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7.1 set-up of dipole surrounds (ADP-390) phase question

post #1 of 10
Thread Starter 
I first posted this inside the Paradigm owners thread Jun-11-2011, http://www.avsforum.com/avs-vb/showt...0#post20720750 , no response.

Then posted inside the Setting Up Your Home Theater 101 thread July-20-2011, http://www.avsforum.com/avs-vb/showt...8#post20720828
and I realize that is a FAQ thread, not a discussion thread, so I re-post it here for open discussion/dialoge/understanding.

This is a re-post from the original Paradigm owners thread.
I'll edit the Setting Up Your Home Theater 101 to not clutter that FAQ thread. 7.1 set-up of dipole surrounds (ADP-390) phase question



The Setting Up Your Home Theater Audio 101 has threads under Speaker Layout.

One I'd like to discuss is the "Bob Golds, Sanjay Durani - Dipole Surround Placement" link.

Please read my 2 post below that originated in the Paradigm owners thread but got zero feedback.

If the thinking Bob Golds & Sanjay Durani presented has changed that link content should be modified or removed if its no longer the best practice on using dipole in 7.1 set-up.

Quote:
Audioholics - Speaker Spikes and Cones – What’s the point?
Audioholics - Vertical vs Horizontal Center Speaker Designs
Bob Golds, Sanjay Durani - Dipole Surround Placement Dolby Speaker and Room Setup
DTS - Where Should I Place My Speakers?
Loudspeakers and Rooms for Multichannel Audio Reproduction, Part 1 by Floyd E. Toole from Harman
Quote:
Originally Posted by mtbdudex View Post
Q:
7.1 set-up of dipole surrounds (ADP-390) phase question

When I run audyssey it comes back saying my LH surrounds are out of phase....I have the + and - correctly connected on back Amp<>Speaker each of the 4, so I ignore it.

Now, as I have gained more insight into acoustics I questioned the side surrounds in/out of phase vs the back wall rear surrounds in/out of phase.

My HT layout and speakers are shown below.



Then, I come across this diagram from
http://www.bobgolds.com/DipoleSurrounds/home.htm
which makes sense, the nulls are in the middle for the side walls, yet on the back wall with both on same wall they don't cancel each other between the speakers.



Guys, I'm not sure mine are wired like this...and when I look at the Paradigm website and the owners manual for the ADP-390's no where does it mention this....

How have others here with ADP-390's in their 7.1 set-up handled this?
and then this thread:
Quote:
Originally Posted by mtbdudex View Post
Maybe the Paradigm owners thread is the wrong place to discuss this?
Or, it's been discussed before and the "same" conclusions are reached...

Doing a search here on "dipole phase" there are some threads, mostly older, that have discussed this, here are some I found, all are 1 page thread except the one noted:
Do dipole surrounds come with Left and Right option?
Dipole vs Bipole
Bi-pole vs di-pole vs standard for surrounds
10 page thread: DIPOLE and BIPOLE SURROUND SPEAKER THREAD
Per this article, are my Paradigm dipoles (ADP 590s) lame?
Dipole phase question


I also modified just the the woofer driver polarity inside, so when I switched the main wire polarity going into the surround the woofer polarity was in correct phase with all the others, "+" as it points at each other / next to.
picts of re-wiring, actually easy to do.


Before clearly woofer is "+' in phase, I swapped the wires here, Red now goes to "-" and Black to "+".


Crossover board layout, I did NOT do anything here


Labeled the Back RH surround and LS Side surround as "modified":


By doing this I simply matched what a LH/RH hard wired from factory or a switch does.
Circled on RED are now modified as shown, woofer's are all "+" phase.


Can I hear diff?
I got this done last night 10pm-ish and went to bed, I'll have to go thru my demo material.
Best would be if I had 2 more ADP-390's and could do a/b comparison....the dealer I bought these from, AVIO in Brighton, closed their store 8 months ago and only their Troy store is open, I had good repore with them and could have borrowed a set for weekend.
Anybody in SE Michigan with ADP-390's want to do some A/B comparison of dipole surrounds?
updated 7-20-2011
Note: Definitely I can hear marked difference with the ADP-390's wired like I show in the picture.
More diffuse sound, but it also appear simply more sound, even more discrete sound than before.

Is it the placebo effect or do I really hear "more sound"?

I like the change and won't go back.
As stated, I'd really like to borrow (2) more stock ADP-390's to do a/b comparison.

Have others done that already?
post #2 of 10
Thread Starter 
Did this Q get lost in all the multitude of threads in this audio theory - setup forum?

Or, have people ditched using dipoles in 7.1 and direct or bipoles are the norm?

Or, the attention has shifted to front stage wide/height speakers, the new kids on the block....
post #3 of 10
Thread Starter 
xmas bump, feedback/thoughts?
post #4 of 10
Thread Starter 
dragonfyr - thx for comments, if I knew in Dec-2007 what I've learned up to now.....possibly my decisions would have been different on some items, as is for now I own them and using daily.
Truly, I'm not at all disappointed with their surround sound either.


