JR has a vast knowledge combined with great intelligence. Thanks for doing this interview. I learned exactly what I wanted to know! Bass counts .The best listening experiences I have had were in rooms with multiple subs.
I manufacture a subwoofer system called the "Swarm". The best I have ever heard the Swarm sound was when JR did the set-up. He does some things in his set-up procedure that I had never seen before, and what he is doing works. To the best of my knowledge, the subwoofer set-up service he offers is unique in its overall paradigm and unique in its specific techniques for implementing that paradigm. If someone could bottle & sell what JR does, imo it would be as big of an improvement as going from a single sub to a distributed multi-sub system.
At the 8:30 mark, JR talks about massed strings. I thought this was very interesting and would like to hear more about it. Do you have a few examples of this type of music that JR and you listened to on your system? Also, I built NX-Tremes too but I built two triple 12" open baffle subs. I wonder if JR can do anything with those.
My favorite for massed strings: Ernest Ansermet - The Royal Ballet - Gala Performances. WOW!!! It is my desert island record, bar none. As a bonus, if your bass is subsonic, you can hear/feel the London Tube as it passes underneath the hall. As for your other question, I am subwoofer type agnostic. I can work with any subwoofer.
@@WAM-Engineering Thank you Sir! What track specifically can you hear that detail? For sharing your wealth of knowledge with the rest of us & being such a great resource! I hope their will be more educational/instructional videos in the future.
This is big. The ability to manipulate both the freq and time domain is huge... add in physical position and you can achieve any response. I've read much of Dr Geddes' work. I've got a quad 18" attic mounted IB, with two double 15" room subs for response smoothing. By varying physical position, electronically varying low-pass slope, and time delay, I can achieve superb smooth response over a wide area. However, we went from six adults experiencing the system ... to just my wife and I now. So I re-arranged the priority to just our two listening positions. Of course the IB can't move, but now I've implemented the four 15"s as near-field, which I've experimented with extensively via previous iterations. Now, I'm running the four 18"s IB, the four 15"s near-field, and six 12"s as mid bass modules. I'm currently dabbling in a unique sub approach of which I've never seem implemented anywhere. It's promising.
I want a swarm of subs. The LaJune ones are great . Are you aware of the kit for them on speaker hardware? Passive, 650 per kit cab flat pack and driver. Probably go with some class d hypex or ice amps to drive em. I want 4 but probably start with one at a time.
I tried to follow much of the discussion and what I think I heard was having multiple subwoofers is a good idea, DSP not so good to solve problems, Full range speakers battle between themselves which hurts overall base and decoupling issues with a cement floor. I guess the range being addressed is lower bass as overall base is quite a wide range. My quick solution to bass problems is pulling out the speakers from the walls. And maybe using absorption panels. Also spending lots of time with the room to reduce decay is helpful however this can be achieved.
You got the basics, but the part about DSP is incorrect. EQ can't always solve the problem, but DSP is much more comprehensive and nuanced than just EQ. You can't always EQ your way out of issues with just boosting or reducing, but you can use DSP in terms of crossover points, slopes, timing and phase to address those things better and quicker than other options. In fact, control over those parameters are essential. In short, a great monitor with a swarm of subs and DSP with a full set tools (not just EQ) often gives you the best potential for great sound... Especially in difficult rooms.
A tips from a research , avoid light hitting cables and plugs, look wiki isoacustic curve, electricity is the problem. otherwise there will be a different form and disposition on instrument and orchestra, think about that, ears was linear until 1890.
I think you misspelled some words, but I think I understand what you meant to type. Unfortunately, you must have misheard something. The point of the video was to show how to get great bass in any room.
@1:54 the guest said "you can't hear the bass without the room being excited" Of course that's not the case, we hear superb bass outdoors, so he misspoke. No biggie. He's right, modal support is a hugely impactful element in small room acoustics. There's a transition region in small rooms, below which room resonances dominate ... the dominate because the modes are sparsely populated, which elicits peaky response (opposed to higher up whereby the modes are tightly packed, ie., less ripple). Of course the ultimate in modal support is below the room's fundamental mode, the room gives back ... PVG (pressure vessel gain).
Hi. Of course you can hear bass outside *IF* you are far enough away from the propagation source for wavelengths to develop. Since sit about 10’ away from the speakers, we NEED the room boundaries to reflect back to us any frequencies with a wavelength greater than that distance. This is why I say we need the room to hear the bass. Sure, we don’t need “a room” per se to hear bass, but as we listen to bass in a room, we need to understand how it is the room that makes it even possible for us to hear that bass given our proximity to the bass driver.
JR has a vast knowledge combined with great intelligence. Thanks for doing this interview. I learned exactly what I wanted to know! Bass counts .The best listening experiences I have had were in rooms with multiple subs.
Glad you enjoyed it!
