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"Pro" Subwoofer for home duties? Seems alright to me!

neRok

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Since the time I read Amir's review of JBL SRX835, I've been researching and day dreaming of using PA speakers and subs. About the subs though - when I previously looked at specs of reasonable quality entry level models like Yamaha DXS12mkII, it's rated at 42Hz at -10dB, which doesn't sound good. Even the SVS SB-1000 does <20Hz at -10dB. But then I considered that every time I'm in the presence of basic PA systems (background bands at pubs, karaoke, etc), they sound pretty good. I walked past 1 woman DJ'ing at an outdoor market, and she had this little Bose sub with a line array sort of thing sticking up, and it was cranking! And then I think to some of the venues I've been in to see metal gigs (which is my genre of choice), and they're presumably running pro subs not doing anything at 20Hz, and yet they're also kicking arse!

So today I decided to dip my toes in the water and took home an Alto TS15S. They are one of the cheaper brands (but FYI, based upon my research, they're above Behringer), but I read many comments saying their TS3 range was good entry level, and the newer TS4 is a big improvement (now has DSP in the active amps, etc). So I was going to buy the 8" speakers as well (TS408), but the store only had 1 of it, and only 1 of the TS410 too (also QSC CP8 were on special, but only 1 of it too lol). So no wins there (until next time). And actually, I was considering 2x12" subs for trying stereo and cardioid, but they only had 1 of it too, so I left with 1x15". It's all good though, because the price was decent, and it's rated to 36Hz at -3dB and 132dB max. And at almost 40kg, it's pretty big. Here's it's temporary home;
IMG_20241005_212105 (Custom).jpg
(the emotiva amp is making sure it doesn't blow away :p)

I've ran some quick sweeps. with it located along the wall shown, from where it is, another a bit further back, but most forward of the desk and at different rotations. Different modes are doing things in-room, but it's pretty clear to see that yep, there's plenty of sound at 30Hz!
(I also included the measure of my Kali IN-8's, which are getting decimated by modes <100Hz)
first measures.png
And you probably want to see old vs new or something. When I first measured my DIY 12inch, it was in the same spot (left wall, left of chair, forward of desk). I didn't keep the best "records", but here's a sweep of that with no LP, and another "estimate" with a similar looking LP to the alto.
alti15 vs diy12 same_spot.png

Yer the Alto looses <30Hz, but shit, I can probably just turn it up another 20dB and cut 20dB off everywhere it loses! I don't know for sure what the difference is in the 45-80Hz region. I added my fluffy wall since the DIY12 sweeps, and you can definitely see some of the >100Hz modes tamed in the sweeps. It's kind of comforting to know that both subs are getting wrecked by the same room mode at ~125Hz though, and it's also humbling in a way to consider that any "basic" speaker is going to get wrecked by room modes (basic as opposed to cardioid etc).

So I've got a lot of DSP to dial in, but I immediately wondered about power draw. At idle, 17.5W. Sweeping as shown in the graphs is -24bB in VoiceMeeter for me, but I didn't check the watts (I will report back tomorrow. Edit- Nah, CBF now. But thinking about it, replay gain is often -12dB on my music, and I sweep at -12dB in REW, so it's same-same). But whilst listening to music (and mine has replay gain), I had to turn it up to -6dB to get it to blip to 18W. Holy moly! This poor subs on training wheels in my room. VMB shows it running 20dB lower than my speaker output, AND it's output on my interface is still turned down like I had it set as "gain" to suit my DIY sub and the RCA amps I ran it form. I haven't seen the second light volume level turn on yet! This Alto is bloody nuts!

Anyway, I'm pretty lazy and slow at getting to testing things and updates (don't look at my "DBA with speakers" thread, coz I haven't done anything with it at all yet). And "R&D" takes time away from doing getting my own DSP+room+etc dialed in (although, after doing some quick sweeps to check it's EQ/response/etc, and then set the appropriate XO delay, it's doing pretty darn good). But maybe I can stoke some discussion with this nugget of truth - I paid $850AUD for this subwoofer. Here's a screenshot of what I could have bought with similar money from a "local enthusiast" audio store;
hifi subs.png
 
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Hello my Friend.

