Official Seaton Sound Subwoofer Thread - Page 3 - AVS Forum | Home Theater Discussions And Reviews
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post #61 of 549 Old 09-10-2017, 12:13 AM
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Originally Posted by torii View Post
i wouldnt care about extension...i would move or aim subs around...at least thats what i did when i got new gear. my 25hp sub at 200+ pounds got tested in 5 spots before I settled

just a turn up the master volume and see if its ok graph....still more work to do but its ok....
No offense... That's you with ported subs in a gigantic room...

Bulls has 2 sealed subs in a 2100 cu ft living room. Therefore, usable extension down to 9 Hz is a good sign.
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FS: Jamo C103, KEF Q100 and Polk RTiA3
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post #62 of 549 Old 09-10-2017, 12:18 AM
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i had sealed subs before ported...extension was never my goal...maybe it should of been.. i always was looking for no boominess (is that a word)? and the smoothest integration...but anywho, i think it might go at what the person wants to achieve...idk just throwing it out there...

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post #63 of 549 Old 09-10-2017, 09:53 AM - Thread Starter
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Originally Posted by chucky7 View Post
The good news is that you have decent extension down to 9 Hz. At what dB did you take the green and purple graphs?

If we ignore the 2 nulls, the front locations ( green ) provides pretty flat FR. However, the purple graph is easily correctable with a minidsp 2X4 HD.
dB ? whatever REW said, as far as vol, AVR was -15 for green, and -10 or -5 for purple

i dont have much space for equipment for now, but it sounds good to me so i'll try to keep this position until a fight breaks out

on the green: is the nulls 50-60 and ~130 ?

i do care about extension and detail/clarity... because i can hear it ... thats why i have $3000+ in subs ... that are actually worth their price... some people would be fine with just the Behringer 1200 which also gets loud and shakes the walls by itself... (if shaking walls was some kind of metric for subwoofer quality )
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post #64 of 549 Old 09-10-2017, 11:33 AM
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Quote:
Originally Posted by bulls View Post
dB ? whatever REW said, as far as vol, AVR was -15 for green, and -10 or -5 for purple

i dont have much space for equipment for now, but it sounds good to me so i'll try to keep this position until a fight breaks out

on the green: is the nulls 50-60 and ~130 ?

i do care about extension and detail/clarity... because i can hear it ... thats why i have $3000+ in subs ... that are actually worth their price... some people would be fine with just the Behringer 1200 which also gets loud and shakes the walls by itself... (if shaking walls was some kind of metric for subwoofer quality )
The loudness matters... Take my FR for example...



Every time I want to take a measurement with the REW, I always first establish the loudness (ie, REW Generater Pink Noise @ -20dBFS and AVR MV @ -15dB = 75dB ). I know this particular graph was 75dB. Therefore, I can identify that there are peaks at 16Hz, 20Hz, 27Hz, 43Hz, and 52 Hz.

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Subwoofer: JTR Captivator 4000ULF.
AVR: Denon AVR-X4400H. TV: Samsung UN75NU8000FXZA.

FS: Jamo C103, KEF Q100 and Polk RTiA3

Last edited by chucky7; 09-10-2017 at 01:45 PM.
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post #65 of 549 Old 09-10-2017, 12:29 PM - Thread Starter
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oh i see, i'll have to check that when wife's out
thx C

display - vizio p65
AVR x4300h +lepai 2ch amp = 7.2.4
L/C/R - Chane 2.4, SURROUND - dayton 3in cubes *temporary
BASS - 2x Seaton F18 + JTR 1400 "the wind machine" (not port noise)
2100 ft^3
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post #66 of 549 Old 09-10-2017, 01:55 PM
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Quote:
Originally Posted by bulls View Post
oh i see, i'll have to check that when wife's out
thx C
Also, it seems you are measuring at 100 dB or something loud. That is not necessary.

For FR, you only need to run at 75dB or so... You should get a reading of 75dB from the SPL meter in REW with Generater - Pink Noise @ -20 dBFS and AVR MV @ -10 dB. ( Basically those 2 numbers should add up to -30dB @ 75dB ). Running the FR takes seconds and is barely audible. It's unlikely that you would bother any one.