Well, fwiw;
I posted to facebook and got response from Paradigm.
(Jan 26, 2012 thru Feb 2, 2012 on Paradigm fb wall, http://www.facebook.com/paradigmloud...08281709224438 )

Mike: is the ADP-390 a dipole, bipole, or .....
Paradigm: Di-pole, that what the "DP" in ADP stands for.
Paradigm: the ADP-390 can be used in any of the 4 surround positions. There is no left/right setting and no issues placing any of the speakers beside or behind the listening position.

Mike: Final Q for this fb thread: So this statement "There is no left/right setting and no issues placing any of the speakers beside or behind the listening position." means for your ADP-390 design you dispute the BobGolds diagram, is that a correct statement? I don't want to put words in your mouth.

Paradigm: The speakers they're using are less sophisticated speakers that need to be switch activated to become dipolar. The ADP's are a more sophisticated design and are bi-polar in some frequencies and dipolar in other frequencies.
The Bob Gold Diagram does not apply to our ADP speakers. If you want more direct surround you should not use di-pole or bi-pole speakers.
post #5 of 10
I'll summarize this for you, dragonfyr. This question, as it pertains to the Paradigm ADP speakers, has often come up over the years. And there is someone in the 'KEF owner's thread' asking the same sort of questions regarding KEF's dipole surrounds, now.

Q: Regarding driver polarity, are the speakers identical or mirror images of one another?


Honestly, I don't know if it matters or not. But the usual recommendation that you see is for the 'in-phase side' of dipole speakers, when used as side surrounds, to face forwards. Obviously, if the speakers are identical, when mounted conventionally, one speaker's in-phase side will face forwards and the other's will face backwards. However, if they are not identical, but mirror images of one another, then, assuming that which direction the 'in-phase side' faces is important (and it might not be), there would need to be an indication of L and R in order to get the 'in-phase side' of the speakers facing the correct direction.

If the ADP speakers are identical, simply flipping one entire speaker's polarity will not solve anything, hence the OP's initial post and discussion regarding flipping only the woofer's polarity inside one speaker and then wiring the entire speaker in reverse in order to create a mirror image speaker.
post #6 of 10
Quote:
Originally Posted by dragonfyr View Post

Thanks, but I am WELL aware of what is happening with the superposed sources!! And symmetry of the drivers/speakers has nothing to do with this!

Superposed spaced sources reproducing the same passband NECESSARILY result in frequency related polar lobing that appears as comb filtering in the frequency domain.

In fact, thus far the only two techniques that avoid this (in terms of the combination of drivers) are the Bessel array in the far field and the Constant Beamwidth Tranducer (CBT) technology. But even two Bessels or 2 CBTs will interact in the same destructive manner! (well, unless each of the spaces sources are similarly arranged in a large scale Bessel or CBT configuration!)

{And considering the fundamental difficulty 'surround' technology has with the confusion of the surround sources as sources of localization and the support for accurate later arriving semi-diffuse soundfields considered optimal in a bounded small acoustical space. The surround formats do not adequately provide for both the time domain development of later arriving semi-diffuse soundfields simultaneously with the supplying of simple decorrelated ambient noise components.

In other words, the surrounds provide direction cues based primarily upon what is included and excluded and gain. But they do not adequately provide an exponentially decaying semi-diffuse soundfield (derivative of the source that is properly generated in an optimally designed small acoustical space. Instead of an accurate later arriving exponentially decaying laterally arriving semi-diffuse sound field, the interaction of additional spaced surround sources intentionally reproducing the same passband simply creates an anything but diffuse pattern of polar lobing and comb filleting. How's that for trying to summarize two complex psycho-acoustical models down to a few run-on sentences?}

But those shortcomings aside, Whatever signal is subsequently provided from the surround sources is necessarily subject to destructive polar lobing and resultant comb filtering due to the interaction of the spaced sources over the same passband. And such destructive interference, due to the fundamental variance from an accurate psycho-acoustical localization model to begin with, does not add to accurate localization but simply creates non-diffuse localized response aberrations dependent upon where one sits relative to the phase(time) relationships of the interacting spaced sources.

In other words, a sense of envelopment complete with additional localized aberrant polar lobing and comb filtering due to multiple sources replaces any hope of a more accurate reproduction of the source material.

Basic physics trumps fancy marketing brochures...not to mention the quite humorous response quoted above from Paradigm!

Ummmm.................. so, then, are you saying that it doesn't matter whether the speakers are identical or mirror images of one another, or what their particular orientation on the wall might be?

So, I'll add:

Q1: Regarding driver polarity, are the speakers identical or mirror images of one another?

Q2: Does it even matter?
post #7 of 10
Quote:
Originally Posted by dragonfyr View Post

No! Driver symmetry, mirror imaging, or polarity don't ultimately matter with regards to the resulting interference patterns of spaced sources reproducing the same passband. By that I mean that driver spacing - the resulting time relationship will modify the interactive results, but none save co-location will necessity eliminate or avoid them.