I congratulate you on stepping outside of the rather narrow notion that one should use only "hi-fi", "consumer", "home cinema", "audiophile" (or whatever) marketed equipment at home. Personally, I am using a mixture of what would be described as "home hi-fi" and "professional audio" equipment. Furthermore, even "professional" might be further divided into "studio" and "PA". Then, "studio" might be further divided into "recording", "mixing", and "mastering". Confusing? Hell yeah!

What is much more important? You should pay attention to technical and practical aspects of audio products and you ought to be critical in evaluating them in regard to your personal intended use for them. Marketing words do not help, they can often be misleading. It happens often that exactly the same inner components get enclosed in nicer looking enclosures (for "Hi-Fi use") or more robust enclosures (for "Pro" or "PA use").

About the subs though - when I previously looked at specs of reasonable quality entry level models like Yamaha DXS12mkII, it's rated at 42Hz at -10dB, which doesn't sound good. Even the SVS SB-1000 does <20Hz at -10dB. But then I considered that every time I'm in the presence of basic PA systems (background bands at pubs, karaoke, etc), they sound pretty good. I walked past 1 woman DJ'ing at an outdoor market, and she had this little Bose sub with a line array sort of thing sticking up, and it was cranking!
It is common that PA equipment gets measured in free field (anechoic chambers), while Hi-Fi equipment gets measured in "typical rooms". One speaker (or sub) might be rated 40Hz (-3dB) in free field, but much lower, let's say 30Hz (-3dB) in a "typical room". Here, "Typical room" information is more informative for home users, it makes sense for them, even if it is a vague, non-objective (non standardised measure). For professional PA speakers, much more objective measure (free field or anechoic chamber) is more appropriate. Firstly, PAs are often used in outside venues, secondly, they are often bought and operated by audio professionals, who ought to know how to interpret those specifications. For those reasons, "pro"products more often have this free field measure in their specs.

Not to forget, PA speakers often feel subjectively "cranking" for two reasons: Much higher SPLs (especially with bass-reflex housings) can sound subjectively deeper and also, those DJs are usually aware that by boosting midd and upper bass frequencies (especially around the resonance frequencies of the drivers/housings) they can elevate subjective feeling of bass depth and intensity. DJs are rarely worried about low to mid levels of perceivable distortions because their usual audiences either do not know/care enough, or are intoxicated and there to dance, not to critically listen to their DJ sets.

Resume: Most PA speakers/subs provide deeper and more powerful bass in home setting, than what one might expect based on free field specifications. Audio companies should also be more transparent and always declare how their speakers were measured (in free field/anechoic chamber or in "typical room"), what they often fail to do.

Cheers :)
 
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What I did in the past was to use a PA sub to get down to 30 Hz and then use a HT sub which only needs to deliver the 20-40 Hz range. Most room nodes are in the region that a PA sub can handle and a lot of bass also involves “chest” feel.
 
The border between the two is very thin, it's mainly marketing i think.

PA subs tend to be bigger, lower waf and are often power hungry, but if those factors are not blocking you why not. I've used many "pro audio" drivers in hifi setups also in my diy builds. B&C, BMS, Beyma, Faital Pro, Fane, ... are all brands that makes drivers that can be used for both envirroments.

And those big Altec speakers that audiophiles now put in their living room where theater speakers, used in movie theaters to fill big spaces. In the 1990's Altec A7's were still used (in combination with subwoofers) in nightclubs here in Belgium. The infamous and legendaric technoclub Fuse (in Brussels, Belgium) had those when they started in the mid 90 as a small underground club. I was there and heared them here first and it sounded wonderfull. The subs were big W-horns, brand unkown and the system was from the gay club that was there before (that played disco and early house). Later on, as the club grew, the systems were updated and expanded.

JBL, the brand that James Bullough Lansing founded after selling Altec Lansing, did and does still mix up drivers for home and pro use in their line up. They don't really limit a driver for only one use if it can be used for both. So why would you do that? Just make that it's fit for your needs (and so you did).
 
