And a few other things you didn't mention , I own an 8801
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And a few other things you didn't mention , I own an 8801
Good point about the Pro mic mount attempting a similar job. I hadn't considered that. I actually hate the Audyssey flexible mount as it makes it so darn difficult to orientate the mic properly - as you say, it bends every which way. I think you have just cost me 50 bucks :)
Many thanks. Max is also a big fan of the low profile stand. I'll add your photos and links to the relevant parts of the FAQs (credited to you of course) - always good to give people a choice.
Terrifically useful and informative post, baptpig. I actually had no idea what LFC really does, other than in the broadest sense. With your consent I will add this as a new question to the FAQ, cannibalising most of your material in your post (crediting you of course with the work).
One thing I might suggest for your consideration, given the circumstances you have wrt to wife, baby and neighbours late at night: have you tried or considered a tactile transducer (eg a Crowson or a Buttkicker)? I have used one of these under the principal listening seat for a long time - mainly because I have concrete floors and even two Submersives can’t shake concrete floors. Well, not much ;)
When you use a TT, the effect is quite remarkable. You can turn down the (audible) bass massively, without losing the 'sense' of deep, loud bass. I have experimented with this and while thinking I am listening to really loud bass, I have stood up and - suddenly - almost all the bass has disappeared! Sit down again and it all returns. It is an uncanny effect. I have the TT set up conservatively - that is I haven't got it set up to shake my chair until my fillings start to loosen - just enough so that it adds a nice thump at the bottom end. The Buttkicker amp that I use has controls to allow you to set the crossover and slope and volume so you can get it just how you want it.
It's well worth, IMO, considering in circumstances like yours.
Phew, just bought the mount (75 bucks in the UK). Fortunately I saw this post after buying the mount so I wasn't tempted again.... :) LOL. I will love that mount and it will be used a lot as my REW mic will fit into it as well. Thanks for the links.
It never even occurred to me to suggest using the XOs Audyssey offers. Changing the XO can certainly have an impact on your problem. You may well have shifted a modal resonance from one set of speakers (the subs) to another set by lowering the XO, and as the other set will be in a different location, it is possible that this will have solved your problem. Also, the bass that was exciting the mode may now be less powerful and this could affect the perceived result too. Bottom line: if it works and you like it, then nice job.
When you get REW and your mic, you will be able to measure and see the impact of these kinds of changes in graph form. It really helps with the troubleshooting.
No stupid questions in this thread, DD - any and all questions are welcome :)
First thing to be aware of is that it isn't Audyssey which sets the crossovers - it is the AVR. Audyssey simply reports back to the AVR the frequency at which it detected the response had fallen by 3dB (the F3). The AVR manufacturer then decides what to do with that information and at this stage it is, unfortunately, out of Audyssey's hands. Some AVR manufacturers, for example, will set speakers to 'Large' if Audyssey has reported an F3 below 80Hz. Others won't. So for this reason, it is always recommended to review the XO settings suggested and, usually, to raise them to 80Hz. There are many benefits to doing this and indeed Audyssey themselves have suggested the same. Changing the XO settings manually does not in any way adversely affect the Audyssey calibration.
Here is the full skinny on it, from the FAQ:
+1 concurred. I too find it amazing that such a small change has made such a big difference, but there is no doubting what Murray is hearing and he has tested it with his 'test passage' from The Town and is very happy with the result. HST, I too would love to see the measurements that reveal the change.
At the XO point (which isn't a brick wall remember, but is on a 'slope') both the mains and the subs will be playing some of the same frequencies at the same time. Unless they are all in phase around that point, then it is possible that there is some cancellation going on. Changing the XOs, and/or changing the location of the speakers and/or subs will affect the frequency response around the XO region.
Look at the difference it made around my own XO region when I moved the L speaker 12 inches to the left, the right speaker 12 inches to the right and one of the subs about 3 feet further along the wall it is on:
Small variations in mic position can also make similar small changes.
To be honest, Murray, this saga gets more peculiar each day.
Let's think about it. Raising a crossover transfers the reproduction of frequencies below the crossover from the speaker to the array of subs. So, you are saying that raising the crossover to 80Hz is causing more of the undesirable resonance for the so-called "tone" at the back row, even though it's the subs that are handling the increased load of the change? This seems counter-intuitive.
Unless, and this is going to seem really far-fetched, the so-called "tone" is a very low frequency effect recorded only on the surround channels. By lowering the crossovers for the surrounds, you are asking the surrounds to handle a very low frequency tone that they are incapable of reproducing, which results in the undesirable tome being suppressed completely (i.e. no longer being reproduced by the subs, and not capable of being reproduced by the surrounds). That would be weird, no?
Regardless, in my opinion, you are using a single note in one movie to tune your entire theater. So, back to my original (and recurring) recommendation--measure when you get your mic, and adjust things accordingly. In the meantime, it is nice to see that you are pleased with your sound.