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post #3661 of 10563 Old 01-08-2019, 06:42 PM
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Quote:
Originally Posted by aron7awol View Post
Not that I can remember. I would call it DD+ Atmos if I ever did.

I admit I don't know exactly how DTS/DD compression algorithms work, but I believe ULF is actually more easily compressed and isn't lost upon conversion to lossy. I suppose I could test that easily enough.

When dealing with compression, higher frequency data gets lost first usually. Also, VBR makes it possible that dynamic tracks with low bitrate can still sound pretty good, that's why low data rate edm sounds still good most of the time, while low data rate metal would sound pretty bad.


So much about compression, but DTS-HD allows 24bit/96khz audio tracks (192khz for DTS-HD Master Audio). That audio resolution carries enough data to restore basically everything.
16 bit audio tracks have a S/N ratio of ~96db. 96db is so much that it's easy to see why music CDs are being delivered in 16bit.
Movies are alot more dynamic than music, with peaks much higher during watching a movie, than during normal music playback, which called for higher bit rate. So there we have 24bit, which is 144db of S/N.
As comparison: it's being said that a human ear has the S/N "equivalent" of about 123db.



Talking about data rate: DTS core audio is 1.5Mbit, DTS-HD Master Audio gets close to 25Mbit overall.


So, if you're watching a movie at reference (115db peaks on bass) and you're having a media S/N of 144db, your effective S/N becomes
Reference Level - media S/N + Boost = Effective S/N
Since boosts in this thread ususally don't go beyond 50Hz and the hearing threshold for 50Hz is ~44db, you can boost your bass by ~73db without hearing any difference at all.
Most of the excessive boosting usually lies around 20Hz, of which the hearing threshold is about 80db, so you've got over 100db of clean headroom for even the most delicate ULF consumers here
(I have no clue if a 70db sine wave at 20Hz would be actually noticable. Audible, no, for the most of us. Noticable idk, since I haven't tried it)



If anybody spots some mistakes in my math, please give me a heads up as it's very late here (4am) and I can't sleep properly

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post #3662 of 10563 Old 01-08-2019, 06:52 PM
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^^^

I love how a quick technical discussion brought a BEQ lurker out of the woodwork!

Thanks for your post, and welcome!
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post #3663 of 10563 Old 01-08-2019, 08:40 PM
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Quote:
Originally Posted by aron7awol View Post
Not that I can remember. I would call it DD+ Atmos if I ever did.

I admit I don't know exactly how DTS/DD compression algorithms work, but I believe ULF is actually more easily compressed and isn't lost upon conversion to lossy. I suppose I could test that easily enough.

Edit: Actually, I don't need to test it. I definitely remember graphing lossy mixes that are identical to the DTS-HD tracks.
I don't know exactly how the DTS/DD compression algorithms work either. I know compression in general drops frequencies outside of hearing starting with the high frequencies since there's more data there, but I assumed they drop frequencies below normal hearing too even though it's less data if they're trying to get as small as possible. Every byte counts. It's what I'd do if I were writing it and wasn't concerned about bass.

Quote:
Originally Posted by peniku8 View Post
When dealing with compression, higher frequency data gets lost first usually. Also, VBR makes it possible that dynamic tracks with low bitrate can still sound pretty good, that's why low data rate edm sounds still good most of the time, while low data rate metal would sound pretty bad.

So much about compression, but DTS-HD allows 24bit/96khz audio tracks (192khz for DTS-HD Master Audio). That audio resolution carries enough data to restore basically everything.
16 bit audio tracks have a S/N ratio of ~96db. 96db is so much that it's easy to see why music CDs are being delivered in 16bit.
Movies are alot more dynamic than music, with peaks much higher during watching a movie, than during normal music playback, which called for higher bit rate. So there we have 24bit, which is 144db of S/N.
As comparison: it's being said that a human ear has the S/N "equivalent" of about 123db.

Talking about data rate: DTS core audio is 1.5Mbit, DTS-HD Master Audio gets close to 25Mbit overall.