Pro, PA drivers, PA sub and so on. As pointed out in the thread about its appearance and size if it doesn't matter then why not.:)

As everyone knows, PA stuff can generally handle more power than normal home HiFi stuff. That's sort of the thing about PA. Of course it's good, but only IF you really need it. For living in an apartment with neighbors, it is overkill with SPL monsters. Also, if they would sound good at low volume what's the point of having them if you can't use their potential in your living room anyway?

If you live out in the country side, well then maybe another thing. In addition, the manufacturers of PA drivers try to make them so that they can handle high SPL for a longer period of time without degrading the sound. Can you play at high volume for a long time and have the opportunity to do so without disturbing neighbors so good for PA. By the way. Here I randomly took a PA driver and it is pointed out. That's a big selling point with PA, cope with high volume, high SPL for an extended period of time:

The huge 4" voice coil combined with extensive ventilation makes this driver capable of handling up to 1,400 watts RMS (2,800 watts peak) for extended periods with minimal power compression.

onoqsz1tytjhak99h9hd.jpg

Then one might wonder how a pair of "standard" home HiFi speakers with, say, a power handling of 150 watts are affected if they are played at high volume for an extended period of time? Do they "sweat" so much then that their FR changes? Can they handle being driven hard for a longer period of time without the sound changing, deteriorating? Has Amir tried to measure speakers which has been played at high SPL for at least 30 minutes and compared the results with them when they didn't have to work so hard?
This also applies to home hifi subwoofers vs PA subwoofers. Its power handling ability over a longer period of time that is.
Perhaps this has already been discussed in another thread?
 
Has Amir tried to measure speakers which has been played at high SPL for at least 30 minutes and compared the results with them when they didn't have to work so hard?
This also applies to home hifi subwoofers vs PA subwoofers. Its power handling ability over a longer period of time that is.
Perhaps this has already been discussed in another thread?
Good questions, because yes, performance does change with heat saturation. Erin's review of my Kali IN-8 v2 shows this data in the "Long Term Compression" graph.
Kali%20IN-8%202nd%20Wave_Long_Term_96_Compression.png

I listen at over 96dB for more than 4 minutes, so who knows what state they settle in at?!

Can you play at high volume for a long time and have the opportunity to do so without disturbing neighbors
I guess I'm lucky in that my house is on a corner, so I've only got 1 close neighbour, and they've never complained (and I've listened loud and late on multiple occasions). It might also help that I listen to metal as opposed to rap or something.

what's the point of having them if you can't use their potential in your living room anyway?
There's a few good reasons to have somewhat oversized speakers/subs. One is that your target volume will probably be easier for it, so it will probably have less distortion than a hard-working speaker. Another is headroom/dynamics, so that there is always power available to hit whatever note and whatever moment. I remember some discussion of that in this video. A similar benefit to having headroom is that you can dial in way more room EQ.

And lastly, it might be a bit of voodoo science, but cone size == surface area, and that might have an impact on "tactile bass", which I want all of. I didn't go for an 18" sub this time though because DJ/etc people suggest that whilst they do go lower and louder, they also have more distortion due to the physical size of the cone, and that 12" might actually be the sweet spot. But seeing how effortlessly this 15" is doing its job, maybe an 18" would be better for my little room? It would certainly look better :cool:

I've used many "pro audio" drivers in hifi setups also in my diy builds ... are all brands that makes drivers that can be used for both envirroments.
Yep, you're not wrong. I see heaps of interesting projects on here and other websites. I'm very interested in trying some builds myself, but just don't have the time at the moment. So dropping a bit of money on this one was a quick and easy to get a similar result.

then use a HT sub which only needs to deliver the 20-40 Hz range
I was thinking of doing/looking-in-to this too. If I make some time for DIY, this might be the better place to focus my attention.

One speaker (or sub) might be rated 40Hz (-3dB) in free field, but much lower, let's say 30Hz (-3dB) in a "typical room".
Yep, it's a good point. It reminds me of this thread - Analytical Analysis - Room Gain
So if we assume that we have a closed sub in a corner, and assume that it behaves as a second-order high pass filter with a cut-off frequency of 35 Hz
...
Wow... We have a flat in room response for a sub with finite bandwidth.
...
Also, for a ported subwoofer we will not be able to have this flat response, because of its higher order roll-off

I wonder if I can seal the ports and defeat the HPF it surely has?! I'm thinking of modelling something in WinISD/etc to see what the results might be, and also for some 3 way tower speakers that I have with 2x8" drivers each, because I'm going to turn them full active for fun anyway, so may as well look at sealing them too.

