Just do the beer can test !! Or the blow-out-the-candle test.
It's not solely about hearing, .......it's about feeling strong transient air flow, integrated with hearing.
All the omni-stuff is with regard to just hearing/measuring steady tones.
Maybe you should turn down it a little bit, you don't have to yell....
What transient, unless you talk about absolute phase differences?
In that case changing the polarity would have exactly the same effect.
Actually even a bit more, since with your hypothesis the back-to-back solution would only suggest that half of it is switched.
May I ask something else first, do you have a multi-sub system with compensated room modes?
Just playing Devil's advocate here, but if your vented box can blow out a candle, your port velocity is probably too high.
Not necessarily what was found in one interesting study (hint - look at the waterfall plot):
SPL is by definition defined as delta pressure.
So alright you statement is true for DC pressure difference.
Which can't come out of a loudspeaker anyway, unless you hook it up to a DC source or short your amplifier.
Which most definitely will give a tactile experience
yeah, i realized that and edited the caps...evidently after you had already started a reply LolMaybe you should turn down it a little bit, you don't have to yell....
Big bass drops, or kick drums...
No, I do not like multi-sub for the very reason being discussed. Multi-sub makes for very even steady state response, but smears the heck out of bass transients...to me.
Best way to test subs, for both steady state and transients, is outside...by far, ime.
I should try to see if a couple of sealed 18"s stacked together can blow out a candle...i think probably so, albeit at less distance.
I build with large ports. Current ported design has port size at 45% of Sd. Fairly low 25 m/sec velocity at max excursion.
True to the original recording? What the heck is that LOL? Not something i even care to contemplate...
Well (and I'm admittedly bordering on the absurd here), I imagine that one could easily blow out a candle with a sneeze; a sneeze is only 4.5 m/sec https://www.popsci.com/science/article/2013-08/fyi-how-forceful-sneeze/, so 25 m/sec could easily do the same.
That's funny, thx. The candle test isn't really that good, lit candles are tenacious little boogers, haha
but the empty beer can test works awesome. A good bass drop like in the middle of Lindsey Sterling's "Crystallize" can clean a counter 15 ft away !
I'm constantly coming across statements that the Linkwitz Transform for sealed enclosures is a good option because the energy levels in the lower registers of music recordings are lower, giving you headroom to apply the correction.
I believe this is completely wrong. I analyzed a track I was listening to at the time (Tape Five - Grand Central - Slow Motion) with an FFT analyzer and found the following:
The 25-100 Hz range had the highest levels for this particular recording. Even the 10-20 Hz range showed some very low-frequency rumble. If I deliberately select something electronic, the low-frequency register can be even higher in level and lower in frequency.
Therefore, you need to pump a lot of watts to get those lower frequencies below Fb. For example, you might need over 50 watts for a 90 dB/W woofer to reach 96 dB SPL below Fb, and you'll reach Xmax very quickly. There is no headroom in the recording. If you operate your woofer close to Xmax, you'll negatively affect the rest of the reproduced range, as motor (force factor BL) and suspension nonlinearities are real and more noticeable than your typical harmonic distortion.
I believe this is completely wrong. I analyzed a track I was listening to at the time (Tape Five - Grand Central - Slow Motion) with an FFT analyzer and found the following:
The 25-100 Hz range had the highest levels for this particular recording. Even the 10-20 Hz range showed some very low-frequency rumble. If I deliberately select something electronic, the low-frequency register can be even higher in level and lower in frequency.
Therefore, you need to pump a lot of watts to get those lower frequencies below Fb. For example, you might need over 50 watts for a 90 dB/W woofer to reach 96 dB SPL below Fb, and you'll reach Xmax very quickly. There is no headroom in the recording. If you operate your woofer close to Xmax, you'll negatively affect the rest of the reproduced range, as motor (force factor BL) and suspension nonlinearities are real and more noticeable than your typical harmonic distortion.
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Well,.... seems to me that best sub outdoors, where the sub itself can be heard & measured & evaluated.... devoid of room reflections...
has the clearest chance of also being the best sub indoors...
Well, for starters, you already miss the coupling with the (back) wall.
Which can be quite significant ESPECIALLY with a back-to-back system.
Or getting a bunch of corners subwoofers to have a lot more gain.
So no, I don't think it's very representative at all, in fact it's quite a different approach.
Doesn't it depend on the where the the speaker is put in whatever room or outdoor area its in? Also depends on construction details such as slab floor, brick walls, raised wood floor, etc.?
Its possible to argue that nothing is EXACTLY representative of anything else. So why should representative be the key metric, or is it just a strawman?
Its possible to argue that nothing is EXACTLY representative of anything else. So why should representative be the key metric, or is it just a strawman?
It's always interesting and remarkable to first read a very strong general statement, but the more we ask about things, the more and more specific it becomes.
I don't understand the strawman here, I think it's quite evident how coupling principles work.
Yes, to some extend that depends a bit on the type of wall obviously, but without any walls we know for sure there is zero coupling.
That is just being silly for nor particular reason.
Or at least that's how it comes across by reading it.
Specific systems rely on specific techniques.
Testing a dipole or cardioid out in the open will also give you a completely different impression that is most definitely not representative for indoor use.
Yes, but indoor conditions can vary quite a bit too. Different reom constructions can be extremely sensitive to positioning. This was discussed in some detail at one time in another thread. Some speaker positioning techniques require moving speakers in half-inch steps. The question came up as to whether or not the claim was absurd. Turns out it depends on lot on floor construction and where speakers are located relative to support beams. It was found that half an inch could make a real difference in some cases.