So, if you're watching a movie at reference (115db peaks on bass) and you're having a media S/N of 144db, your effective S/N becomes
Reference Level - media S/N + Boost = Effective S/N
Since boosts in this thread ususally don't go beyond 50Hz and the hearing threshold for 50Hz is ~44db, you can boost your bass by ~73db without hearing any difference at all.
Most of the excessive boosting usually lies around 20Hz, of which the hearing threshold is about 80db, so you've got over 100db of clean headroom for even the most delicate ULF consumers here
(I have no clue if a 70db sine wave at 20Hz would be actually noticable. Audible, no, for the most of us. Noticable idk, since I haven't tried it)

If anybody spots some mistakes in my math, please give me a heads up as it's very late here (4am) and I can't sleep properly
Thanks for the explanation. I like tech posts that I can learn from.

BTW, I was reading your horn build thread the other night. I'm really jealous of that table saw and some of the other tool you have there. I'd love to have a shop like that to play around in. I'm interested in seeing how your build turns out too. I'm been really intrigued by horns lately. I was toying with the idea of building a couple large ones with smaller drivers to used as a platform for extra seating when I build my dream HT.
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post #3664 of 10563 Old 01-09-2019, 12:08 AM
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Another request for BEQ: The Fate of the Furious (DTS:X)
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post #3665 of 10563 Old 01-09-2019, 12:42 AM
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https://www.atsc.org/wp-content/uplo...-201212-17.pdf gives the gory details on how dolby digital works but it basically works a bit like the way we analyse tracks in this thread, break the track up into a series of overlapping segments, look at that in frequency response terms then decide how to encode/compress that using a fairly complicated algorithm that dynamically adapts to the content present in that block. I think section 7.2.1 is the relevant bit for this discussion though, my bold.

Quote:
The bit allocation routine analyzes the spectral envelope of the audio signal being coded with
respect to masking effects to determine the number of bits to assign to each transform coefficient
mantissa. In the encoder, the bit allocation is performed globally on the ensemble of channels as
an entity, from a common bit pool. There are no preassigned exponent or mantissa bits, allowing
the routine to flexibly allocate bits across channels, frequencies, and audio blocks in accordance
with signal demand.


The bit allocation contains a parametric model of human hearing for estimating a noise level
threshold, expressed as a function of frequency, which separates audible from inaudible spectral
components.
Various parameters of the hearing model can be adjusted by the encoder depending
upon signal characteristics. For example, a prototype masking curve is defined in terms of two
piecewise continuous line segments, each with its own slope and y-axis intercept. One of several
possible slopes and intercepts is selected by the encoder for each line segment. The encoder may
iterate on one or more such parameters until an optimal result is obtained. When all parameters
used to estimate the noise level threshold have been selected by the encoder, the final bit
allocation is computed. The model parameters are conveyed to the decoder with other side
information. The decoder executes the routine in a single pass.

The estimated noise level threshold is computed over 50 bands of nonuniform bandwidth (an
approximate 1/6 octave scale).
The banding structure, defined by tables in the next section, is
independent of sampling frequency. The required bit allocation for each mantissa is established
by performing a table lookup based upon the difference between the input signal power spectral
density (PSD) evaluated on a fine-grain uniform frequency scale, and the estimated noise level
threshold evaluated on the coarse-grain (banded) frequency scale.
Therefore, the bit allocation
result for a particular channel has spectral granularity corresponding to the exponent strategy
employed. More specifically, a separate bit allocation will be computed for each mantissa within
a D15 exponent set, each pair of mantissas within a D25 exponent set, and each quadruple of
mantissas within a D45 exponent set.
The bit allocation must be computed in the decoder whenever the exponent strategy (chexpstr,
cplexpstr, lfeexpstr) for one or more channels does not indicate reuse, or whenever baie, snroffste, or
deltbaie = 1. Accordingly, the bit allocation can be updated at a rate ranging from once per audio
block to once per 6 audio blocks, including the integral steps in between.
A complete set of new
bit allocation information is always transmitted in audio block 0.
Since the parametric bit allocation routine must generate identical results in all encoder and
decoder implementations, each step is defined exactly in terms of fixed-point integer operations
and table lookups. Throughout the discussion below, signed two's complement arithmetic is
employed. All additions are performed with an accumulator of 14 or more bits. All intermediate
results and stored values are 8-bit values.
or put another way, there's no apparent way to know, a priori, how similar a DD+ track will be to the lossless version so you'd just have to try it out to see.