Hope this helps!
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post #67 of 549 Old 11-12-2017, 06:21 PM - Thread Starter
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if my floor is vibrating ... is that dangerous to the foundation ??? my room is carpet on concrete slab
i thought concrete's not supposed to vibrate...

display - vizio p65
AVR x4300h +lepai 2ch amp = 7.2.4
L/C/R - Chane 2.4, SURROUND - dayton 3in cubes *temporary
BASS - 2x Seaton F18 + JTR 1400 "the wind machine" (not port noise)
2100 ft^3
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post #68 of 549 Old 11-12-2017, 06:45 PM
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Quote:
Originally Posted by bulls View Post
if my floor is vibrating ... is that dangerous to the foundation ??? my room is carpet on concrete slab
i thought concrete's not supposed to vibrate...
If the concrete starts cracking excessively I'd turn it down a notch.
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post #69 of 549 Old 11-12-2017, 06:48 PM
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well I have heard of windows cracking....but concrete...not yet.

Power: Marantz sr7008, NAD C 275Bee x 2, Video: Oppo 103, Samsung 75un6300
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post #70 of 549 Old 11-12-2017, 07:48 PM - Thread Starter
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is this the equation ?
... too advanced for my maths
... i think the slab thinkness in LA county is supposedly 3.5 inches


display - vizio p65
AVR x4300h +lepai 2ch amp = 7.2.4
L/C/R - Chane 2.4, SURROUND - dayton 3in cubes *temporary
BASS - 2x Seaton F18 + JTR 1400 "the wind machine" (not port noise)
2100 ft^3
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post #71 of 549 Old 11-12-2017, 08:55 PM
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Quote:
Originally Posted by bulls View Post
if my floor is vibrating ... is that dangerous to the foundation ??? my room is carpet on concrete slab
i thought concrete's not supposed to vibrate...
Concrete will vibrate. You shouldn't have anything to worry about. Earthquakes are a much bigger threat to your foundation than a pair of F18+.
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post #72 of 549 Old 11-14-2017, 07:18 AM
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Official Seaton Sound Subwoofer Thread

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Originally Posted by bulls View Post
if my floor is vibrating ... is that dangerous to the foundation ??? my room is carpet on concrete slab

i thought concrete's not supposed to vibrate...


I have 3 layers of drywall with green glue in between, hung on hat channel isolated from studs/joists by IB-1 clips, and I still get some vibrations on the floor directly above the theater when I really push the system. I actually wondered myself about the ability of the house to withstand the eight monster F18’s pumping serious bass during a movie (particularly with the added weight of three drywall sheets on the ceiling, and drywall between joists attached to the subfloor). I came to the conclusion that the result is no more serious than having heavy furniture on the floor above, with kids running back and forth on the hardwood above every few days, except in this case, there’s no direct contact. Add to that that the walls added for the front screen wall and the rear of the theater are added supports to the flooring above, and the concerns were assuaged.

I don’t think the concrete is in any danger of cracking any more than it would be due to regular causes (time, house settling, etc.). Concrete is actually a pretty good sound conductor for certain frequencies ( I forget which ones)...that’s why folks who do noise isolation still do a 1” wall gap between framing wall and concrete walls. Flooring is in no danger...my room is also concrete slab with carpet pad and carpet over it.


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post #73 of 549 Old 11-14-2017, 08:04 AM
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Originally Posted by BrolicBeast View Post
Concrete is actually a pretty good sound conductor for certain frequencies ( I forget which ones)...that’s why folks who do noise isolation still do a 1” wall gap between framing wall and concrete walls. Flooring is in no danger...my room is also concrete slab with carpet pad and carpet over it.
Did you do anything to the slab other than carpet pad on concrete? I am finding conflicting advise; but if you went three triple drywall and green glue and nothing but pad carpet on the floor you must have been satisfied that rubber mats and sub floor was unnecessary. I'd prefer to save the headroom/ceiling height if possible.
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post #74 of 549 Old 11-14-2017, 08:38 AM
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Did you do anything to the slab other than carpet pad on concrete? I am finding conflicting advise; but if you went three triple drywall and green glue and nothing but pad carpet on the floor you must have been satisfied that rubber mats and sub floor was unnecessary. I'd prefer to save the headroom/ceiling height if possible.