In-phase alignment is possible at, at most, one precise plane if we strictly limit the sources, or spot in a more general case, relative to the two sources. Add more spaced sources and there effectively is no common spot. Hence the efforts expended in the last 40 years to develop quality co-axially aligned sources.

The examination of signal superposition in the time domain makes all of this easily understandable observable.

All of this speaks to the fundamental schizoid issue inherent in the current surround sound formats.

On the one hand, the rear surround speakers can be used to literally replace the (properly tuned) room supported response of an exponentially decaying laterally arriving semi-diffuse sound field that creates a sense of spaciousness in an otherwise small bounded space

Or, they can, by providing de-correlated varying content based upon simple direction and gain, add a sense of immersion and ambience by adding additional non critical content.

But they don't do both with the current standards. And thus you have a choice:To make the room essentially dead and to let the surround speakers function as the source of the latter arriving soundfield. Or one can create a room tuning that supports the mechanical generation of a proper psycho-acoustically accurate later arriving exponentially decaying laterally arriving semi-diffuse soundfield as one might do for a hybrid music/HT use room while accepting the surrounds simply as sources of additional ambient cues providing immersive elements.

But in either case, spaced surround signals that simply add additional spaced drivers that are oriented to intentionally cover the same spatial regions with the same passband create destructive local polar lobing interference patterns.

That part is simply basic physics that is necessary to be understood in order to understand the acoustical propagation of sound. And i will also add that it is critical to understand this in a 3space volumetric environment and NOT simply in the all too common erroneous 2D wave diagram such as is displayed on an oscilloscope!

The fact is, currently employed surround topology is not sufficiently sophisticated to address the complexity of the psycho-acoustic models necessary for truly accurate surround localization (as if such was even desirable - as film producers do NOT want acoustic cues to be accurate enough to prompt someone to turn their attention away from the front screen to look to the side or behind them in a theater! Now, I am not proposing one run about as Chicken Little and stand outside Best Buy scaring would be buyers away! But it SHOULD help to raise an awareness of what we can reasonably expect and what the real limitations are so that we can address the choices reasonably and to the best of our abilities and preferences.

The irony is that dipoles were originally posited by THX in the mid 70's in an attempt to provide for a less directional lateral soundfield. Unfortunately, simply adding more low Q localized sources result not in a more sufficiently complex semi-diffuse soundfield, but instead result in increased local polar lobing that appears as comb filtering in the frequency domain. This polar lobing consists of a spatial distribution that is literally regions where the sound is present interlaced with regions where the sonic material is literally absent - canceled. And these regions vary with one's location due to the time (phase) relationships of the various arriving signals that add NOTHING to an accurate localized reproduction of the source material. But I'm sorry folks, that in no way correlates to an increase in acoustical accuracy.

That said, the fact is that some MAY like it. As this is exactly the premise employed that so many like to complain about in the early Bose direct reflecting systems, where accuracy of reproduction was substituted by an apparently wider sweet spot comprised of a less accurate but more homogenized' soundfield. Homogenized in the sense that one cannot tell a hard distinction between distinctly good and bad response regions and instead settles for a larger mediocre' response region that seemed OK primarily due to a lack of the ability to compare it with a region of better' or more accurate reception. In large measure this is the same response championed by Floyd Toole with his application of averaged EQ.

So, I'm not saying that someone cannot or should not like or do it. That is a matter for each to make themselves. Instead I would suggest a better understanding of the tradeoffs involved and; and then I would suggest that it's a matter of being aware of what one is actually achieving with the various topologies involved and the various response models that are achieved; and based upon one's desires, making choices and more optimally achieving the response that they truly prefer.

.
Let's say you have a 3.1 Home Theater sound system. You are then given a pair of dipole surround speakers. (No other information is included with these speakers.)

Q1. ~ You are asked to use these dipoles as side surrounds, with your 3.1 speakers, to create the best possible 5.1 HT surround sound. - What do you do?

Q2. ~ Upon further inspection of the dipoles' packaging, you find a Customer Service telephone number. - What do you do?

Thanks,
Dave
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post #8 of 10
Quote:
Originally Posted by dragonfyr View Post

.....Much like most do in querying this forum.

And you helped, how?
post #9 of 10
Quote:
Originally Posted by sivadselim View Post

And you helped, how?

Go back and view the attachment on Post #8.

If you have questions about the nature of errors due to the superposition of spaced sources over a common passband, ask them.

Or, if you are sufficiently familiar with acoustical room response models and the psycho-acoustics involved therein, then discuss that.

But from your earlier responses, it is apparent that you are familiar with neither sufficient to discuss either.
post #10 of 10
Quote:
Originally Posted by dragonfyr View Post

By all means rush to dial the customer service number and talk to some 22 year old part time CSR who having no clues as to the actual subject matter, queries a canned data base. ...Much like most do in querying this forum.

.
I could feign surprise but, that would be somewhat disingenuous. But, is that really the best you got? Jeez, most people posting on this AVS forum are looking for help; trying to help; or, both. - Why are you posting?

fwiw, I really was hoping you had an answer.
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