Then, "studio" might be further divided into "recording", "mixing", and "mastering"
Yer lol. There's not many affordable ways that I found to get multiple signals of a PC, and DAC'd in to balanced outputs. I'm using a "6 in / 6 out" interface at the moment, but over the half of the device is sitting there dormant, and the volume knob doesn't even control the show :facepalm: I've found that a physical volume knob in the audio chain (ie, not a usb one) is the hardest bit to integrate for someone approaching "studio" gear from a consumer perspective.
 
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Good questions, because yes, performance does change with heat saturation. Erin's review of my Kali IN-8 v2 shows this data in the "Long Term Compression" graph.
Kali%20IN-8%202nd%20Wave_Long_Term_96_Compression.png

I listen at over 96dB for more than 4 minutes, so who knows what state they settle in at?!


I guess I'm lucky in that my house is on a corner, so I've only got 1 close neighbour, and they've never complained (and I've listened loud and late on multiple occasions). It might also help that I listen to metal as opposed to rap or something.


There's a few good reasons to have somewhat oversized speakers/subs. One is that your target volume will probably be easier for it, so it will probably have less distortion than a hard-working speaker. Another is headroom/dynamics, so that there is always power available to hit whatever note and whatever moment. I remember some discussion of that in this video. A similar benefit to having headroom is that you can dial in way more room EQ.

And lastly, it might be a bit of voodoo science, but cone size == surface area, and that might have an impact on "tactile bass", which I want all of. I didn't go for an 18" sub this time though because DJ/etc people suggest that whilst they do go lower and louder, they also have more distortion due to the physical size of the cone, and that 12" might actually be the sweet spot. But seeing how effortlessly this 15" is doing its job, maybe an 18" would be better for my little room? It would certainly look better :cool:


Yep, you're not wrong. I see heaps of interesting projects on here and other websites. I'm very interested in trying some builds myself, but just don't have the time at the moment. So dropping a bit of money on this one was a quick and easy to get a similar result.


I was thinking of doing/looking-in-to this too. If I make some time for DIY, this might be the better place to focus my attention.


Yep, it's a good point. It reminds me of this thread - Analytical Analysis - Room Gain
So if we assume that we have a closed sub in a corner, and assume that it behaves as a second-order high pass filter with a cut-off frequency of 35 Hz
...
Wow... We have a flat in room response for a sub with finite bandwidth.
...
Also, for a ported subwoofer we will not be able to have this flat response, because of its higher order roll-off

I wonder if I can seal the ports and defeat the HPF it surely has?! I'm thinking of modelling something in WinISD/etc to see what the results might be, and also for some 3 way tower speakers that I have with 2x8" drivers each, because I'm going to turn them full active for fun anyway, so may as well look at sealing them too.


Yer lol. There's not many affordable ways that I found to get multiple signals of a PC, and DAC'd in to balanced outputs. I'm using a "6 in / 6 out" interface at the moment, but over the half of the device is sitting there dormant, and the volume knob doesn't even control the show :facepalm: I've found that a physical volume knob in the audio chain (ie, not a usb one) is the hardest bit to integrate for someone approaching "studio" gear from a consumer perspective.
As much and as big as the interest and the wallet will allow is my stance. Plus it should fit in purely aesthetically and even physically in the listening room. These trade-offs I'm just saying, heh heh.

