Re: Danley SM80 and others shootout Monday January 14 at Danley in Gainesville, GA.
I will keep eric in our thoughts and prayers, and i will see everyone tomorrow.
I will keep eric in our thoughts and prayers, and i will see everyone tomorrow.
There seems to be a lack of photos thus far
Sound waves render so well on image sensors...
I only took a few. Phone battery dies really quickly now..Several others took a lot of video
So while we're waiting for the latent audio images to be developed, can you tell us what was auditioned and how that was done?
I will get some pic's up soon.
I have questions about why the different sources sounded so different on the EAW KF biamp vs passive vs everything else, some speakers sounded good with one source and not so good (even bad) with others.
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I have a bunch of cleaning up to do now-but one of the most interesting things to me was the difference between the biamped and triamped 650's. But only on some program material.My old 650Zs always sounded very good using the 2-way passive crossover, but awful active 3-way. Eventually I redid the processor settings myself and discovered that the polarity of the mids when in 3 way mode was inverted. That caused a couple of holes in the lower and upper mids and made the box sound harsh. With my new settings they sounded great. In 2 & 3 way mode they sounded almost identical. (I now believe there was a crossover wiring error in some of the early boxes .... which I suspect EAW eventually discovered when they did the Gunness Focus settings for the 650s)
The other issue with the 650s when using it with the UX8800 is that there is a time alignment issue between the lows and subs that EAW do not tell you about. It’s necessary to Smaart that combination to determine how much extra delay is need on the subs when the subs and tops are physically aligned.
It still amazes me that they have not addressed this issue.
FWIW
Eastern Acoustic Works Support Forum: Greybox Sub Alignment
P.S - Eric get well soon mate.
Ivan,It got pretty interesting late last night (for those of us that stayed around to "perform experiments".
Without going to in detail (and I want to spend some more time on this for more details), let's just say we have a much better idea of what is causing the "punch" of different loudspeakers and why one sub has a lot more apparent impact than another.
It is interesting how we can change the "subjective impact" of one sub to match another.
JR,Punch as a subjective loudspeaker characteristic, begs the question, does all source material have "punch" that some speakers just don't reproduce accurately, or is this a voicing/coloration considered good sounding in the end result?
If you understand how to make "punch", what does too much punch sound like?
JR
JR,
No, all source material does not have "punch", a ramped up sine wave or a droning kick drum sample will sound pretty much the same on a speaker with poor transient response (lots of stored energy released after the transient) or good transient response.
If the drum or bass instrument is "tight" or "punchy", ie a large initial transient peak and a relatively fast decay envelope, but the loudspeaker prolongs or smears the envelope in time, it will lack punch.
Since loud "punch" is also accompanied by a feeling of chest resonance, it is possible to have too much level, but it would not be possible to have a "too accurate" transient response, the best sub in the world still has relatively slow transient response at very low frequencies.
Since the decay envelope and transient response of a sub is largely determined by it's design and driver compliment, you can understand my curiosity regarding Ivan's statement that we can change the "subjective impact" of one sub to match another.
I know changing the subjective impact can be done with FIR filters (and EQ), but the latency would be too much (in my opinion) for live use.
I'll be waiting for Ivan's more detailed explanations.
Art