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post #13861 of 16435 Old 09-29-2018, 02:48 PM
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Originally Posted by Bill-99 View Post
A random thought... Is there any chance you might want to redeploy those surrounds as front L/R in a different system? That could affect your decision.


probably not...we got rid of everything else so are a “1 screen” household
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post #13862 of 16435 Old 09-29-2018, 04:23 PM
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Originally Posted by Kal Rubinson View Post
Yup. I went to Home Depot today and found that the matching thread was M8-1.25.

Ding, ding! Winner winner, chicken dinner!
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post #13863 of 16435 Old 09-29-2018, 05:00 PM
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I'm sure this has been asked and answered a zillion times before but....

Looking at getting a pair of subs to go with my Studio2s.
The usual 80Hz seems too high as the Studio2 easily goes lower.
Looking at the frequency response graphs, thinking that 60 or even 50 would be better so as not to step on the Revel's toes so to speak.

Not concerned with plumbing the depths of modern film soundtracks but optimizing for music and I listen to all kinds.

Winnowed the field down to Rythmik 15", Seas LeRoy 10" with 10" passive radiator & CSS 12" with 2 12" passive radiators.

 

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post #13864 of 16435 Old 09-29-2018, 05:58 PM
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Originally Posted by Milt99 View Post
I'm sure this has been asked and answered a zillion times before but....

Looking at getting a pair of subs to go with my Studio2s.
The usual 80Hz seems too high as the Studio2 easily goes lower.
Looking at the frequency response graphs, thinking that 60 or even 50 would be better so as not to step on the Revel's toes so to speak.

Not concerned with plumbing the depths of modern film soundtracks but optimizing for music and I listen to all kinds.

Winnowed the field down to Rythmik 15", Seas LeRoy 10" with 10" passive radiator & CSS 12" with 2 12" passive radiators.
I'm assuming you'll be using a 2nd order high pass but honestly I would use an 80Hz crossover even though the Studios have 2 8" woofers. You have to remember it's only 3db down at 80Hz and 6 db down at 60, it's a slow rolloff considering the Studios probably aren't rolling off much on their own. So 80Hz will still get plenty of bass out of them and under 60Hz the subs will outperform them in output with much less distortion. This is assuming 12" or greater woofers, I don't think I'd go smaller considering your towers already have dual 8's. Also, when talking about dual subwoofers, room modes are just as much of a concern as capability of your mains, you have the freedom of placing your subs where they interact with the room most efficiently, whereas your mains have to be placed with the best imaging and soundstaging in mind.

If you're talking 4th order high pass, then 60Hz would be fine. Unless you have these as part of a home theater setup, in that case I'd set all speakers to the same crossover, which means most likely 80Hz will be the best all around crossover.
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post #13865 of 16435 Old 09-29-2018, 06:25 PM
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@Floyd Toole , please tell us why you use 80Hz as the crossover frequency in your system with Salon2's.

Many thanks!

It never hurts to hear from the man who literally wrote the book.
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post #13866 of 16435 Old 09-29-2018, 06:33 PM
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Seems that every thing I read advises against using an HPF.
Unless I have that backwards.

The reason I consider 10" drivers is cabinet size plus the passive radiator increases output.

The Salon2 measures as a full-range speaker for music but I know that most everyone uses subs.
Salon2 uses 3 8" drivers.
My speakers has 2 8" woofers, 2 10" subs would seem to be able to go lower & flatter and better blend with the existing drivers.

No matter which sub I chose, I will be using Anthem ARC.

 
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post #13867 of 16435 Old 09-29-2018, 06:40 PM
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@Floyd Toole , please tell us why you use 80Hz as the crossover frequency in your system with Salon2's.

Many thanks!

It never hurts to hear from the man who literally wrote the book.
Please, always enlightening to hear from the good Dr.