Two 18 inch bass drivers in a small apartment. Sure, it works, but you can just see how these speakers are begging to be given something substantial to work with. At the same time as the neighbor loads the shotgun: ;)
909nr2fd1xp4dljn36zed3um.jpeg
(not mine)
___
Speaking of PA. I heard these two bass modules at a fair. Really good bass "umpf" kick I must say. :D
If I remember correctly built with some fat Eminence PA drivers. I guess they roll off around 30-40 Hz but they really had that nice bass kick.:)
It appears to be some type of TL construction:
IMG_4316 (2).jpgIMG_4317 (2).jpg


___
Even more kick if you can build it yourself and have room for a few bass modules of this size with 21 inch bass drivers:
IMG_20160702_134440.jpgIMG_20160629_110003.jpgIMG_20160722_091016.jpg
(not mine)


 
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And you don't need to go that far, even within the 12" range or even 10" range there are great woofers arround that are called Pro audio and so avoided by many hifi builders. I used the 12" Beyma 12BR70 and the 10" Faital 10FE330 recently for big high sensitive 2 way hifi builds (I call it JBL Style) and both have already enough cone power to have that "effordless sound" effect that many high sensitive speakers have. A 15" is often overkill in a normal livingroom settings, Even for subs, i prefer 4x10" quality subs to one or two 15"
 
When I was in grad school I used a PA sub (Tannoy B475) in the back corner. This was before measurements were easy or cheap, but it was good for the time. The driver was sourced from Fane IIRC and didn’t seem special in the xmax department. I don’t remember the amp in use - maybe NHT A1? Regardless, it added heft to music and I remember one movie that had a big explosion that shook everything (Munich - but I’ve never been a huge movie watcher). So yeah, it can work if you’re willing to live with the big ugly cabinet.

Later on in law school I tried to “upgrade” to a home hifi sub design - an Ascendant Audio Avalanche 18, which claimed something like 30 mm xmax, in a 100L closed box. It got low but sucked due to the primitive motor with no inductance control. So I had to do what @GXAlan described above and keep the B475 in for upper bass and use the crude bass pump only for the lower stuff. Eventually I swapped that Ava18 out for a good driver and was able to do multisubs all playing the full subwoofer bandwidth. Closed box subs with extension to forever and drivers designed for long throw with wide bandwidth are IMO better, but a decent PA sub isn’t a bad place to start.
 
Perhaps this has already been discussed in another thread?
- some real data.

Spacious 100 liter box with 15XL1200.
1729720184013.png

100 watts is enough for reasonable displacement at 10-20 Hz. In small boxes, more power can be useful for equalization :)
 
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PA subs tend to be bigger, lower waf and are often power hungry,
Actually they are usually more efficient. By using an efficient driver with a higher resonance, usually in a large ported box tuned to around 40Hz, they can get enough SPL to fill a large venue with bass you can feel in your body.

A home sub in a sealed box, often with DSP to extend the bass, usually doesn't put-out as much SPL. But it's enough for a living room and you can get that extra octave that would require more wattage and bigger woofers in a large space.

My DIY subs are more like PA subs... Large ported boxes tuned down to the 30H range (I don't remember exactly). But I wasn't particularly looking for an extra-efficient driver.
 
PA subs (the ones used in clubs and stuff) bang at 50's or higher most of the time.It's rare to see them output any serious 30Hz (in relation of course) and most of them are hi passed there about.

Always,always when I asked about this stuff the people that set up these things for concerts and the similar,all the seasoned ones tell the same thing:
When it comes to size the first and foremost meaningful one is voice coil and the next one is cabinet.
A 3" voice coil is minimum for bass,a 4" one for subs and stuff (goes without saying that driver size is 10" and up)
 
reasonable displacement
This just reminded me about RCF ART 9 speakers that I was reading about, which have "Bass Motion Control";
When searching for an extended bass with enhanced performance, RCF engineers found a way to remove the high-pass filter, replacing it with a forward-thinking approach. Introducing BMC (Bass Motion Control), the newly advanced woofer excursion management feature. Speakers with BMC can handle the lowest audible frequencies without affecting the woofer stability, with extended linearity and better sound integrity.