Nope, nothing on the slab other than carpet pad/carpet. I was planning to do Serenity Mat, but Soundproofing Company said that for my room, there would be zero benefit. I even proposed getting it anyway, just in case....and they said “Suit yourself, but we have decades of experience and we are telling you that it will not benefit your room. Now, they had drawings of the room, as well as the rest of the basement, and they knew the measures I was taking to soundproof (15 buckets of green glue and at least 20 tubes! Ugh!). They also told me that Whisper Clips would offer no benefit over the IB-1 clips in my situation (I again fought them on this, since everyone else was using whisper clips), and they again said “suit yourself, but we know our stuff and there will be no benefit. Now, why there was no benefit to my room? It could have been the location of the room in the house, or it could have been the Soundproofing design obviates floor treatment...whatever the case, I listened to them, and I’m glad I did. Can’t hear a peep in adjacent rooms beyond 1-2 feet of the theater airlock (communicating doors). In the room on the other side of the screen wall, separated by two stud walls and a total of six drywall layers+green glue, it’s pure silence.

For other rooms, Soundproofing company has recommended both whisper clips and serenity mat, so my guess is this: there are room/house variables that only professionals can analyze to determine the need for those specialized items. I’m glad I did not need the Serenity mat, as I was starting with 8’ ceilings before soundproofing, and the total soundproofing snipped about 3 1/2” off the ceiling.



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post #75 of 549 Old 11-14-2017, 10:36 AM
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Quote:
Originally Posted by bulls View Post
if my floor is vibrating ... is that dangerous to the foundation ??? my room is carpet on concrete slab
i thought concrete's not supposed to vibrate...
Your feeling your carpet and pad. Their extremely compliant to vibration. I’ve tested the tactile response of concrete and there no real difference between the baseline measurement and sub measurement. You need Earth movement to substantially vibrate a concrete slab.

Last edited by coolrda; 11-14-2017 at 10:40 AM.
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post #76 of 549 Old 11-14-2017, 10:57 AM
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my velodyne sealed subs loved having the driver face the wall. made a noticeable difference and well worth a try with a sealed sub. mine liked 6-8inches.
I did with mine last week, before reading this thread and wondered any one else was doing it :-)
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post #77 of 549 Old 11-14-2017, 10:58 AM
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A Terraform XXXL18 would be great... 3 18" drivers with Seaton's sound quality I can only imagine! Take over the reigns!! The thing would be massive but undeniably amazing.
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post #78 of 549 Old 11-14-2017, 11:15 AM
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Quote:
Originally Posted by bulls View Post
if my floor is vibrating ... is that dangerous to the foundation ??? my room is carpet on concrete slab
i thought concrete's not supposed to vibrate...
That is nothing to worry about.

My HT has been rocking for more than 2 years now. You have been to my HT so you know what it's like.
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Subwoofer: JTR Captivator 4000ULF.
AVR: Denon AVR-X4400H. TV: Samsung UN75NU8000FXZA.

FS: Jamo C103, KEF Q100 and Polk RTiA3
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post #79 of 549 Old 11-14-2017, 12:34 PM
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A Terraform XXXL18 would be great... 3 18" drivers with Seaton's sound quality I can only imagine! Take over the reigns!! The thing would be massive but undeniably amazing.
Imagine a Terraform 3XL18 with 6000W amp to support a slave! Have you talked to Mark about actually building you a Terraform?
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post #80 of 549 Old 11-14-2017, 01:35 PM
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Imagine a Terraform 3XL18 with 6000W amp to support a slave! Have you talked to Mark about actually building you a Terraform?


That’d be bass nirvana


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post #81 of 549 Old 11-14-2017, 04:24 PM
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Quote:
Originally Posted by David Charles View Post
A Terraform XXXL18 would be great... 3 18" drivers with Seaton's sound quality I can only imagine! Take over the reigns!! The thing would be massive but undeniably amazing.
Quote:
Originally Posted by Marc Alexander View Post
Imagine a Terraform 3XL18 with 6000W amp to support a slave! Have you talked to Mark about actually building you a Terraform?
I've mentioned a few times that there were a few pieces of the puzzle I want to have available or fabricated, but I do intend to do a production Terraform, which would most likely be 3x18" in a long enlcosure with a few cool features and sizing to make it practical to fit and placey into a basement or 2nd floor dedicated theater. I believe a production design with realistic dimensions falling somewhere between the Terraform D18 and the huge, custom 4x18" 6th order BP, 7' tall Devastator subwoofer can fill a unique niche. Terraform XXX might be a fitting name... "A little obscene."