 
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post #13868 of 16435 Old 09-29-2018, 07:04 PM
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Ding, ding! Winner winner, chicken dinner!
Woo, woo, I just finished a nice roast chicken dinner with a delightful Californa Cabernet. Guess I earned it!
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post #13869 of 16435 Old 09-29-2018, 10:03 PM
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Quote:
Originally Posted by Milt99 View Post
I'm sure this has been asked and answered a zillion times before but....

Looking at getting a pair of subs to go with my Studio2s.
The usual 80Hz seems too high as the Studio2 easily goes lower.
Looking at the frequency response graphs, thinking that 60 or even 50 would be better so as not to step on the Revel's toes so to speak.

Not concerned with plumbing the depths of modern film soundtracks but optimizing for music and I listen to all kinds.

Winnowed the field down to Rythmik 15", Seas LeRoy 10" with 10" passive radiator & CSS 12" with 2 12" passive radiators.
I think I cross mine at 80 Hz, lost track in all the shifting around recently. It is difficult if not impossible to locate the bass at 80 Hz and below for most folk, and room modes tend to kick in below that, so it makes sense to crossover at 80 Hz and position the subs for the best in-room bass response. And the L/R speakers for best imaging and such. Those two positions are rarely the same. I played with different settings but (surprise, surprise) found around 80 Hz provided the best overall system performance (best in-room frequency response, lowest distortion, best sound/imaging, optimal amplifier power distribution, etc.)

I have never understood the "my subs are only needed for movies" approach. The same issues with room modes and all that jazz applies to music just as it does to movies, and IME/IMO music has a lot more deep bass than people give it credit for. Maybe not in your face like movie explosions, but a sub is a large player for music. I built my first servo sub in the early 1980's solely for music -- HT was not on the radar then (at least not my radar).

Crossover are not brick walls. AVRs typically provide 12 dB/octave meaning if you cross at 80 Hz there is still significant output from the mins (L/R speakers) at 40 Hz -- they will be about half as loud. That means to me (a) I want a speaker with good sound to 40 Hz and (b) I would not want to cross over lower than 80 Hz for the vast majority of speakers. Also remember that even though speakers are rated to play at their -3 dB frequency and below, the vast majority distort heavily with large deep bass signals. Also remember loudness curves -- deep bass can easily be 10- 20 dB or more louder to sound the same volume as higher frequencies, and that takes 10 to 100 times the power, burning a lot of headroom in your amplifier. Better to offload to a sub designed for the task and keep the mains playing cleanly. Everything doing its job, playing together, sounding better.

I have Rythmik and love them. I am familiar with their circuit and their designer and appreciate both. No experience with the other brands but there are many good brands available these days. Still, I'll put in my two cents for Rythmik; their price/performance ratio is tough to beat, customer support is outstanding, and they are highly-regarded for music and movies.

IME/IMO - Don

"After silence, that which best expresses the inexpressible, is music" - Aldous Huxley

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post #13870 of 16435 Old 09-30-2018, 05:56 AM
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Excellent and very informative post from Don. Only thing I can add is in my limited experience with subs is JL Audio F112's sounded great. Not inexpensive however.

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post #13871 of 16435 Old 09-30-2018, 07:30 AM
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Of course. It get it. We all want to make money. But I was pointing out that they say start with speakers first. Meaning that according to them, speakers are the first element in the chain to benefit

The only advantage a scam product like that (and ALL “footers” are risible scams) can confer is to slightly adjust the height or firing angle of the speaker.

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post #13872 of 16435 Old 09-30-2018, 07:58 AM
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Final bit of my audio overhall these past few months (courtesy of @SteveH and a subwoofer by JTR) - what do people think of the M106 versus the S206 for surrounds? Any other Revel speakers to look at?
Having heard neither of them...I probably should stop typing...but...

I prefer the sound of a traditional speaker for the surrounds in my 5.1.4 system.