Could not agree more, Jeff. Cheers, Stephen
I manufacture a subwoofer system called the "Swarm". The best I have ever heard the Swarm sound was when JR did the set-up. He does some things in his set-up procedure that I had never seen before, and what he is doing works. To the best of my knowledge, the subwoofer set-up service he offers is unique in its overall paradigm and unique in its specific techniques for implementing that paradigm. If someone could bottle & sell what JR does, imo it would be as big of an improvement as going from a single sub to a distributed multi-sub system.
At the 8:30 mark, JR talks about massed strings. I thought this was very interesting and would like to hear more about it. Do you have a few examples of this type of music that JR and you listened to on your system?
Also, I built NX-Tremes too but I built two triple 12" open baffle subs. I wonder if JR can do anything with those.
I'm going to come out with a special playlist, but I also released some RUclips shorts where I recommended some classical songs
My favorite for massed strings: Ernest Ansermet - The Royal Ballet - Gala Performances. WOW!!! It is my desert island record, bar none. As a bonus, if your bass is subsonic, you can hear/feel the London Tube as it passes underneath the hall. As for your other question, I am subwoofer type agnostic. I can work with any subwoofer.
@@WAM-Engineering
Thank you Sir! What track specifically can you hear that detail?
For sharing your wealth of knowledge with the rest of us & being such a great resource! I hope their will be more educational/instructional videos in the future.
Ran anemic 20.7s couple of years
A pair of Rel carbon specials & JLA cr-1 crossover make REW scanning a breeze.
This is big.
The ability to manipulate both the freq and time domain is huge... add in physical position and you can achieve any response.
I've read much of Dr Geddes' work.
I've got a quad 18" attic mounted IB, with two double 15" room subs for response smoothing.
By varying physical position, electronically varying low-pass slope, and time delay, I can achieve superb smooth response over a wide area.
However, we went from six adults experiencing the system ... to just my wife and I now.
So I re-arranged the priority to just our two listening positions.
Of course the IB can't move, but now I've implemented the four 15"s as near-field, which I've experimented with extensively via previous iterations.
Now, I'm running the four 18"s IB, the four 15"s near-field, and six 12"s as mid bass modules.
I'm currently dabbling in a unique sub approach of which I've never seem implemented anywhere.
It's promising.
I want a swarm of subs. The LaJune ones are great . Are you aware of the kit for them on speaker hardware? Passive, 650 per kit cab flat pack and driver. Probably go with some class d hypex or ice amps to drive em. I want 4 but probably start with one at a time.
I tried to follow much of the discussion and what I think I heard was having multiple subwoofers is a good idea, DSP not so good to solve problems, Full range speakers battle between themselves which hurts overall base and decoupling issues with a cement floor. I guess the range being addressed is lower bass as overall base is quite a wide range.
My quick solution to bass problems is pulling out the speakers from the walls. And maybe using absorption panels. Also spending lots of time with the room to reduce decay is helpful however this can be achieved.
You got the basics, but the part about DSP is incorrect. EQ can't always solve the problem, but DSP is much more comprehensive and nuanced than just EQ.
You can't always EQ your way out of issues with just boosting or reducing, but you can use DSP in terms of crossover points, slopes, timing and phase to address those things better and quicker than other options. In fact, control over those parameters are essential.
In short, a great monitor with a swarm of subs and DSP with a full set tools (not just EQ) often gives you the best potential for great sound... Especially in difficult rooms.
@@AudiophileJunkiewhen you talk about monitor, you mean a 2 way system and then perhaps 4 subs?
A tips from a research , avoid light hitting cables and plugs, look wiki isoacustic curve, electricity is the problem. otherwise there will be a different form and disposition on instrument and orchestra, think about that, ears was linear until 1890.
So are you saying all you need is good cables? Surely there's more to good bass than that.
Sorry, I think you misspoke, bass can be achieved anywhere not Just in a closed room, sorry the audiophile world gets a bit neurotic.
I think you misspelled some words, but I think I understand what you meant to type. Unfortunately, you must have misheard something. The point of the video was to show how to get great bass in any room.
@1:54 the guest said
"you can't hear the bass without the room being excited"
Of course that's not the case, we hear superb bass outdoors, so he misspoke.
No biggie.
He's right, modal support is a hugely impactful element in small room acoustics.
There's a transition region in small rooms, below which room resonances dominate ... the dominate because the modes are sparsely populated, which elicits peaky response (opposed to higher up whereby the modes are tightly packed, ie., less ripple).
Of course the ultimate in modal support is below the room's fundamental mode, the room gives back ... PVG (pressure vessel gain).
Hi. Of course you can hear bass outside *IF* you are far enough away from the propagation source for wavelengths to develop. Since sit about 10’ away from the speakers, we NEED the room boundaries to reflect back to us any frequencies with a wavelength greater than that distance. This is why I say we need the room to hear the bass. Sure, we don’t need “a room” per se to hear bass, but as we listen to bass in a room, we need to understand how it is the room that makes it even possible for us to hear that bass given our proximity to the bass driver.