I already had a chance to do related confirmation and testing of some details when I helped my cabinet shop, WW Speakercabinets, make the X21 cabinet available. The big vents and how they are implemented really do a great job of keeping airflow noise down at some pretty impressive output levels as Data-Bass was able to confirm, and while Josh didn't have filter parameters to smooth the starting response of the single port operation like he did of the dual port, later posted here, he did test it and confirm there was significant useful output in the 14.5Hz tuning mode. It is a pretty awesome solution with minimal vent noise for those looking for 1-2 big subs to place in the corner of a massive room, and can be had in the same veneered finishes we offer on our products.

Mark Seaton
Seaton Sound, Inc.
"Make no little plans; they have no magic to stir men's blood..." Daniel H. Burnham
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post #82 of 549 Old 01-08-2018, 06:22 AM
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Anyone have a link to the rubber mats that were suggested for use when stacking your subs?
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post #83 of 549 Old 02-01-2018, 10:17 AM
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All: I haven't done this in quite some time, but I am so impressed with my F18s, I had to write a review. I actually started this in December, but then life got in the way. I plan to update this with measurements, photos, etc. but for now, here's the verbiage of my impressions after living with the Seaton F18s.




Seaton Sound F18: A Review


First Steps
The day I discovered home theater started with a simplestroll through Circuit City. During this stroll, I stumbled on a Zenith HTIBfor sale for $90. I did a double-take,and purchased it without hesitation, with a few cents to spare after tax. Irushed home, hooked it up, and the first movie I played was “The Matrix.” onDVD. The scene that made me a believerin surround sound was the entire rooftop scene where Neo dodges the bullets,culminating in a helicopter kissing a glass building. I was amazed at this experience. Subsequently, the subwoofer evolution followeda path of ever-increasing performance. From the Zenith 4” HTIB subwoofer, I moved to an Onkyo 8” HTIB subwoofer,followed by an Infinity PB-12 subwoofer…and then joined the big-boys with the SVSPB-13 Ultra. After some time with the SVS, I learned of a company called SeatonSound...I did extensive research, and being out of graduate school by now, Iwas in a position to better explore my penchant for bass. I purchased twoSeaton F2 subwoofers and, subsequently, two Seaton Submersive HP subwoofers.


Then, I got married, built a house, and sold everything withplans to build a cutting-edge dedicated theater. The time to decide onsubwoofers was drawing nigh.


Mark Seaton, owner of Seaton Sound, happened to be travelingthrough my region around the time that we were settling into the new house. Iinvited him over, and showed him the “under construction” theater. He mentioned that he was working on somethingvery special with 18” drivers, and suggested I stay tuned, as they would be aperfect fit for the room size. Havingpreviously experienced the sheer gravitas and extension of Seaton Sound’s 15”products, I got quite excited at the prospect of 18” products coming out of Mark’sshop. One year later, the Seaton SoundF18 subwoofers began shipping, and another year after that, room constructionwas completed, and it was time to place my order for eight F18 subwoofers,exercising the option to utilize rack-mounted amplification for a smallupcharge. I chose this route due to the fact that the subwoofers, once installed,would be very difficult to reach. Therack-mount amplifier allows for easy trouble-shooting and, if ever necessary, thereplacement of amplifier components without touching a subwoofer cabinet.


Setup


The subwoofers arrived on two pallets, with four F18behemoths on each one. Each stack was shrink wrapped and reinforced with shippingstraps. Your level of fitness is irrelevantwhen it comes to hoisting eight subwoofers from a garage, up a small flight ofstairs to the house, down a flight of stairs to the basement, and though threerooms into the theater. It will be astruggle for everyone. I have a raw,conventional deadlift personal record of of 475lbs—fairly heavy even forregular lifters--and after bringing the second F18 downstairs, I began loathingthe day I found a hobby with such heavy toys.