I had S30's for years as my surrounds (in the rear of the large room), and enjoyed them for movies and 5.1 music. I recently upgraded my front L and R to M128Be's and put my M22's aside for awhile.

I read that, because of the way object oriented music is designed to be reproduced, direct speakers were better for Atmos than dipoles or bipoles. So, a month or so in, I switched out the S30's for the M22's. I felt the overall sound improved noticeably, whether for Atmos or just normal 5.1 listening. It wasn't an earth shattering change, but it was an improvement.

I'm guessing that a much of that had to do with the superior cabinet/design of the M22's over that of the S30's.

After all, not many speaker manufacturers lead with a shallow cabinet that is wider in the back than the front.

That design really came about because people wanted to mount surrounds on the wall, and a speaker with a shallow cabinet and no rear port worked better for wall mounting.

So, if you don't have to mount your surrounds on the wall, and if you are listening to Atmos frequently, then I'm guessing that the M106's would be the best sonic choice. My M22's are only about 6 inches off the wall, I haven't noticed any nasty rear port issues.

On the flip side, if you have to mount them on the wall, I don't think you'll be suffering a tragic consequence by going with the S206's

Dave
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post #13873 of 16435 Old 09-30-2018, 08:02 AM
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This forum has many audio professionals in it compared to many that are filled with enthusiasts, music lovers and my reason for posting this question here. I still want to biamp my salon2's using my int to drive the mid/treble while using more affordable class d amps to drive the bass. I'm looking at ps audio stellar 700's, but don't know which spec tells me the output and if it will be close to the output of my int? any suggestions on how specs correlate to audible output is what i'm asking TKS.

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post #13874 of 16435 Old 09-30-2018, 08:10 AM
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This forum has many audio professionals in it compared to many that are filled with enthusiasts, music lovers and my reason for posting this question here. I still want to biamp my salon2's using my int to drive the mid/treble while using more affordable class d amps to drive the bass. I'm looking at ps audio stellar 700's, but don't know which spec tells me the output and if it will be close to the output of my int? any suggestions on how specs correlate to audible output is what i'm asking TKS.
The output is usually rated by load, so that it states XXXwatts into 8, 4 or 2 ohms. All those numbers are significant in that the actual impedance load of a speaker will vary.

However, you need also compare the gain of the amps you are using together to insure that, for a given voltage signal, all the amps will have the same output. If not, you will need some added device to balance them.
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post #13875 of 16435 Old 09-30-2018, 08:47 AM
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The output is usually rated by load, so that it states XXXwatts into 8, 4 or 2 ohms. All those numbers are significant in that the actual impedance load of a speaker will vary.

However, you need also compare the gain of the amps you are using together to insure that, for a given voltage signal, all the amps will have the same output. If not, you will need some added device to balance them.
That was fast, Thank you

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post #13876 of 16435 Old 09-30-2018, 11:30 AM
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Originally Posted by steven59 View Post
This forum has many audio professionals in it compared to many that are filled with enthusiasts, music lovers and my reason for posting this question here. I still want to biamp my salon2's using my int to drive the mid/treble while using more affordable class d amps to drive the bass. I'm looking at ps audio stellar 700's, but don't know which spec tells me the output and if it will be close to the output of my int? any suggestions on how specs correlate to audible output is what i'm asking TKS.
I assume you are going to use a crossover or the integrated amp has one built-in? Otherwise I would not bother.

Kal answered your basic question plus the absolutely correct note that you have to match gain. And also phase, though phase through an amp is usually insignificant; make sure one is not inverting and the other is noninverting, however (if so just swap speaker connections for one of them). In terms of power output, and depending at what frequency you crossover, I would suggest getting a higher power amp for the bass rather than matching your integrated amp's output power. Bass generally takes much (10 to 100 times) more power. When I last bi-amped I used a 75 W/ch mid/tweeter amp and a 220 W/ch bass amp (8-ohm ratings; speakers were 4 ohms so output was actually higher). These days Watts are pretty cheap so you could up the power significantly (and I would).