Having said that, it seems reasonable to assume a couple of things.

Firstly, the higher the bit rate (of the DD+ track), the less likely it is there will be any meaningful change in response.
Secondly, large ULF boosts on a DD+ track are more likely to encounter noise (as the encoder specifically states that it will discard information below what it sees as the audible noise floor).

Since the compression changes during the course of the track based on content, it should be v quick and easy to get a decent idea of the impact of DD+ by using the (to be compiled) library of BEQ demo clips. If we take the lossless clips, encode them using some normal DD+ parameters at a variety of bit rates then feed the result back into BEQD to compare against the original. Load each track up then use the "reference curve" feature to show the resulting FR difference between n different bit rates vs lossless.

If anyone fancies giving this a try then I'll work out the ffmpeg incantation required to do this.

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post #3666 of 10563 Old 01-09-2019, 02:57 AM
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Quote:
Originally Posted by DesertDog View Post
BTW, I was reading your horn build thread the other night. I'm really jealous of that table saw and some of the other tool you have there. I'd love to have a shop like that to play around in. I'm interested in seeing how your build turns out too. I'm been really intrigued by horns lately. I was toying with the idea of building a couple large ones with smaller drivers to used as a platform for extra seating when I build my dream HT.

I probably would've never considered building a cab if it wasn't for the tools and my knowledge and past experience with woodworking.
That surely saved alot of time and made work a breeze! Had to order the drivers from a different supplier, as B&C said that they were out of stock and could send out the drivers in 5 weeks, by the earliest. Got a shipping confirmation today, maybe you'll be seeing some updates on Sunday eve after I've been working for two days straight


Using horns as risers sounds like a neat idea, if you go with three rows you could even go with something like 12" horns for 2nd row and 21" horns for 3rd. Since it'll be pretty long probably the tuning should come out pretty low. Come to think of it, nobody has ever build a 24" horn...
Just make sure you decouple it from the floor. Spacers+green glue should be decent, doesn't have to be so much fiber like in this pic, but you get the idea.
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post #3667 of 10563 Old 01-09-2019, 06:08 AM
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Originally Posted by aron7awol View Post
BEQ Predator (1987) DTS-HD MA 5.1

LS 24Hz Q0.9 5dB x 6 (30dB total)


Ok, i was wondering about this one, so i watched it last night in the UHD version.

First of all, this is probably as good as this will ever look and sound. That said, there was not much improved picture wise, and the sound is the same old 5.1 DTS-HD track, so it is frankly a mediocre release.

But the point here is the BEQ, and it improved rather noticable even though it is not exactly ULF material. It brought a lot more weigth and fullness to gunshots, explosions, and pretty much all effects. It even gave the Crowsons something to work with.

As i said, this i probably as good as it will get, and i enjoyed the revisit, but it is not demo quality in any way or form. Exept maybe the difference BEQ does.
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post #3668 of 10563 Old 01-09-2019, 07:12 AM
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I'll post some comparison graphs later today between lossless and DTS 1509kbps / DD 640mbps.

FWIW, the First Man lossy mix that I graphed and BEQed was a DD 384kbps mix, and the ULF content was still down there and not mixed with noise 50dB down, so that would seem to be a pretty extreme case that the codec would have discarded ULF information if it ever was going to, at least without going to extremely low bitrates.

Take the Red Pill (BassEQ) BassEQ Demo Clips
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post #3669 of 10563 Old 01-09-2019, 08:37 AM
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Here's a first batch of comparisons of lossless DTS-HD MA 5.1 tracks with DTS 1509kbps tracks...





Take the Red Pill (BassEQ) BassEQ Demo Clips
Video: Sony 85" X900F @ 80" eyes-to-screen (49.4° viewing angle)
Audio: Denon AVR-X4400H 7.2.4 Atmos
Mains: Fusion-15 LR, Custom Tapered Ported Volt-6 Center, Ported Volt-10 Surrounds, Custom 45°/45° Double-Angled Ported Volt-6 Atmos
Subs: The Two Towers (HT18 32cf 11.5Hz x 2), UM18 4cf x 2, Crowson MAs x 4
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post #3670 of 10563 Old 01-09-2019, 09:09 AM
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Quote:
Originally Posted by 3ll3d00d View Post
Firstly, the higher the bit rate (of the DD+ track), the less likely it is there will be any meaningful change in response.
Secondly, large ULF boosts on a DD+ track are more likely to encounter noise (as the encoder specifically states that it will discard information below what it sees as the audible noise floor).

