Tag Archives: bass

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

This depends a lot on the loudspeaker design. Paul uses Infinity IRSs, which are line source, planar magnetic drivers for the tweeters and midranges and they are designed to be used the way he uses them.

Fractions matter

In yesterday’s post, we looked at long wavelength bass notes—some exceeding 50 feet in length. Today, let’s have a look at their shorter cousins, high frequencies.

Where bass frequencies are typically multiple feet in length, higher frequencies are generally in inches or fractions of an inch. 1kHz, for example, is right around 1 foot, while 10kHz is a little more than an inch.

When it comes to system setup what makes these frequencies challenging is their very short wavelength. You can imagine toeing in or out one channel’s loudspeaker a “skosh” and making a very big sonic difference.

The short wavelengths of higher frequencies are one reason I have long been an advocate of relying upon the off-axis response of the system for best imaging (as opposed to pointing tweeters directly at your ears). In my setups you’ll almost always notice the left and right speakers are nearly without toe-in, pointing instead almost straight ahead. The energy distribution of the off-axis response is much smoother and less prone to laser-like problems we get when we rely instead upon a perfect triangulated setup of speakers.

Fractions matter when it comes to higher frequencies but one can mitigate some of this specificity by relying instead upon speakers with excellent off-axis response.

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Working together

I am pretty certain few rooms support perfect bass. It’s not that rooms are particularly biased against low frequencies, the problem is those pesky long wavelengths.

Consider that a 20Hz wave is 51 feet in length. A 30Hz note is 38 feet long and even a 60Hz note is just under 10 feet in length.

These long wavelengths mean they don’t fit into most rooms, so, with nowhere to go they bunch up like the bellows of an accordion. This squeezing of sound creates hot spots and dead spots within the room.

What to do?

The easiest is to find where in the room you can sit that has the smoothest response for the greatest number of frequencies. That, coupled with moving your loudspeakers without mucking everything else up (like imaging and tonal balance), is the best way to make the most out of a tough situation.

Indeed, there are other means like adding digital correction and, if your bass is generated out of a subwoofer or separate woofer enclosure that can both be moved as well as digitally manipulated, then that’s a positive step forward.

What I don’t advise is to digitally manipulate anything other than bass frequencies—something requiring a separation of the woofer from the rest of the speaker.

As I cover in The Audiophile’s Guide, finding the best spot in the room for bass is a bit of a compromise, but it’s better to work together with the problems than wage war upon them.

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Out of balance

When something is out of balance we often blame what stands out most. For example, if music sounds overly bright we naturally pin the blame on that area of frequencies.

We might be completely wrong.

Imagine the treble regions being perfect but the midrange and mid bass areas a bit repressed. It’ll sound bright.

Over the years, one of the tricks I’ve learned is to pay close attention to the quality of the area under question. If it sounds “too bright” I first focus my attention on the problem region by switching to music that naturally emphasizes it: cymbals, brushes, sibilance, upper harmonics. If these are intact and perfect, then I know to look elsewhere.

It’s easy to jump to conclusions and point a finger at what’s obvious.

But it often pays to look a little deeper to see if the balance between frequencies might just be off.

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Hard to imagine

When Stereophile reviewer Michael Fremer writes “on electric bass… the M1200 is a monster”, he’s not alone. More and more emails daily come across my screen extolling the virtues of the M1200’s bass.

How can it be that one flat measuring power amplifier can sound remarkably more powerful in one area than another?

Flat is flat, right?

Not so fast. Let’s have a closer look at the M1200’s measurements. 10Hz – 20KHz +/- 0.5dB

A measurement of 10Hz – 20KHz +/- 0.5dB says a lot if you look closely (and know what you’re looking for). What’s first apparent is its ruler flat performance within the range of human hearing.

But a deeper look shows something else: the amp is down at 10Hz by only 1/2dB. This is important because it means that an octave higher the amp is perfectly flat. Ruler flat response within the audible band is critical for removing phase shift. Turns out the ear is very sensitive to phase shift and the way to keep the phase from shifting is to start any measurable roll off well below the limits of human hearing.

You see, most power amplifiers will have specs that are more like -3dB at 10Hz (-3dB is important because it’s believed that’s where the ear perceives a level change). Fine that the point we first perceive a level change is below the ear’s frequency limits but what’s not mentioned is the phase shift. To be -3dB at 10Hz means you’re 1/2dB down point is well up into the audible range of bass—and we get phase shift.

When phase shift happens in the audible frequency range it will convince the ear the bass sounds wimpy.