Also note that by bi-amping you may muck up that wonderful crossover design.

Salon2's are not the easiest load to drive -- I would consider them 4-ohm nominal, they have some fairly large impedance excursions (though nowhere near as large as some others), and are not terribly sensitive. Whilst I would in general agree an external amplifier would help, I would personally pick a single amp with enough power to do the job, rather than trying to bi-amp them.

FWIWFM - Don

"After silence, that which best expresses the inexpressible, is music" - Aldous Huxley

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post #13877 of 16435 Old 09-30-2018, 12:00 PM
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I assume you are going to use a crossover or the integrated amp has one built-in? Otherwise I would not bother.

Kal answered your basic question plus the absolutely correct note that you have to match gain. In terms of power output, and depending at what frequency you crossover, I would suggest getting a higher power amp for the bass rather than matching your integrated amp's output power. Bass generally takes much (10 to 100 times) more power. When I last bi-amped I used a 75 W/ch mid/tweeter amp and a 220 W/ch bass amp (8-ohm ratings; speakers were 4 ohms so output was actually higher). These days Watts are pretty cheap so you could up the power significantly (and I would).

Also note that by bi-amping you may muck up that wonderful crossover design.

Salon2's are not the easiest load to drive -- I would consider them 4-ohm nominal, they have some fairly large impedance excursions (though nowhere near as large as some others), and are not terribly sensitive. Whilst I would in general agree an external amplifier would help, I would personally pick a single amp with enough power to do the job, rather than trying to bi-amp them.

As usual, I agree with Don. Kevin Voecks and John Schuermann also agree. Get the best and most powerful amp you can afford, don't bother with passive biamping, take advantage of the great crossover design in the speaker. If you are going to do full active biamping with a crossover, you may notice some improvement if properly set up. If not, you may degrade the performance.

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post #13878 of 16435 Old 09-30-2018, 01:56 PM
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Originally Posted by DonH50 View Post
I think I cross mine at 80 Hz, lost track in all the shifting around recently. It is difficult if not impossible to locate the bass at 80 Hz and below for most folk, and room modes tend to kick in below that, so it makes sense to crossover at 80 Hz and position the subs for the best in-room bass response. And the L/R speakers for best imaging and such. Those two positions are rarely the same. I played with different settings but (surprise, surprise) found around 80 Hz provided the best overall system performance (best in-room frequency response, lowest distortion, best sound/imaging, optimal amplifier power distribution, etc.)

I have never understood the "my subs are only needed for movies" approach. The same issues with room modes and all that jazz applies to music just as it does to movies, and IME/IMO music has a lot more deep bass than people give it credit for. Maybe not in your face like movie explosions, but a sub is a large player for music. I built my first servo sub in the early 1980's solely for music -- HT was not on the radar then (at least not my radar).

Crossover are not brick walls. AVRs typically provide 12 dB/octave meaning if you cross at 80 Hz there is still significant output from the mins (L/R speakers) at 40 Hz -- they will be about half as loud. That means to me (a) I want a speaker with good sound to 40 Hz and (b) I would not want to cross over lower than 80 Hz for the vast majority of speakers. Also remember that even though speakers are rated to play at their -3 dB frequency and below, the vast majority distort heavily with large deep bass signals. Also remember loudness curves -- deep bass can easily be 10- 20 dB or more louder to sound the same volume as higher frequencies, and that takes 10 to 100 times the power, burning a lot of headroom in your amplifier. Better to offload to a sub designed for the task and keep the mains playing cleanly. Everything doing its job, playing together, sounding better.

I have Rythmik and love them. I am familiar with their circuit and their designer and appreciate both. No experience with the other brands but there are many good brands available these days. Still, I'll put in my two cents for Rythmik; their price/performance ratio is tough to beat, customer support is outstanding, and they are highly-regarded for music and movies.

