Thanks for the data.
As I've been ranting about for years, the in-room mic'd SL graphs show pretty much everything about subwoofers. It's far better data than outdoors sine wave/tone burst maximums for the following reasons:
1) It shows what your sub does with actual program source in your room at your seats.
2) There's no head-scratching and postulating to do from the typical test results by way of complex transfer function and just plain guessing. What you see is what you have, period.
3) It shows all non-linear distortions with actual recorded source, one of which is FR non-linearity. This is a subject I took heat over long ago, when, for example, I referred to a house curve as distortion.
4) Most importantly, IMO, it puts a picture to subjective preference adjectives. Weight, slam, tight, phat, etc., can now be much more easily understood by the reader when the mic'd sound is pictured next to the digital feed picture.
Here are a few fun things derived from your posts:
The 1st thing I did was to guess at your FR simply by comparing the digital feed of the Plane Crash scene I have in my files to your mic'd versions, a) with no Bassis, and b) with Bassis, +10dB Boost, .7 Qs.
Although I used 1-decade smoothing to transfer your linear scale SL caps to a REW log scale graph, and did it rather quickly, it shows that you're running your subs +10dB hot to begin with. I'd like to see the FR used when the caps were made to verify, but like I said earlier, SL shows what's being fed into it. I just wonder how close my guess is to the actual FR because I never have tried to derive FR from a mic'd SL cap before. I never had to guess because I always run the FR before I do the digital-mic comparos.
Here is one of my favorites because years ago I started a thread when I discovered that every transient in nature has content to DC. That's pretty exciting info, IMO, and, in my case, I never knew that before. That was before I had SL, so again, I took a bit of ribbing in that thread. It's awesome that you remembered to mic your door slam to show the simple bottom line truth of the matter. Here's my own mic'd door slam from 4 years ago, laid on yours. Pretty cool stuff. Looks like the entire signature is pretty close and, if we had flat-to-1 Hz hardware, then the results would extend even deeper than our mic'd results show.
The bottom line here is that, if a sound designer actually mics a door slam and it ends up on the finished soundtrack without ULF content... it was filtered somewhere in the process. No question about it. In MOS, there is a vid of the sound design team dropping 20 ton slabs of concrete from a crane and mic'ing it. They also walked along with mics while they dragged the concrete slabs through concrete and stone rubble for when the Supermen/women were fighting and sliding through the streets, tearing up the streets. In the finished soundtrack there is no content below 20 Hz, so the recorded actual events were either filtered or recorded using rolled off hardware.
Here's your latest mic'd version of the Plane Crash scene showing the sub is bumped (above 60 Hz is reduced and some of below 60 Hz is hot).
When I did my own comparo, you can see that: I'm running the subs a bit cold but there's a bump around 20 Hz and a dip from 60-70 Hz in FR where I placed the mic to record it:
Anyway, great stuff! Anyone else with a mic and SL please join in. Pick any of the scenes you personally use for demo, do a REW FR from the LP, a digital-feed SL cap of the scene and then a mic'd-at-the-LP cap and we'll instantly see why you prefer that particular scene.