And one more point.

A monster amp like the M1200 not only has no phase shift in the audible bass regions, it also has the power and reserves to effortlessly deliver that phase free note without any change in character.

Measurements aren’t always clear and simple.

The story behind the measurements matter.

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

My seating position isn’t compromised, as my room was purposefully built for listening to music, but for almost all of us, what Paul is saying, is true.

The perfect spot

Your seating position is compromised.

If you’ve done your system setup homework your chair sits at a comfortable distance from the loudspeakers. With the precision of a ruler, you’ve tweaked and adjusted the speaker’s position for best imaging.

Though we call it the sweet spot, it’s certainly not the perfect spot.

Within the boundaries of most rooms, the perfect spot cannot be attained because of our old nemesis, bass.

If we could see sound we’d be rather shocked at how low frequencies bunch together like an angry sea of waves and throughs. Not far from your sweet spot bass notes boom. Move in the opposite direction and we hardly hear any low-frequency energy.

The perfect spot is where compromise negotiates a truce with boundary limitations.

Which is why we call our listening position sweet rather than perfect.

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Amen to this and most folks I know don’t have a lot of options when it comes to loudspeaker placement. I do and have the marks on the carpet to prove I’ve tried a bunch of different locations and it seems each speaker is different. Sometimes, changing electronics has me change things a bunch.

However, as I get older, I justs want to listen and where my Daedalus Ulysses speakers are now, works great, so I’m done…Probably…

Speaker placement

There’s perhaps nothing more important than speaker placement. Where those two boxes sit in the room vs. where you the listener sits, largely determines how your music sounds.

And here’s the sticky part. There are multiple right places, each sounding quite different.

I have watched many an expert set up speakers and each has a completely different approach that results in very different placements. If one watches Wilson Speaker setup expert Peter McGrath work, you’d notice him first walking the empty room clapping his hands and speaking into the air to find the best starting point for the setup. Contrast that with REL Subwoofer owner, John Hunter, who starts with but one channel and spends hours moving it about the room discovering the best place for bass.

At the end of each expert’s process, the sonic results are wonderful yet sonically night and day different.

Now think about your own best efforts at speaker setup. No doubt what you have achieved sounds different indeed from what they would have come up with.

I am in the middle of writing the first in a new series of books called The Audiophile’s GuideThe Stereo offers a detailed step-by-step setup guide for getting the most out of your 2-channel audio system. Following my instructions, there’s no doubt your system will take a leap forward in performance.

But, here’s the thing. My setup methods are different still than experts McGrath and Hunter. And so, yes, once set up, music and its image on the soundstage will be different yet again.

I think the point of this post is to point out just how much difference setup makes.

It’s easy to imagine otherwise.

 

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Palpable sound

When an illusion is real enough it feels as if we might be able to fondle it. Palpable.

That’s what we strive for in our voicings of audio products, sound so real you can imagine touching it. That’s a tough challenge from a design perspective. How do you arm an engineer with the knowledge and tools to craft sound so real it’s touchable?

I think it starts with bass. If you can clear away the phase shifts and filters to get to unfettered bass, then you begin to actually feel the kick of a bass drum in your gut. I know for me that was my first palpable connection. A good thump in the gut from a recorded kick drum.

Over time and experience, you begin ferreting out the small nuanced cues that bring life to music. They happen slowly at first: a bell rings with such veracity you might believe it’s actually in the room. Perhaps a voice so real it’s as if the singer is in the room with you.

The best designers I know have placed this one virtue over just about all others. Make the sound so real it’s as if you can reach out and touch it.

It’s what we strive for and what you likely lust for.

It seems like magic.

 

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

This is an article written by Scot Hull from Part Time Audiophile that I totally agree with.

See www.parttimeaudiophile.com. It is always an enjoyable read.

One of my favorite hi-fi arguments involves stack-ranking your spend. That is, how should we spend our hard-earned money when assembling a high-end stereo system? What is the most important component? Is it the speaker? Is it the amplifier? Is it the turntable phono cable? In any of these debates, there will invariably be someone who says something like “the most important component in any audio system is THE ROOM.” Once this version of Goodwin’s Law plays out, there will be a lot of nodding and wise stroking of facial hair.

But what if it’s not true?