IME/IMO - Don
Thanks, Don. Thorough as usual.
I'm in agreement with just about everything you said.
Just exploring out loud about adjusting the x-over point.
Certainly will try different points and listen for myself. With ARC it makes that a repeatable process.
I did the same thing when setting up my music\theater room 7.2 system. I'll be doing that again in the near future as I'm replacing my L\C\Rs there.

As far as Music v HT subs, there is a difference in what I would do looking at when doing a 2.2 v multi-channel setup.

For one thing I wouldn't be looking at monster subs like Seaton or JTR etc., not that they wouldn't excel but imo, they're total overkill for music.
Film sound tracks can be a lot more intense and sustained on the bottom end. Certainly pipe organ music and electronica can be as well but I can't imagine
that 2 Rythmik 15" subs properly powered wouldn't be able to easily deal with that without breaking sweat.
I'd like to minimize the size of the cabs and that is one reason I'm looking at passive radiator subs.

In my theater room I have 2 SVS Ultra cylinder subs. Not concerned about size or looks there.
When I installed those, 2 subs were considered plenty, now it seems 4 subs are considered a minimum for HT.

 

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post #13879 of 16435 Old 09-30-2018, 02:47 PM
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Now it seems 4 subs are considered a minimum for HT.
If you look at the Todd Welti papers, the conclusions say two subs is way better than one, four is the best, but two is very nearly as good as four. Of course it depends on the subs and the room.

https://www.harman.com/sites/default...multsubs_0.pdf

https://pdfs.semanticscholar.org/00d...e976a1a72e.pdf


Don't let me be the one to dissuade you if you want more subs....

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post #13880 of 16435 Old 09-30-2018, 02:53 PM
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When I posted that 4 subs seems minimum, I should've said optimal by folks on this site who are building HT rooms.

What the real experts say is oftentimes different, no?

 
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post #13881 of 16435 Old 09-30-2018, 03:43 PM
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I have four Rythmik F12's in my media room FWIWFM. They seem to do OK for me for movies and music.

I listened to B&W, JL, Paradigm, and Velodyne (couple of others I have forgotten). I was a bit disappointed in the B&W but the others all sounded good to me, in different rooms and with different equipment so not sure I could tell the difference. I spent a little more time (very little) with JL and Paradigm after getting my first Rythmiks and felt the Rythmik offered comparable performance but at a much lower price point. Since my original design was a servo, based upon much research and some ideas from my then-current college (EE) controls class, I was biased toward that design and Rythmik was a natural fit. They are still doing well after 8+ years.

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post #13882 of 16435 Old 09-30-2018, 04:11 PM
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Originally Posted by Rex Anderson View Post
@Floyd Toole , please tell us why you use 80Hz as the crossover frequency in your system with Salon2's.

Many thanks!

It never hurts to hear from the man who literally wrote the book.
Why 80 Hz for Salon2s? To allow the Sound Field Managed subwoofer array to be able to do its job unencumbered by extraneous sounds from the wrong locations - a.k.a. minimal frequency overlap. Also, to give the Salon2s more headroom above 80 Hz, where a lot of loud stuff happens. For the aggressively full range Salon2s the 4th order high-pass filter in the SDP-75 was advantageous.

We watched Blade Runner 2049 last night with a good friend who has designed loudspeakers for cinemas and who has been involved in countless setups and calibrations of movie and other pro-audio facilities. He said what he experienced was the best movie audio and video in his life. I agree. It was seriously good, plenty loud, and one had whole body bass experiences free from resonant booms and colorations. All from four 18-year-old closed box 1 kW subs that simply keep on kickin'. As explained in Welti's papers and in my book, multiple subs are much more efficient than the same power delivered through one. Massive subs are not necessary in typical rooms. Go for four in the corners, if possible - efficiency is highest.