Since the compression changes during the course of the track based on content, it should be v quick and easy to get a decent idea of the impact of DD+ by using the (to be compiled) library of BEQ demo clips. If we take the lossless clips, encode them using some normal DD+ parameters at a variety of bit rates then feed the result back into BEQD to compare against the original. Load each track up then use the "reference curve" feature to show the resulting FR difference between n different bit rates vs lossless.

Great info! It's basically what I was thinking but I wasn't anywhere near as close to saying as clearly or eloquently.


Quote:
Originally Posted by aron7awol View Post
Here's a first batch of comparisons of lossless DTS-HD MA 5.1 tracks with DTS 1509kbps tracks...




Wow, I'm surprised by those, especially <25 hz. It's not what I was expecting to see. That's why we test. So now the question becomes are they using the same mix for the DD+Atmos mixes as the TrueHD ones. I'm going to check with a couple friends to see if they've bought one of them. One of my friends buys streaming movies all the time.
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post #3671 of 10563 Old 01-09-2019, 09:14 AM
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Braven dtsMA5.1 pleaee Aron?
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post #3672 of 10563 Old 01-09-2019, 09:28 AM
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Quote:
Originally Posted by peniku8 View Post
I probably would've never considered building a cab if it wasn't for the tools and my knowledge and past experience with woodworking.
That surely saved alot of time and made work a breeze! Had to order the drivers from a different supplier, as B&C said that they were out of stock and could send out the drivers in 5 weeks, by the earliest. Got a shipping confirmation today, maybe you'll be seeing some updates on Sunday eve after I've been working for two days straight


Using horns as risers sounds like a neat idea, if you go with three rows you could even go with something like 12" horns for 2nd row and 21" horns for 3rd. Since it'll be pretty long probably the tuning should come out pretty low. Come to think of it, nobody has ever build a 24" horn...
Just make sure you decouple it from the floor. Spacers+green glue should be decent, doesn't have to be so much fiber like in this pic, but you get the idea.
Good luck this weekend. I'll keep an eye out for the updates.

I've been thinking of maybe trying to build one too just to try it out. I have the woodworking experience from doing it a bit as a hobby but I really wish I had a big table saw. Doing it as a hobby and not making any money off of it makes it hard to justify a monster like yours. After the TV - PJ talk the other night I think I might have figured out a way to go with a PJ now, if I do it I'll have room for a a couple more subs. Maybe I'll give it a shot.

That's what I was toying with as an idea for the 2nd row (had only drawn out 2 rows). It hit me that that's pretty much wasted space so why not utilize it to get a little more bass going. The height doesn't work well for a large driver but with the area you could make a large horn for a smaller one. I'm aways off from it since I need to buy a house first but it's an idea I'm going to let percolate in the meantime.
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post #3673 of 10563 Old 01-09-2019, 09:56 AM
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It's your turn to document!


Here is mine which I believe you already looked into
https://www.avsforum.com/forum/113-s...l#post57371702

Since the Wi-DG shows up on my network I connected it to the MiniDSP via USB, checked the "auto" box in the MiniDSP Plugin and it did connect directly. The Plugin seems to remember or is able to find the IP address for the Wi-DG; however, I cannot utilize my wireless connection to access the internet while it's connected. Appears to be one or the other and I have to go into the laptop wireless settings and select either the Wi-DG or WiFI network. Going back and forth also appears to introduce some time out errors where the Plugin wont see the Wi-DG - fiddling with it closing and opening seems to get it to reconnect.

Thought I should be able to connect the Wi-DG in Station Mode and it would utilize my home WiFi network and work seemlessly with the plugin and internet.

Still can't get it to connect per the instructions in Station Mode (which is a problem) but perhaps I am misunderstanding how the Wi-DG is supposed to work?????

