequencies it reproduces are mainly perceived by their overtones. But it is still good if also the lowest frequencies can be reproduced accurately.
And I don't want to start discussions about the fact that it is actually impossible to make a really accurate two-channel recording of any acoustic instrument. It will always be some sort of approximation .....
SPL capability is one major thing, but also remember that the quality of bass reproduction below 100Hz in a room is higly defined by room modes, ie resonances which make peaks and dips in frequency response. Proper placement of bass speakers&subs helps, good equalizer too. Then there are number of DSP based room acoustics correction systems available, claimed to be even more efficient.
My present listening room, after several placement trials and equ manipulation is still hardly ok, far away from quality of previous room with different dimensions.
My present listening room, after several placement trials and equ manipulation is still hardly ok, far away from quality of previous room with different dimensions.
If you’ve ever personally mic’d a grand, the disparity would be readily apparent….stand next to a grand and there just isn’t any midbass impact or slam………the soundboard and case just don’t have the acoustic potential. That’s where EQ, compressors and midi synth come in. And I also agree………GP is much more fun and engaging with a little sauce.
I've had satisfying results from Bill FitzMaurice excellent Tuba HT subwoofer.
It takes up considerable space, is heavy when built and requires expensive materials.
It has an effortless sense of space, depth and percussion with good recordings.
https://billfitzmaurice.info/THT.html
It takes up considerable space, is heavy when built and requires expensive materials.
It has an effortless sense of space, depth and percussion with good recordings.
https://billfitzmaurice.info/THT.html
Standing next to a grand, you are sorta standing in the null of the dipole. There are better ways to mike a grand piano than the fashionable zillion specialist mikes stuck all over the instrument .. if you want a recording that sounds like a real grand piano.