All of the excellence of bass extension and control is clearly evident in music - some modern popular music plumbs the depths of bass frequencies - rather like organ pedals. I sometimes wonder if the recording engineers actually heard what they were recording. But really it is the absence of "room" that is most impressive to me. All the notes are there and percussion is tight.
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post #13883 of 16435 Old 09-30-2018, 04:39 PM
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Originally Posted by Floyd Toole View Post
Why 80 Hz for Salon2s? To allow the Sound Field Managed subwoofer array to be able to do its job unencumbered by extraneous sounds from the wrong locations - a.k.a. minimal frequency overlap. Also, to give the Salon2s more headroom above 80 Hz, where a lot of loud stuff happens. For the aggressively full range Salon2s the 4th order high-pass filter in the SDP-75 was advantageous.

We watched Blade Runner 2049 last night with a good friend who has designed loudspeakers for cinemas and who has been involved in countless setups and calibrations of movie and other pro-audio facilities. He said what he experienced was the best movie audio and video in his life. I agree. It was seriously good, plenty loud, and one had whole body bass experiences free from resonant booms and colorations. All from four 18-year-old closed box 1 kW subs that simply keep on kickin'. As explained in Welti's papers and in my book, multiple subs are much more efficient than the same power delivered through one. Massive subs are not necessary in typical rooms. Go for four in the corners, if possible - efficiency is highest.

All of the excellence of bass extension and control is clearly evident in music - some modern popular music plumbs the depths of bass frequencies - rather like organ pedals. I sometimes wonder if the recording engineers actually heard what they were recording. But really it is the absence of "room" that is most impressive to me. All the notes are there and percussion is tight.
Thanks, Dr.
I'm assuming that the same would go for my Studio2s only more so as they do not go as deep as the Salon2s.

In my multi-channel room I found the best sounding x-over to the 2 subs is 100Hz as they're MTM sealed stand mounts.

 
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post #13884 of 16435 Old 09-30-2018, 05:01 PM
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Originally Posted by Floyd Toole View Post
He said what he experienced was the best movie audio and video in his life.
I'm curious. Do you find the need to "ride gain" (the volume level control) at times? Is the dynamic range good once you set your maximum volume level during the loudest passage of the movie?

In other words, do you find most of the current Blu-Ray movie releases well mastered for systems like yours (few and far between)? Do you think they sound OK in the average HT that most folks might have?
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post #13885 of 16435 Old 09-30-2018, 06:17 PM
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Originally Posted by Floyd Toole View Post
I sometimes wonder if the recording engineers actually heard what they were recording.

You know darn well most of them don't. At least it has improved since the majority of records were mixed on Yamaha NS-10's.


LOL!
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post #13886 of 16435 Old 09-30-2018, 08:15 PM
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Originally Posted by steven59 View Post
This forum has many audio professionals in it compared to many that are filled with enthusiasts, music lovers and my reason for posting this question here. I still want to biamp my salon2's using my int to drive the mid/treble while using more affordable class d amps to drive the bass. I'm looking at ps audio stellar 700's, but don't know which spec tells me the output and if it will be close to the output of my int? any suggestions on how specs correlate to audible output is what i'm asking TKS.
Looks like your question has been answered but I'll add a couple thoughts.

Is your Hegel having any issues providing the headroom needed driving the Salon2's full range? I'd be surprised, but just assuming so for the sake of discussion, the two most obvious courses of action are (a) what you're proposing, or, (b) take the $3k you'd be spending on the PS Audio monoblocks for the Salon2 woofers (and possibly a box to adjust the gain in that path if not possible with the 700's) and buy a couple of $1500+ subs.

My money says (b) is much easier to do without inadvertently making the situation worse, and in all likelihood will result in better sound when both are set up correctly. I don't know if the Hegel has sub output(s) with bass management, but even if it does not, just get self-powered subs that provide both low and high pass filter networks with rudimentary bass management. Some include that for just that scenario.