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post #3674 of 10563 Old 01-09-2019, 10:45 AM
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Quote:
Originally Posted by DesertDog View Post
Wow, I'm surprised by those, especially <25 hz. It's not what I was expecting to see. That's why we test. So now the question becomes are they using the same mix for the DD+Atmos mixes as the TrueHD ones. I'm going to check with a couple friends to see if they've bought one of them. One of my friends buys streaming movies all the time.
I always assumed the same thing, and it wasn't until I did so many graphs (I've probably seen 1,000+ graphs at this point), and especially the mixes where I've graphed lossy mixes first and the lossless once it drops, that I realized there seemed to be no significant dropoff in the bass range we deal with regularly.

Of course this is totally separate from intentional changes made to mixes for streaming, including potentially the DD+ Atmos mixes.
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post #3675 of 10563 Old 01-09-2019, 10:57 AM
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https://www.imdb.com/title/tt2992552/?ref_=nv_sr_1


I remember watching this Seal Team 8 movie ^^ back then and the whole movie was filled with bass. Any chance to BEQ this one, Aron? Thanks.
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post #3676 of 10563 Old 01-09-2019, 11:40 AM
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So I've got a couple more demo suggestions that may make good ones if you want them. It's hard to know what to use on both of these as they are both a big ULF wobble fest all the way though the majority of the film. And man do I ever love both of these because of it ... IT and Jurassic World: Fallen Kingdom.

I probably don't even need to comment on which areas might be good, as there are just so many scenes that are just off charts great for ULF TR and all that goes with it around ref bass levels IMO. You can probably just about pick any section in these two movies and it'll make great demo material for a BEQ vs Non BEQ comparison LOL. But here are a couple anyway



Demo for 'IT' BEQ vs Non-BEQ

Beginning of chapter 2 starting at 9:24 to 9:44. So a short little Time Stamp when the cam is going down the tunnels and 'IT' comes up on the screen in Big Red Letters. The ULF starts slow at about 9:38 and gets super strong out to about 9:44. Wicked Atmos and ULF that makes me squirm in my seat a bit as it grows in intensity. It might make a cool little short comparison segment. Also just a little before this with the first 'IT' encounter has some awesome ULF, but it's pretty freaky what goes down here, so may not be a great one to use IDK, or maybe start with it and let it play right on into what I described at the beginning of chapter 2. Might be cool to start it off this way, might not.

The whole ending part of the movie is nuts and tons of areas in between along the way, but one very cool ULF part towards the end of the movie that is more isolated feeling and crazy powerful that lasts about 30 seconds is at 1:49:12 to 1:49:30, when they are all going down the tunnels down under. It's got super strong ULF at 12hz (I VS'd it to see where it was mainly bringing it). At -10mv with 20hz and lower being about 14db hot on this one (with the rising House Curve and 7db sub trim bump), this one makes me pretty light headed and dizzy feeling which I LOVE! LOL With NO BEQ I can just barely start to feel it trying to kick in a little, but its full on wobble mania with BEQ!! This one is a good one if you want to check your 12hz wobble power in your system (kind of like that Time Stamp in the MEG I posted the other day when they set Rover free on the ocean floor).

Little side story about this last Time Stamp section: I had a ton of fun with this one and did quite a bit of playing around with it. I was comparing the subs by themselves, the MA's by themselves and the BK by themselves. Really gives a great comparison of each and how they feel compared to one other down this low. It was pretty cool, the VNF subs right behind the seats really knock this one out of the park. Super strong TR with weight and some real nice pressure. Nice and full feeling and was making my room crack pretty good at first until it settled in LOL. The MA's feel just almost identical to what the VNF subs were giving me for shake, minus the weight and pressure of course, so I thought that was pretty cool (although I did have to bump the MA's a little more than I had them to get the same feel, so I need to mess with my levels a bit more on them in the mix). The BK's can be more powerful I think at this frequency, but feel a little more sharp and shakes you up in just a tiny bit different way (you feel it more in your stomach I think). All together and it's a ULF wobbling good time hehehehe

Maybe you'll like these, or maybe not. Either way is cool if you want to use them or use something you like better, if you want to us IT at all.



Ok now 'JW:FK' BEQ vs NON-BEQ

Same with this one, you can probably close your eyes and pick anywhere in the first half of the movie and get something spectacular for ULF that BEQ brings out by the truck load. But are a few I'm real fond of

27:00 to 28:49 A little slower paced but has some amazing ULF for the giant Dino walking around.

