Try with this little box https://www.amazon.it/Dayton-Audio-DSP-LF-Frequency-Controller/dp/B085KXPXSN You can connect to it two subs and experiment with different delays. I had a similar dip to yours, and by trying out different locations and delays, I managed to get rid of it.
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Share your in-room measurements?
- Thread starter thefsb
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khaliss
Active Member
Probably 8 feet (standard bedroom height for 1-story homes here in California), it's basically a spare bedroom (about 350sqft, rectangular with no door to the entrance... which opens up to a junction interconnecting the living room, laundryroom, & master bedroom)
khaliss
Active Member
I use my computer & REW to measure & tune my subs, and the Yamaha Aventage AVR to set distances and level calibration... I don't really want to add another device in the chain as I already have a complex setup lol
Reason for asking was that it could be caused of the primary room mode in height.
Then it would not matter how many subs you use, if not doing a double/single bass array.
Any how, 8 feet is to much in this case.
khaliss
Active Member
Since your room are open to other rooms it is hard to calculate the different modes.
And since there is 3 surface and 3 different kind of modes, you get the point.
What might help is to simulate every open space/room that connects to te listening area.
Add listening room length to connecting room.
Calculator in the link is a pretty good tool and it gives a visual presentation where nulls/resonance are placed.
White = nulls / dark = resonance
List with frequancys also shows what kind of mode / modes that are engaging.
. Get a solid core door. It can make a difference, but like too many things in audio, it may or may not. Mount the door so it doesn't move or wiggle when pushed by humans, pets, or, especially, bass waves.
. Same with all other doors (and windows) in your music area.
. Inform contractors of all these requirements.
. Our music room/theater sounds better after making these improvements. In our previous house, the bedroom windows would be rattled by bass from that music room about 55 feet away.
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Keith_W
Major Contributor
A door that doesn't move when pushed is known as a "wall"
Very funny, and true, but ours don't move when pushed, at least not detectably. The door jambs have thick neoprene strips lining them which are nearly unsquishable.
The doors are mounted so they press firmly against the neoprene on the jambs when the [dead] bolts are thrown.
Speaking of dead bolts, if you are concerned about security, all doors to the outdoors should have not only dead bolts, but dust boxes for the dead bolts to slide into.
The boxes should be well screwed into the 2x4 which is deeper into the wall than the jamb. The Oakland fire department conducted some tests in which they found that it took significantly longer to breach a door (but completely possible) when it had a dust box for its deadbolt. The point is that it would require a great deal of noise, the burglar's nemesis.
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Keith_W
Major Contributor
To me the biggest "improvement" I made to my doors was to install self-adhesive rubber gaskets. When I close the door, I have to push against the gaskets to achieve a seal. This prevents the door from resonating (especially audible with bass-heavy tracks), but also reduces air leaks. Air leaks means sound from outside gets in, sound from inside gets out, and reduces air conditioning bills in summer, and heating bills in winter. When it was windy, I could feel cold air drafts come in. No more.
khaliss
Active Member
Come to think of it, I can definitely hear some sort of resonance when I run the 20-200hz sweeps (around 70-100hz), that's probably what's actually causing it huh(?) the problem there is to try find where it's coming from, cuz there's a lot of STUFF in my listening room!
Can we share Sonarworks measurements too? This is only Reference 4, not SoundID, but I was told the correction curve hasn't been overhauled or anything. These are created from 24 specific measurements around a circular area plus 4 other measurement beforehand to learn your space.
Left is my current response, but I need to get the tweeter height better. Kali IN-5 (horizontal, tweeter in) with JBL LSR310.
Right is the best I've ever achieved though, JBL LSR305 and JBL LSR310.
Left is my current response, but I need to get the tweeter height better. Kali IN-5 (horizontal, tweeter in) with JBL LSR310.
Right is the best I've ever achieved though, JBL LSR305 and JBL LSR310.
For the details, please visit my post #1,009 on my project thread.
The latest Fq-SPL (re-confirmation) of multiple amplifiers SP high-level output signals and that of room air sound at listening position: all measured by “FFT averaging of recorded cumulative DSP-processed flat white noise” (as of June 8, 2025)
As you can observe in above Fig.16, I do not like, I do not apply, too-much-smoothing on Fq-SPL spectrum which hides-out various room modes. I would rather prefer common smoothing factor (FFT size, in this case) throughout 20 Hz - 20 kHz which well visualizes various room modes.
The latest Fq-SPL (re-confirmation) of multiple amplifiers SP high-level output signals and that of room air sound at listening position: all measured by “FFT averaging of recorded cumulative DSP-processed flat white noise” (as of June 8, 2025)
As you can observe in above Fig.16, I do not like, I do not apply, too-much-smoothing on Fq-SPL spectrum which hides-out various room modes. I would rather prefer common smoothing factor (FFT size, in this case) throughout 20 Hz - 20 kHz which well visualizes various room modes.
In the end of Dr. Toole's wonderful post here, he wrote:
Don't worry about little ripples. When I see exceptionally smooth high-resolution room curves I strongly suspect that something wrong has been done. The measurement microphone is no substitute for two ears and a human brain.
And in his post here, Dr. Toole kindly wrote responding to my inquiry:
If properly done both swept tone and noise analysis should give identical answers. It is a choice. The principal difference is in the heating of the drivers in sustained tests at high sound levels - power compression. Low frequencies require longer averaging times.
Don't worry about little ripples. When I see exceptionally smooth high-resolution room curves I strongly suspect that something wrong has been done. The measurement microphone is no substitute for two ears and a human brain.
And in his post here, Dr. Toole kindly wrote responding to my inquiry:
If properly done both swept tone and noise analysis should give identical answers. It is a choice. The principal difference is in the heating of the drivers in sustained tests at high sound levels - power compression. Low frequencies require longer averaging times.