Unboxing was very straightforward---essentially identical tothe unboxing experience of my old Seaton F2 subwoofers. I pre-wired the subwoofer locations with10awg speaker wires as the theater was being built, so all that was necessarywas to put the F18s in place and connect the Speakon twist-lock cables.


The rack-mountable amplifier contains 8000w of power,separated into two 4000w modules. Unlikethe subwoofers, the amplifier utilizes four positive and four negative bananaplug posts, allowing for the connection of four pairs of speaker wire. Hmmm…eightsubwoofers need a signal from four +/- pairs of binding posts. Funny math, eh? Well, the key here is totreat every two subwoofers as a single subwoofer, combining the positives andnegatives of each pair.


For context, the subwoofer configuration in my theater,which I affectionately call “The Beast, Unleashed,” is as follows: Twosubwoofers horizontally arranged in each the front corners of the room, and anothertwo subwoofers in each of the rear corners.


Once in place, and powered on, Ileft the gain, delay, crossover, and LFE adjust knobs at their defaultpositions on the rack-mounted amplifier. I then ran Anthem Room Correction (ARC) in my Anthem AVM60 Processor,and began playing my favorite bass demo tracks. The bass was taut and even, but I was underwhelmed by the raw impact ofkey scenes that I typically use to ensure proper setup (list at the end of thereview). So then, it was time to tweak! Iutilized Room Equalization Wizard in conjunction with the adjustment knobs onthe amplifier (more on this later) to dial-in the subs, one wall at atime. I measured the front foursubwoofers first, and then the rear four, ultimately selecting a 4ms delay forthe rear subwoofers. I then ran alleight subwoofers together, and I was satisfied with the measurements. I then began tweaking the gain and LFE-adjustknobs. The gain knob increases volume,and the LFE Adjust knob boosts or cuts frequencies below ~30Hz, giving a nice boost to very low frequencies that would otherwise be reduced to inaudiblelevels with the audio track. Moving the gain knob to the “noon” position, andthe LFE Adjust knobs to the 3:00 positions got me the post-room correction raw impactthat put an enormous grin on my face.


The experience only got better once the Qsys Digital SignalProcessor—for which I had been patiently awaiting— finally arrived. I replicated the LFE adjust and delaysettings digitally and moved those knobs back to zero on the subwooferamplifier, utilizing these settings as a baseline for additional tweaking. First, I measured the four front F18subwoofers as one, since the two pairs are corner loaded. Then, the rearsubwoofers were measured, all as one due to their configuration in anarray. I then applied equalization toboth sets of subwoofers separately. Finally, I measured all subwoofers running as a single bass source, andmade minor tweaks until the bass was even and flat, not only in measurements,but in actual listening judgements by playing a test tones in 5Hz incrementsand walking around the room, listening for dips or peaks. Once the bass was flatand even, I integrated the F18s with the rest of my speakers, measuring and determiningthe appropriate crossover points. Withthe system sounding better than any system I’ve heard, It was time to evaluate.


Listening Preparation


Where to begin? I had already used my setup validationtracks to confirm extension, volume, and “slam,” it was now time to flex thesubwoofers to see what they could truly do. I use different scenes for different purposes when evaluating subwooferperformance. The evaluation categoriesare: ultra-low frequency (ULF) extension, bass envelopment, dynamic performance,and musicality.


Ultra Low Frequency Extension:

  • Edge of Tomorrow [Opening Credits]
  • How to Train Your Dragon [Giant Dragon Crash]
  • Tron: Legacy [Transition to Digital Realm]


Bass Envelopment

  • Passengers [Opening Asteroid Collision]
  • Spiderman: Homecoming [Final Battle]
  • Wind River [Drug House Visit]
  • War of the Worlds {Laser Beams]


Dynamic Performance

  • The Accountant [Assault on House in Woods]
  • Atomic Blonde [Apartment Building Assault]
  • Hacksaw Ridge [The Entire Third Act]
  • Deadpool [Opening Attack]
  • Patriots Day [The Marathon Attack]