The only advantage I can think of in doing (a) is that it takes more of the Salon2's load off the hands of your Hegel since it would be working only down to the normal crossover freq of the Salon's woofers instead of 80-ish Hz. But again, from what I've seen, that integrated amp is more of a separate PA with a preamp thrown in.
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post #13887 of 16435 Old 09-30-2018, 11:08 PM
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Originally Posted by Floyd Toole View Post
Why 80 Hz for Salon2s? To allow the Sound Field Managed subwoofer array to be able to do its job unencumbered by extraneous sounds from the wrong locations - a.k.a. minimal frequency overlap. Also, to give the Salon2s more headroom above 80 Hz, where a lot of loud stuff happens. For the aggressively full range Salon2s the 4th order high-pass filter in the SDP-75 was advantageous.

We watched Blade Runner 2049 last night with a good friend who has designed loudspeakers for cinemas and who has been involved in countless setups and calibrations of movie and other pro-audio facilities. He said what he experienced was the best movie audio and video in his life. I agree. It was seriously good, plenty loud, and one had whole body bass experiences free from resonant booms and colorations. All from four 18-year-old closed box 1 kW subs that simply keep on kickin'. As explained in Welti's papers and in my book, multiple subs are much more efficient than the same power delivered through one. Massive subs are not necessary in typical rooms. Go for four in the corners, if possible - efficiency is highest.

All of the excellence of bass extension and control is clearly evident in music - some modern popular music plumbs the depths of bass frequencies - rather like organ pedals. I sometimes wonder if the recording engineers actually heard what they were recording. But really it is the absence of "room" that is most impressive to me. All the notes are there and percussion is tight.
I wonder how loud were you listening to? Also may have missed it but which brand of processor are you using?
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post #13888 of 16435 Old 10-01-2018, 09:52 AM
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Spoiler!


Thanks Dave. So for surround duty are there pro’s cons of the M105 versus the M106? I understand the M106 goes lower but any other advantage? I’d like to keep the form factor as small as possible so am leaning toward the 105 unless there’s a compelling reason to go with the 106
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Originally Posted by madhuski View Post
Spoiler!


Thanks Dave. So for surround duty are there pros and cons of the M105 versus the M106? I understand the M106 goes lower but any other advantage? I’d like to keep the form factor as small as possible so am leaning toward the 105 unless there’s a compelling reason to go with the 106

Search the thread for M105 vs M106. I believe Kevin Voecks had a definitive reply (add his name to the search or just search his posts).


If I remember correctly he says the M106 plays quite a bit louder too. I'd do some searching for you but I'm pretty busy with stuff right now.
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post #13890 of 16435 Old 10-01-2018, 11:02 AM
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Originally Posted by kaydee6 View Post
I wonder how loud were you listening to? Also may have missed it but which brand of processor are you using?
How loud? Loud enough for the peaks to be slightly uncomfortable. The system can easily do cinema level, but for comfort and prudent hearing preservation I - and my friends - usually drop back a few dB. It depends on the movie. Some play well at reference level. Excessive sound levels in soundtracks is a problem in the industry, with many cinemas reducing the volume to keep customers from walking out (or to prevent blowing loudspeaker drivers). Then dialog intelligibility suffers, which is inexcusable. It is a real problem. It began when digital soundtracks allowed much higher signal levels to be recorded without distortion. Many directors think that louder is better. I think that high sound levels are sometimes used as a substitute for a good story :-)

The processor is a JBL Synthesis SDP-75-24 channel version. It is based on a Trinnov chassis and user interface, with modifications to allow for calibrations tailored to the expectations of neutral loudspeakers, including anechoic EQ of specific Harman loudspeaker models, and capability for individual signal processing to the four subs in a Sound Field Managed scheme. It caters to all playback formats: Atmos, DTS:X and Auro3D. I find the user adjustable Auro3D upmixer to be a pleasant improvement on many stereo recordings.
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