biggest JBL prosound subs do go to 20 hz. example: VTX G28
and those are 18" not 21" ...
Now George, you're not expecting to be taken seriously with that comment are you?
Here's JBL's own frequency response curve for that box, with processing, from their own spec sheet:
It's clearly well over 15dB down at 20Hz, with maximum level at 30-40Hz.
Here's JBL's own frequency response curve for that box, with processing, from their own spec sheet:
It's clearly well over 15dB down at 20Hz, with maximum level at 30-40Hz.
Specs say 22Hz at -10dB. Published measurements agree.
I see David posted before me.
Fs of the 2269H is listed as 28Hz.
Now, because it can do 30Hz, are they typically used that low? I'd be surprised if they are unless absolutely necessary for the particular job.
The cone diameter of a driver does not determine it's LF -3dB point.
Half power has been the standard for a very long time. i win.
Give yourself a participation trophy if it makes you feel better.
You "win"???
Really, you're in this to "win" over other people?
You realise you're throwing away credibility just about as fast as you can with statements like that, right?
you people realize you're trying to teach me things i used to teach other people 20 years ago right ?
yes music is generally recorded with the understanding that subwoofers have a tuning frequency and can't go much lower than it and therefore music energy typically rises to about 38 hz and then cuts off abruptly to take maximum advantage of tuning of a typical subwoofer ...
never the less higher end subwoofers like G28 can reach lower than lower-end subwoofers like EON for example ...
when i said dual 21" i meant for home use because that's what i want for my own home use - dual 21" subs ( per side )
i would tune them about the same way as G28 is tuned and you could argue whether they really go to 20 hz or only to 25 hz and i could care less ...
i stand by everything i said.
yes music is generally recorded with the understanding that subwoofers have a tuning frequency and can't go much lower than it and therefore music energy typically rises to about 38 hz and then cuts off abruptly to take maximum advantage of tuning of a typical subwoofer ...
never the less higher end subwoofers like G28 can reach lower than lower-end subwoofers like EON for example ...
when i said dual 21" i meant for home use because that's what i want for my own home use - dual 21" subs ( per side )
i would tune them about the same way as G28 is tuned and you could argue whether they really go to 20 hz or only to 25 hz and i could care less ...
i stand by everything i said.
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About music signals, most instruments resonate also below the fundamental frequency, and eg. double bass player often plug strings and thump the body. These very low freq tonal effects get reproduced best with closed box pa or hifi speakers. Same applies for classical orchestra recordings, hall sound is not just sum of fundamentals... Closed box bass typically goes lower (specially with room gain) and has better timing (lower GD), which is important for transient thumps. Some manufacturers like B&W use low BR tuning (around 30Hz) to help this, while typical hifi floorstanders are tuned around 40Hz, bookshelves around 45Hz.
https://courses.physics.illinois.ed...12/Michael_Zevin_P406_Project_Report_Sp12.pdf
https://courses.physics.illinois.ed...12/Michael_Zevin_P406_Project_Report_Sp12.pdf
And in a live application, the sub 40Hz will almost always be HPFd, to stop wasting power and excursion, possibly prevent overexcursion and in venues in built up areas, reduce the deep LF content which is near impossible to control acoustically, from exiting the premises and potentially annoying neighbours.
No real argument about the rest, though I assume you mean 39Hz, not 390. My last L/R were flat to 45Hz half space (paddock) sealed with no EQ.
No real argument about the rest, though I assume you mean 39Hz, not 390. My last L/R were flat to 45Hz half space (paddock) sealed with no EQ.
I've read it all now, and have owned a couple of EBMM, P, and though not an RD, I have had TBirds.
It's very hard to read the linear scale, but I'm not sure in the electric basses there is anything musically useful below E1 displayed.
The key take home for me from that study (wrt Electric basses, I don't play double) was that it was looking primarily at the body (etc) resonances with the strings muted.
It would therefore only be highlighting frequencies at which the body might add or take away energy from the string when played normally.
The actual string fundamental and harmonics will be as we already expect.
It would therefore only be highlighting frequencies at which the body might add or take away energy from the string when played normally.
The actual string fundamental and harmonics will be as we already expect.
I know both of these use guitars, and not quite the same as the study, but I still think they're relevant and interesting to watch anyway.
The first uses some language, so NSFW, but he's a guitarist, so it's to be expected.
Thanks Brett, those were indeed interesting.
If asked before watching, I'd've said the body would only have made say 5% difference in the tone, after watching those, it's clearly a looooooot less than that!
If asked before watching, I'd've said the body would only have made say 5% difference in the tone, after watching those, it's clearly a looooooot less than that!
There are still music styles where the 30-40Hz is essential. But they tend to build their own systems as commercial systems don't cover that area. That is the reason why (roots)reggae, dub, (underground) dubstep, jungle and similar music styles use stacks of scoops or these days more and more tapped horns and transflex subs. Without that frequencies the music does not sound right on a dance/rave. And yes, they tune their 21" drivers that low, altough most still use 18" drivers.
I thought it was even more than that, at least initially. Not so much a specific type of wood having a tone, but that the stiffness of the structure between the witness points would be the major determinant. I have a couple of carbon monocoque basses that are immensely stiff (Steinberger XL2 for one) and was sure, in my mind anyway, that would make a huge difference. The bubblewrap neck joint was the shocker for me. Still, it's not going to stop me building some new basses and guitars soon; after all I have to use up the Qld maple, Tas Blackwood, sugar maple, ash, purpleheart, wenge and padouk I have laying about. Plus some old reclaimed mystery hardwood to make some barncasters.
I love Jim's videos because he's such a nice guy, and doesn't make you feel like an idiot for you position. Plus he's a really gifted player.
Here's one more on sustain.