There is some sense to the notion, to be fair. We tend to build hi-fi systems in this particular “possible universe” and not others, so yes, chances are quite good that there will be a room involved. And yes, it’s true — rooms can dramatically impact the sound quality of any system. Room nodes, cancellations, reflections — all that (and a whole lot more) can contribute to a truly epic, or horrific, experience. For those keeping track, this is one of ten thousand reasons why it pays to make friends with your local area audio dealer.

But with that said, it’s pretty easy to overstate this. Common wisdom says that huge loudspeakers should never be crammed into small spaces. That low ceilings, or a narrow front-wall, or irregular side walls can “kill” the sound. That you need to “fit” your system to your space and never the other way around. That a goldilocks sprinkling of room treatments is the key “acceptable” sound.

This is all very sensible advice. It’s also a bit misleading, as anyone who has ever seen the listening room of a high-end audio reviewer will readily tell you.

Or anyone who has visited a high-end audio show.

Jeff Joseph, of Joseph Audio — for one notable example — is famous for his incredible-sounding loudspeakers AND for his off-center speaker setups. Going from room to room at an audio show, you’ll see room after room of very traditional, mathematically-plotted speaker setups — and then you’ll come to a Joseph Audio room and start scratching your head, and perhaps begin wondering if someone took their medication that morning. You then sit, your bemusement gives way to wonder, and you stop thinking about math, and “the most important component”, and start grooving to some world-class sound.

Would that system sound better in a better room? Maybe — okay, probably. But that doesn’t mean that it cannot sound amazing in your room, shitty though that room may be. Take a Vinnie Rossi demo, with some great big loudspeakers from Harbeth, the 40.2 Anniversary Edition. Big speakers, big sound, great-big-bass. And in Vinnie’s far-from-ideal-world hotel-room setup, those speakers sounded incredible. Yes, most of that has to do with Vinnie’s amazing audio electronics. But a lot has to do with the fact that the speakers have been pulled from the walls and are less than 5′ from your ears — best headphones EVER.

The point? Don’t give up because your room is suboptimal — almost all of them are — and chances are very high that you can and will still get amazing sound.

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

The old saw, there’s no free lunch, has been both a curse and a blessing to me. A curse because I’d rather have 100% benefits without dealing with consequences. A blessing because knowing the flipside helps decide how much cake I can have and eat.

Take for example subwoofers. If you place a subwoofer in the room’s corner you’ll enjoy greater output because the corner acts as an acoustic amplifier. That’s the good news. The bad news is that’s exactly the position that will activate every unwanted room node possible. More gain, more problems.

On the flip side, placing a subwoofer in the center of the wall has the least amount of unwanted room interactions. That’s the good news. The bad news is you’ll lose output and perhaps struggle with getting solid bass at your listening position.

Everywhere else is a compromise for best performance at your listening position.

Like the game Whack a Mole, there’s pretty much nothing you can do in your system’s setup that doesn’t have a consequence elsewhere. The same is true for most things in life where we have to consider the choices and weigh the consequences.

That said, we shouldn’t let the cost of lunch stop us from sitting at the counter. We shouldn’t forego the good because we’re anxious of the bad.

What’s important is understanding the potential consequences of our actions, then making the right choices.

Asheville, Walnut Cove, Biltmore Forrest and Western North Carolina’s Audio and Home Theater specialists present Cane Creek AV and Paul McGowan – PS Audio, Intl.

Maybe boring, but I have several tracks I use to set stereo’s up. Some are for tone…Some are for dynamics…Some are for bass and some are for stereo imaging.

One of the biggest mistakes people at shows make, although becoming more rare, are stereo’s that use components that haven’t been used together, especially loudspeakers, audio components that are new and not broken in,  or systems that don’t use the right music for set up.

Simple and natural

There are literally millions of tracks we can use to evaluate our stereo system setups, yet most wouldn’t be of much help. Without some form of acoustic reference material, it’s nearly impossible to know when it is right or wrong. What’s the proper sound of a fuzz tone guitar? Unless you had attended a Jimmy Hendrix concert in your youth (and had a perfect memory), you’d be hard pressed to know if a modern system rendered his guitar properly.

Whenever I start to set up a system I do my best to keep my source material simple and natural: a familiar voice, an acoustic instrument I know well. The more familiar I am with the piece, the easier it is to know when I’ve nailed the tonal balance, imaging, and dynamics.

What’s wonderful is we don’t need to use the same tracks all the time. As long as we stick to the principles of simple, natural, and familiar, just about any track works equally well.

Perhaps the biggest mistake I see people making when setting up systems is the use of big, complex, unfamiliar music or, worse, electronic music without any known reference.

When setting up, always go back to basics.