Musicality

  • Hit Man: David Foster & Friends (Video)
  • Bass & Drum Intro: Nils Lofgren (Audio)
  • Thanks to You: Boz Scaggs (Audio)
  • Peel Me a Grape: Diana Krall (Audio)


Listening


Ultra LowFrequency: The production of ULF is a privilege. Relatively speaking, few systems canaccomplish it effectively. The homecinema in which my reference review system is housed is fairly sizeable, with apre-treatment shell of 30’L x 16’ 9” wide. With treatments and fabric panels inplace, the room is roughly 27’L x 16’W. In order to produce a 5Hz note that canbe felt by the body in a room this size, the pressurization requirements arequite demanding. In testing both thefront subwoofers and the rear subwoofers, each group independently produced theultra low frequencies at volume high enough to cause my body to feel as if itwere imploding. The opening scene ofEdge of Tomorrow is well-known among enthusiasts as a true test of ULFprowess. The Seaton F18’s easily took thisscene on. I was baffled by the effortlessness with which it reproduced thelowest frequencies. It was actually soloudly produced, albeit inaudible, that the experience was initially physicallyuncomfortable. Another well-known ULFscene occurs in Tron: Legacy, where Garret Hedlund’s character transitions fromthe real world into the digital world created by his father. Immediately following his transition, thefrequency enters the single-digits. When all eight subwoofers were producingULF the same time, the effect was difficult to describe in words. To simplyknow your subwoofer solution can produce these frequencies at high volume isextremely satisfying, but to experience the actual production of thosefrequencies is pure joy.


Envelopment:In order to appropriately experience true bass envelopment, the listener shouldfeel as if he or she is completely surrounded by a cocoon of bass for theduration of the note’s production. This is tricky to execute, as a bass bloatcan, at times, be misinterpreted as envelopment. Envelopment is an even, room-fillingpressurization in which you can clearly both hear and feel the tone and texturebeing produced. The F18’s executes bass envelopment with aplomb. This is exemplified in Wind River, where the FBI Agent is searching the drug-house. The envelopment of the listener as the searchintensifies is so palpable, it could be sliced and served on a plate. In Warof the Worlds, the scene afterthe oft-lauded pod emergence scene consists of the alien craft firing advancedweaponry at human bystanders. When thealien weaponry fires, there is a firm bass note that accompanies eachshot. When played at high volume on the highlycapable F18 subwoofers, the listener is provided with a textured sense ofenvelopment that underscores the power of the weaponry. I have not beenswallowed by the bass in this scene (and in such a controlled manner, no less!)prior to this. The experience truly an eye-opener


Dynamic Performance: Arguably the mostimportant aspect of a subwoofer solution’s capabilities is its dynamicperformance. When called upon, can thesubwoofer quickly produce what is being demanded of it, with minimal decay soit corresponds precisely with the activity on (or off) the screen. Whether itwas the out-of-nowhere explosions during a marathon, adding weight to gunshots,or SUVs crashing on a crowded highway, the Seaton F18s proved their dynamiccapabilities again and again. A subwoofer solution with the ability toinstantly pressurize the room without distortion, and then disappear just assuddenly as it appeared is a gift, and when found, should be cherished.


Music: BeforeI discovered the joys of home cinema, I was an audiophile. Music is still very important to me, althoughits level of importance to me has somewhat diminished in direct correlation to my diminishing free-time. With that being said, Istill listen very discerningly to the texture in every note sung, the tonalityof every string pulled, and the gravity of every drum kicked. The many layers that comprise music is partof what makes it so beautiful. I ran through a bevy of tracks that havehistorically provided me with very satisfying bass guitar or kick-drumreproduction. My experience with these tracks was elevated significantly usingthe Seaton F18’s. Proper calibration isabsolutely critical with music, so if your equipment allows this, I implore youto have your subwoofers calibrated for two settings: one to a reference75db-85db, and one to whichever floats your boat for pure enjoyment. For example, the first time I put on Bailando by EnriqueIglesias and engaged a 10db boost to the bass—that experience, whilenon-compliant with industry standards, is just plain fun.


