I hear quite a bit of "classical" percussion music, live and canned. Check out Uakti's "Blindness" sound track.
Kick drum, esp in pop-music recordings is a piece of cake. Does not demand low bass and or transients.
Side drum requires low bass (Mahler's 3rd Symphony or Rachmaninoff's Symphonic Dances) and the other instruments in the percussion orchestral "kitchen" need good treble for quality sound (which is why ESLs are the best). BTW, power handling capacity in the treble for brief transients matters as much as in the bass.
Many the systems touted on this forum (THs, BRs, sixth order....) sacrifice impact and realism to get low or loud extension in their sims. Not a beneficial trade-off if you're after sound quality.
Motional feedback is the sure path to good bass, low and tight, as anyone who has tried it will swear. Yes, there is "fast" bass.
B.
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Maybe the trick is just to tune low enough that the port output isn’t needed for the transient part of the kick, and just have most or all of it coming from the direct radiator.
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I'd be more concerned about whether my ears could handle that
Re accurate, articulate bass, I'd suggest a non-resonant enclosure...is there such a thing?
This is mental shortcut. Non-resonant acoustical allignment means 100% direct radiator output. It can be assiociated with sealed box, infinite baffle or dipole enclosure. Obvious drawback is low power transfer efficiency of this alignments which limits peak SPL, leads to exagerrate compression and distortion, mitigating most of its positive aspects in comparison to popular here quarter-wave resonators.
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Don't want to make an OT here, but this is only answer for you. With DSP-controlled, sealed box its tuning frequency is always some point of debate...
From electrical point of view it is wise to tune driver-box system in such way that impedance maximum occurs at the middle of designed passband (after Linkwitz-transform and LP applied). This maximizes true power efficiency of the system. Tuning with resonance above passband leads to excessive heat loading both the driver and amplifier which obviously amplify power compression and limits max SPL of the system.
Other side of the coin is that if one of box dimension is comparable to 1/2 of tuning frequency wavelength or its close harmonics it will contribute to audible sound coloration. So high-frequency tuning inside of the passband and large sealed boxes are a no-no. Thankfully, dedicated drivers to properly tune DSP sealed box are far far from that.
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No, loudspeakers cannot play loud enough. Tom Danley has made a recording of fireworks. FYI: Tom Danley's no compression fireworks recording.........
Such a large dynamic range is not usual for recorded music.
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Besides a true horn - which is simply not feasible for low frequencies* - I'd say a well-stuffed 17-foot labyrinth comes as close as anything to a non-boxy non-tuned sub mounting that also employs the rear wave fundamental suitably.Re accurate, articulate bass, I'd suggest a non-resonant enclosure...is there such a thing?
17 foot pipe sub 12-230 Hz ±5dB - diyAudio
Long pipe to sequester rear wave - diyAudio
B.
*I lived with a Klipschorn bass for almost 50 years. Absolutely wonderful bass sound (and a good pairing for clean ESL speakers) and quite profound bass; but in reality, even a Klipschorn struggles and hasn't much output for 32 Hz organ notes
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Falcon Heavy launch
I can recommend this track! Large dynamics and frequency range.
If system is clipping somewhere in the chain it will be easily detectable around 13:50 min. when two sonic booms are arriving from landing boosters. It's a pity thats already compressed by YT...
I can recommend this track! Large dynamics and frequency range.
If system is clipping somewhere in the chain it will be easily detectable around 13:50 min. when two sonic booms are arriving from landing boosters. It's a pity thats already compressed by YT...
And here is the musical version, Vangelis' Mythodea which relates (sort of) to the NASA mission to Mars, with a large percussion ensemble going all-out for the take-off track. Not to mention Jessye Norman and Kathleen Battle singing.
Mythodea - Wikipedia
Maybe not quite as catchy as Chariots of Fire sound track, but well-worth having in your collection.
B.
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I did a little experiment with High Pass filters here
The sound of a drums membrane being struck is lost with even the 40Hz high pass filter applied, playback of the original files on my speakers which can manager down to 30Hz flat gives drums the 'correct' sound, the soundstage is better and voices are also fleshed out correctly. Should come as no surprise I guess, but it interesting for design choices.
The sound of a drums membrane being struck is lost with even the 40Hz high pass filter applied, playback of the original files on my speakers which can manager down to 30Hz flat gives drums the 'correct' sound, the soundstage is better and voices are also fleshed out correctly. Should come as no surprise I guess, but it interesting for design choices.
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I don´t mean that we need to produce nonlinear acoustic effects, just reproduce the nonlinear non-sinusoidal waveforms once created by the instruments.
A high Q low Bl driver and/or a Helmholtz resonator is just a resonator.
A resonator tends to only reproduce sinusoidal waveforms.
A low Q, low Le, low Mms and high Bl driver can much better reproduce complex waveforms.
Compare this with trying to make a pendulum have a jagged, complex and highly nonlinear motion.
Depends. I aim for drums sounding like I am at the throne. Being a few feet away there is not much sub stuff as people might think. Honestly, listening to a live drummer from typical show distances sound nothing like recorded. You actually gotta stick your head in the kick to hear the sound of a recorded kick and add a ton of LF and cut all the mid bass out. LP filter is actually a good idea! You are essentially removing much of "studio magic" by doing this. It comes down to your goals and source but LP filter is a good move for rock if you want realism as in the band play right in front of you.
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