35:06 to 35:52 starting at the beginning of chapter 7 (I think this is the chapter). Wicked ULF!!

All of Chapter 8 all the way up until they go into the water. Very cool chapter and might make the best demo. Awesome amounts of ULF throughout!!

Beginning of Chapter 9 from 46:35 to 47:20. Yet more crazy ULF!!



Aight, that's all and will stop boring you guys lol As with IT, feel free to use any or none of these, wont hurt my feelings at all if you don't. It's all good, but just thought I'd share a few more since you asked a while back.

Both of these movie's are night and day difference with BEQ to bring on the under 20hz ULF and makes one hell of a diff as many of us already know. Oh also, I should probably mention, and I cant believe I'm saying this, but I actually liked the BEQ better before you updated it this last time around the other day for JW:FK. Surprises me because I've loved all the updates you've done to the others recently for IT, Life, and others. Oh yeah also for the MEG. I tried it as well today and a Big Hell Yeah, loved it and made what I loved about the sections that I mentioned the other day for Demo even better. So not sure why I liked the previous JK:FK BEQ better compared to the updated one you did the other day. I thought I may have typed in some wrong LS's, maybe as PEQs or something and checked it 3 different times, but nope. So I don't know, could just be my system. Feels perfect to me on the previous one though, where as I dare I say maybe a tad too much boost on the new one, maybe in the 20hz area, IDK. Doesn't feel as smooth or something as the other, with the other still having MEGA ULF power. I just wanted to mention this, but don't change it back though because of me if you like it and feels right on your system. I can easily just keep and run the previous version.

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post #3677 of 10563 Old 01-09-2019, 11:49 AM
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^^ I don’t know about you guys but whenever I see Mr. @SBuger ’s post, I get bass excited whether it is in this thread or wherever he posts Thanks Bud.
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post #3678 of 10563 Old 01-09-2019, 01:16 PM
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Originally Posted by tvuong View Post
^^ I don’t know about you guys but whenever I see Mr. @SBuger ’s post, I get bass excited whether it is in this thread or wherever he posts Thanks Bud.

Hey thanks for the very kind words my friend!! Maybe some of my posts around these parts are worthwhile then, glad to hear they at least bring a little bass excitement It feels like I've kind of been on a posting frenzy lately between this thread, the subwoofer comparisons thread with all VS and bass related stuff and even the MBM thread (that I haven't posted in, in a long while it feels like). I tend to get pretty excited about all this stuff and sometimes can't seem to shut up about it once I get started LOL

Again, thanks a lot for the good words, very nice of you to say!!

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post #3679 of 10563 Old 01-09-2019, 01:51 PM
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Hello all, I am looking to get into BEQ and ready to buy a miniDSP. Just wondering if my dual SVS PB-12 NSD will reap the complete benefits of BEQ?

Last edited by Kevin Desai; 01-09-2019 at 02:05 PM.
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post #3680 of 10563 Old 01-09-2019, 02:24 PM
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Hello all, I am looking to get into BEQ and ready to buy a miniDSP. Just wondering if my dual SVS PB-12 NSD will reap the complete benefits of BEQ?


Typical in room response for that sub is about 16hz but it’s tuned to 18hz so it will be strong 20hz and above but not so strong below it. Most BEQ is below 20hz so while you may see benefits, you may notice it more with a lower tuned sub. IMO.


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Subwoofers: Dual Rythmik FV18s Rev2 with Paper cone, BOSS Platform mini riser, 2 BK LFE
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post #3681 of 10563 Old 01-09-2019, 02:35 PM
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BassEQ Goosebumps 2: Haunted Halloween (2018) Atmos


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post #3682 of 10563 Old 01-09-2019, 02:43 PM
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BassEQ Shutter Island (2010) DTS-HD MA 5.1



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post #3683 of 10563 Old 01-09-2019, 02:59 PM
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post #3684 of 10563 Old 01-09-2019, 05:20 PM
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Originally Posted by richsto View Post
Since the Wi-DG shows up on my network I connected it to the MiniDSP via USB, checked the "auto" box in the MiniDSP Plugin and it did connect directly. The Plugin seems to remember or is able to find the IP address for the Wi-DG; however, I cannot utilize my wireless connection to access the internet while it's connected. Appears to be one or the other and I have to go into the laptop wireless settings and select either the Wi-DG or WiFI network. Going back and forth also appears to introduce some time out errors where the Plugin wont see the Wi-DG - fiddling with it closing and opening seems to get it to reconnect.