The BMC method works by creating a complete map of the dynamic behavior of the woofer, to generate a custom algorithm that only limits over-excursions. This gives total freedom of signal reproduction to the transducer. When high-pass filters normally protect the woofer motion from becoming destructive, but change the phase behavior, the new BMC algorithm breaks conventional rule. In combination with FiRPHASE technology, ART 9 & NX 9 have a level of DSP audio performance never achieved in this range of speakers.
It would be a lot to get something similar running DIY, but I wonder if music could be pre-processed, and a file with extra channels is stored with each song that is mostly silent, but "plays some HPF" when required?
 
get something similar running DIY
Almost all mass market subs have a limiter like so
1729755135436.png

I don't use anything like that, see links above.
Audio companies should also be more transparent
And they, the audio companies, usually think that they shouldn't be more transparent.
it's rated to 36Hz at -3dB and 132dB max
I want to see these 132 dB transparently measured)
 
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Almost all mass market subs have a limiter like so
View attachment 401184
I haven't had chance to look at your links yet, but that style of limiter is not doing the same thing. Your example is for preventing over power/heat situations, hence it's limiting power from 250Hz and below. With a ported sub, you need a high pass filter to prevent over-excursion below the ported tuning frequency when playing at high power. The problem is then that during lower power/volume times, the HPF is limiting SPL of very low frequencies when it doesn't actually have to (because it's not possible for there to be enough power to hit the excursion limit). With RCF's method (from how I understand it), you can get a lot of that "wasted potential" back.
 
I want to see these 132 dB transparently measured)
I have no doubt it's an inflated figure considering it's an entry level brand. But because I'm only using it at home, and not for actual PA purposes, I just look at it with the understanding that it will give me all the volume I need in my room down to the quoted -3dB point.
 
Many PA systems are just as good, if not better, than residential HiFi gear. When I was a teenager, my friend and I built our own speakers for DJ gigs using a DIY kit that included two 15" drivers in each large cabinet. The sound they produced was incredible, and the chest-thumping impact in my friend's room was impressive, even at low power levels. Endless dynamics.

I've always been a strong advocate for especially PA amplifiers because they offer unbeatable performance compared to so-called "real" HiFi amplifiers.

Subwoofers are the same. It's just that PA subs are not the most aesthetically pleasing things in the living room.. ;)
 
This just reminded me about RCF ART 9 speakers that I was reading about, which have "Bass Motion Control";
When searching for an extended bass with enhanced performance, RCF engineers found a way to remove the high-pass filter, replacing it with a forward-thinking approach. Introducing BMC (Bass Motion Control), the newly advanced woofer excursion management feature. Speakers with BMC can handle the lowest audible frequencies without affecting the woofer stability, with extended linearity and better sound integrity.
The BMC method works by creating a complete map of the dynamic behavior of the woofer, to generate a custom algorithm that only limits over-excursions. This gives total freedom of signal reproduction to the transducer. When high-pass filters normally protect the woofer motion from becoming destructive, but change the phase behavior, the new BMC algorithm breaks conventional rule. In combination with FiRPHASE technology, ART 9 & NX 9 have a level of DSP audio performance never achieved in this range of speakers.
It would be a lot to get something similar running DIY, but I wonder if music could be pre-processed, and a file with extra channels is stored with each song that is mostly silent, but "plays some HPF" when required?

I can't of course know what RCF is doing with the ART 9's "BMC" without one to measure.
My strong guess is that they are simply using frequency and level dependent limiting. That's not very difficulty with DSP.

I can say for sure BMC is not using FIR to limit over excursions...latency would be unacceptable for such low frequency work.
Bottom line imo, is RCF is richly embellishing "BMC" with a lot of marketing speak.

I have some ported DIY subs using Faital 18FH500's. With Hornrep I saw the first place excursion was going to become the SPL limit was in the mid-50Hz range, well above the 35 Hz port tuning frequency.
So I built a frequency and level dependent limiter in my DSP for the 50Hz range,
and then said to self...hey, might as well make the sub's high-pass level dependent too. (like RCF appears to be doing)

Anyway, here is how it works...
The green mag and phase traces are at -42dBFS...where next to no limiting is in place.
Then increasing drive levels in steps up to -12dBFS, the blue traces, show the increasing degree of limiting.
You can see how both high-pass, and attenuation in the 50Hz range, kick in as drive level increases.
As said earlier, I strongly suspect RFC is doing something similar...albeit maybe just for the high-pass filter.

(The voltage chart to the right is measured peak amplifier output by frequency. I didn't want to take a chance on my homemade limiter not working haha.)

1729785661670.jpeg
 
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