![]() One of the key factors is also that the space remains a lounge area and not predominantly a home theater. I was wondering if someone might be able to help me with some acoustic advice for a new home theatre setup in a new extension I am currently building onto my house. However, Its fun to play with and hear different frequencies as you're setting up and dialing in your system. If you run a 20 hz test through your B&Ws, you might very well blow something. Power Tools by Bass Mekanik This is a cool thing I found in iTunes/Apple Music that has straight test tones and rhythmic test tones. But this will give you a way of exciting some room modes with 1 strategically placed sub, and pressurizing the immediate vicinity of your listening area. It doesn't have to be in the open and dominating your room. It can be behind the couch, hidden under an end table or credenza. If you find one good spot somewhere in your room, and put a second sub near the couch that you have shown in the plans in your OP, that is what I'm talking about. OK, lastly, I mentioned nearfield placement earlier. ![]() But at that point it becomes a matter of system preference for yourself and your budget. If you had something getting you down to upper- or mid- 20s, you would be better off. I think your 700 series B&Ws are rated in the low 40s. The Geddes approach, for me, works best because it does give you a little more freedom in placement, and it counts your towers if they are capable at full range. ![]() There are other approaches too, and many work well. Testing also comes into play with his approach, but just using the crawl can help out a lot! The more you activate, the more even the bass response is throughout the room. In the end, I'm a fan of the Geddes approach which recommends as many LF sources as possible, including full range tower speakers, using strategic asymmetric placement around the room to excite as many room modes as possible. It should sound the same! If you identify multiple spots, that is where you would add your extra subs. Mark the locations you find, then set up your sub in that spot, and listen from your LP. The ideal is finding spots where the bass line sounds crisp, clean, punchy, not boomy or muddled. In my 2000'3 room, I found a spot where the bass completely died, and one corner which not only amplified (premise behind Corner-Loading) but also made it super boomy/muddy sounding. Put one Sub in your LP (does not have to be on your couch!),turn off or unplug all other speakers, play some Pink Noise, a rhythmic test tone, or some music you know well with a good prominent bass line (Daft Punk Get Lucky is one that comes up frequently),and crawl around where you might actually put the sub and LISTEN. ![]() One thing I've become a proponent of is the Sub Crawl: it is a crude technique, but it can teach you A LOT about your room acoustics and LF soundwaves, and how they play with each other. Mind, I'm not saying it is, but the possibility exists that leaving it up there without another sub-friend for it to play with could leave you wanting more. A single sub at your front between speakers is "convention," and can be the worst spot for it. Quite frankly, I would urge you to consider doing so. What I really wanted to add here is encouragement and some info on setting up multiple subs. just wish I could clone one to experiment with. Admittedly, 2 Outlaws X-13s are almost like that. I would love to have 3 or 4 subs in my little room. +2 to for elucidating in my lazy-broken-need-to-lie-down stupor! Now that I'm not fresh outa the restaurant meat-grinder as I was last night. You can get them reasonably small, and depending upon their output, you may only need two to produce up to LFE crossover, and the other two may only need to produce the first octave 20-40 hz to give you the extra deep bass you would miss from a larger ported sub. Since you want the space to look less like an HT, I recommend employing at least four sealed subwoofers. These standing waves are the reason that each seat of a couch, may not be able to hear the same notes, at the same time due the large energy waves creating high and low pressure zones. This is due to the size of the wavelengths of bass frequencies, and that reproducing them naturally induces standing waves (energy bouncing back and worth off walls, gaining in frequency with each reflection) between parallel boundaries. nailed it, with the lack of another parallel surface between floor and ceiling, smoothing out bass from seat to seat is made easier.īut when it comes to dealing with bass, the reality still remains, that the room is in control of what you can hear, when AND where.
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