Thought I should be able to connect the Wi-DG in Station Mode and it would utilize my home WiFi network and work seemlessly with the plugin and internet.

Still can't get it to connect per the instructions in Station Mode (which is a problem) but perhaps I am misunderstanding how the Wi-DG is supposed to work?????

I am repeating some of things again, please bear with me. The user guide states the same.



WI-DG (The great little device! which requires an award for ease of use ) operates in TWO modes


AP Mode - This is the default configuration. In this mode you will connect to the Wi-Dg (Device) wireless network, the device acts similar to a wireless access point Its a local only network created specific to the device. - you will not able to browse the internet. Think of it as similar to plugging two devices over wifi. The device IP address will be 192.168.100.1


Station Mode - You will join the Wi-DG to your home network - With this mode the device will get an IP address from your router example 192.168.1.200.
In station mode the device will be on the same network as home WI-Fi network, so can you browse the internet. If you have successfully configured the device in station mode the device's own wifi network(AP Mode) will be automatically disabled.
Also if you login to your home router admin page you should be able to see the device having an IP address.


Looks like you are unable to join the device to your home wi-fi network (Station Mode). Once you configure the device in station mode you will able to browse internet.

Hope this clarifies some basics.

Other interesting things For knowledge purpose only)

Found out today that Wi-DG is based on OpenWrt foundation so you can SSH into the device using Putty!. Even though I have a good wifi network I was unable to connect to MiniDSP!!! WTH. I don't want use this device as paper weight!.

Instead of running to the basement and trying power cycle the device. I logged on to the device using SSH/Putty and issued a Reboot command, the device was restarted and I was able to connect again!.

It's really crazy for MiniDsp to release a device with so many issues.



You are not alone. I want the device work as per this link.


MiniDSP : WI-DG small improvments (1/1)
You just plug the device to an Ethernet port and your done - Hope MiniDSP implements this feature!


End of rant

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post #3685 of 10563 Old 01-09-2019, 06:02 PM
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Quote:
Originally Posted by tvuong View Post
^^ I don’t know about you guys but whenever I see Mr. @SBuger ’s post, I get bass excited whether it is in this thread or wherever he posts Thanks Bud.

Talk about this guy and pio. Wealth of knowledge like yoda. SBuger writes very well, like you are with him experiencing what he feels like, that an art .



I read the whole MBM thread, he was there too!.
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post #3686 of 10563 Old 01-09-2019, 07:01 PM
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Talk about this guy and pio. Wealth of knowledge like yoda. SBuger writes very well, like you are with him experiencing what he feels like, that an art .



I read the whole MBM thread, he was there too!.
Thank you Avtvhdbass, very nice of you to say!! You and Tvuong are making me blush!

I don't know about me being a wealth of knowledge (Pio probably is). I feel like I know a fair amount about certain areas, mainly the things that I've learned just by messing with this stuff over the last 3 years or so. And also lots of reading and learning from very knowledgeable folks (more so than me) on this forum and then trying to put it to use along with trial and error and LOTS of experimenting to help get me what I'm chasing after.

It's been a ton of fun for the most part, but sometimes exhausting and frustrating too when it comes to the system. But when it gets to that point, usually the next day I feel fresh again and ready to get back at it I don't know that we ever quite learning in this hobby and finding new and better ways to do things to get what we are after, but keeps it interesting and fun. I do most definitely LOVE all this stuff, too much probably, but brings me a lot of joy and hopefully will for many more years to come.

I try to share in areas where I feel like I have enough knowledge to hopefully be somewhat helpful to others as well as try to include a bit of the passion and excitement that I get from my HT and bass experiences.