Conclusion


My Seaton Sound F18 subwoofer solution consisting of eightsubwoofers and a Seaton Rack Amplifier provides me with the best bass I’ve everheard. Ever. Anywhere. These subwoofers provide a level of performance highenough where their limits exceed my threshold of comfortable listening, and I’mso happy with these, I can honestly say that if this was the very lastsubwoofer solution I’d ever own, I’d be more than happy. I really can’t see itgetting better than this.


Review System:


DISPLAY
JVC DLA-RS520 4K Projector with seven (7) 3D glasses

SCREEN
Seymour AV Centerstage XD Curved Screen: 144" wide, 16:9 aspectratio

SPEAKERS
Left, Center, Right: Triad CinemaPlus Platinum LCR (3)
Wides: Triad Gold InWall LCR (2)
Side Surrounds (Front Row): Triad Gold InWall LCR (2)
Side Surrounds (Rear Row): Triad Gold InWall LCR (2)
Rear Surrounds: Triad Gold InWall LCR (2)
Atmos: RSL C34E Edgeless (6)
Subwoofers: Seaton Sound F18 Subwoofers (8)
Bass Shakers: Crowson Tactile Transducers (7)

AMPLIFICATION BY CHANNEL
Left, Center, Right: QSC DCA 1622 (3)--1600wpc each in monoblockconfigurations
Wides: QSC DCA 1644
Side Surrounds (Front Row): QSC DCA 1644
Side Surrounds (Rear Row): QSC DCA 1644
Rear Surrounds: QSC DCA 1644
Atmos: QSC DCA 1644+1222
Subwoofers: Seaton Sound 8000w RackAmp
Bass Shakers: Behringer iNuke 3000DSP

PROCESSORS
Video: Lumagen RadiancePro 4446 w/ 18Ghz input and 18Ghz output cards
Audio: Anthem AVM60 Home Cinema Processor
Digital Signal: QSC Q-Sys Core 250i AND I/O Frame

SOURCES
Physical Media Playback: Oppo UDP-203
Digital Media Playback: JriverHTPC
Streaming Media Playback: Roku Ultra
High Resolution Audio: Oppo Sonica DAC
Gaming: Microsoft Xbox One S
Gaming: Sony PlayStation 4
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post #84 of 549 Old 02-01-2018, 11:35 AM
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Nice review Brolic!
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post #85 of 549 Old 02-01-2018, 11:54 AM
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Quote:
Originally Posted by DotJun View Post
Anyone have a link to the rubber mats that were suggested for use when stacking your subs?
I missed this previously, but anyone wanting the stacking mats, we keep the material in stock and sell them for only $10 with the subs.

Mark Seaton
Seaton Sound, Inc.
"Make no little plans; they have no magic to stir men's blood..." Daniel H. Burnham
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post #86 of 549 Old 02-01-2018, 12:31 PM
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Nice review Brolic!
Thanks! I love these subs, man!

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post #87 of 549 Old 02-01-2018, 04:14 PM
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Nice review there brolic, myself a proud owner of 2 pairs of master slave f18, from Singapore. Very very good subs, even the midbass is awesome. The deep bass is pounding with precision, precise hit type of bass. I’m very impressed with the f18. Good stuff


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post #88 of 549 Old 02-03-2018, 11:33 AM
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I just upgraded my original 1000 watt submersive amplifier to the 4000 watt model. I need someone to refresh my memory; at what gain on the submersive amplifier should I set to before I begin to calibrate and set levels in my pre/pro?
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I would start at the 9 o'clock position. The 4kw amps are pretty sensitive.
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post #90 of 549 Old 02-04-2018, 01:33 PM
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I would start at the 9 o'clock position. The 4kw amps are pretty sensitive.
Thank you! I actually used the search function last night and found set-up instructions that were posted by Mark Seaton.

Current Equipment: Datasat LS10 w/ Atmos and DIRAC. ATI 6005, AT527NC, Aerial Acoustics LR5's (LCR), SR3's sides, LR3's (rears), Seaton Submersive HP, Marantz VP15s1, 123" diag 16:9 Stewart Cima Neve screen, Oppo BDP-103, Palliser Flicks Theater Seating AC Power: Eaton whole-house surge protector at main panel, three dedicated 20 amp circuits, Surgex XR315 surge protector at equipment rack, Cyberpower 1400VA/900 watt, true sine wave UPS.
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