As far as the writing goes, thanks! Grammar, run-on sentences and too big of paragraphs sometimes still plaque me, but may be getting a little better I guess when trying to convey what I want to say. I just usually have so much I want to say about certain things that it just kind of flows out and writes itself at times lol. Sometimes I think I'm just gonna type up a quick post or reply to someone, and turns out to be a big write up, kind of like this one is starting to turn into LOL. I sometimes find writing about all this stuff just as addicting as HT and kind of soothing in a weird kind of way though. Yeah that's weird I know hahaha

It's very fun to share thoughts with others on here about the things we love. I'm VERY appreciative of this. My wife can only humor me so much about all this HT stuff LOL

LOL on the MBM thread ...Yeah I was there too , and definitely used to get a little carried away about my excitement for bass (especially mid bass chest slam) in that thread! Sometimes I just can't help it LOL. Great times it was though and feel like I learned a ton in that thread as well!!

This is a very fun and addicting place to say the least!! I'd hate to know just how many hours I've spent on AVS forum as well as typing stuff up LOL!!! It's all good though and has been a blast to get to interact with a ton of cool people who love the same things!!

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post #3687 of 10563 Old 01-10-2019, 11:19 AM
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BassEQ How to Train Your Dragon (2010) DTS:X


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Mains: Fusion-15 LR, Custom Tapered Ported Volt-6 Center, Ported Volt-10 Surrounds, Custom 45°/45° Double-Angled Ported Volt-6 Atmos
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post #3688 of 10563 Old 01-10-2019, 12:47 PM
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@DesertDog I just synced from your github and I noticed you have already added "shutter island" except for the xml file name which has missing letter 'H' ("Sutter") everything else looks good awesome! .

I opened the Beq Designer and opened the movie xml file and then exported the biquads (96000 sample rate for 2x4HD) and imported them into minidsp input channel, how easy can this be.

You guys rock. Also finished reading entire the thread from the beginning to end, call me crazy. I loved the way all of you worked together from the beginning and streamlined the process. From graphing/beq expert @aron7awol , programing @3ll3d00d , marketing @PioManiac , Beq Repository @DesertDog ). you guys have done a thankless job.


Quick question for you.
For the Peak filter, example for Iron Man (2008) there is peak filter at 45HZ. The peak filter is missing in the xml repo.
IIRC I will have to add this manually?. Thank you.
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post #3689 of 10563 Old 01-10-2019, 01:16 PM
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^^^ Wow this entire thread, AND the entire MBM just thread recently (that's not a small thread!) Impressive and ambitious!! What's next, maybe dominguez1's 'PVL is the new SPL: Nearfield Placement For the Win" and maybe his other 'ULF score thread"? Lots of great stuff in those threads as well that I should probably read all the way through one of these times. I've read parts of them but haven't finished them from start to finish yet.
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1400cuft Sealed Room on Suspended Floor | SY Triple Black Velvet Blackout | GIK Treatments | Denon AVR-X6300H - 7.7.4 Atmos | KEF Q Series Speakers | Epson 5040UB | Eyes 6.5' to 120" 16:9 AT Seymour Screen | Oppo 203 | Xbox 1X | Apple TV4K | 6x 18" Sealed Subs w/3x VNF | Subwoofer Riser w/6x JBL-12s | 6x Crowson MAs | 4x BK LFEs | MiniDSP 10x10HD
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post #3690 of 10563 Old 01-10-2019, 01:20 PM
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Originally Posted by avtvhdbass View Post

Station Mode - You will join the Wi-DG to your home network - With this mode the device will get an IP address from your router example 192.168.1.200.
In station mode the device will be on the same network as home WI-Fi network, so can you browse the internet. If you have successfully configured the device in station mode the device's own wifi network(AP Mode) will be automatically disabled.
Also if you login to your home router admin page you should be able to see the device having an IP address.

Looks like you are unable to join the device to your home wi-fi network (Station Mode). Once you configure the device in station mode you will able to browse internet.

It's really crazy for MiniDsp to release a device with so many issues.
This was most helpful thanks for the thorough and terrific summary. Unfortunately I am still not able to connect in Station Mode. Only advice I’ve gotten from MiniDSP is to login to the admin page of my router to verify the Wi-DG has an IP address (as you describe above). Will verify this but positive it does as it shows up on my wifi settings with an IP address.

Don’t know what else to do...frustrating to no end.
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