Yet, the bass doesn't seem "right" - the only word I can use is "dry".

On real music (say piano trio) everything seems perfectly musical. Kick drum, the left hand of the keyboard seem just fine, realistic.

But on "fake" music the bass response just isn't there. Bob carver recommendeds Janet Jackson's Go Deep from "Velvet Rope" as a good bass response demo track - well, it's just not impressive, as in 1812-overture impressive.

There are some things that I know are not an issue: there's plenty of Xmax and plenty of power (500 wpc on each bass driver). Stroke and horsepower aren't the problem (if indeed there is a problem).

The driver Qts is 0.36 - I'm running them on 48" X 36" open baffles. As I indicated above the EQ is sufficient to support a pretty flat measured response to 25Hz.

So the bottom line is - Am I not hearing what I should? Or, is it that I expect to hear the bass response of systems that are bass-heavy?

It's hard to say without hearing it. But I'd like to offer some general thoughts. To me, the octave between 40Hz and 80Hz is what most people think of as bass. That's where dance club bass lives. The range below it is for effects in movies and the range above it is midrange, the lowest part of the male voice being around 100Hz.

There are two things that I think are very important below 100Hz.

First is distortion. I don't know why, but many discount the importance of this. Some of the horn guys think that the reduction of excursion from horns will reduce it, so they use woofers with rather average or even poor distortion performance. Some even say they think people prefer the sound of distortion in the woofers, presumably because it increases midbass energy. But all that is horse poop if you asked me. Whatever distortion is made between 20Hz and 80Hz turns into harmonics above 40Hz up through the lower midrange. It increases listener fatigue and in extreme cases makes the system sound boomy or bloated.

I'm guessing distortion isn't a big problem for you, so I'll move onto the second. You may be experiencing cancellation in the 40Hz to 80Hz range. In wavelength, that's 14 to 28 feet. So in half-wavelengths, where you're going to see cancellation, the critical range is 7 to 14 feet. Try to make sure your two woofers aren't spaced apart within this range, or they will cancel each other in the midbass. Also, consider the effect of boundaries. If a speaker is 3.5 feet to 7 feet from a side wall or back wall, you'll have some cancellation from the wall reflection. If both speakers are set-off from a wall by the same amount, then the effect will be doubled. That's one reason why I like having woofers in corners. Try to keep them within a couple feet from walls, if possible. Use directional mids and tweeters to combat boundary reflection in their bands.

Wayne

Would you think that cancellation would be the culprit even if I measure well at the listening position? Would it then be a matter of specific frequencies being lost when being reproduced by both channels? Something not revealed when measuring with pink noise?

TIA

My comments were really pretty general, as these are two things I think were worth mentioning for anyone else reading this thread. I'm sure you probably have looked into these matters.

But as far as measurements are concerned, it can be kind of hard to get good measurements down low. In room measurements are notoriously difficult and you really can't trust them. Even if you know SPL at one position, move a few feet and you may find that there's a 10dB difference or more.

Wayne

Funny how something can look perfect yet not be. First off check your phase with all the drivers. There may be some kind of cancellation.

Try a sine sweep with a sine wave instead of pink noise. Pink noise will pick up room mode from other frequencies and fool the equipment. a sine tone is single and pure. You can pin point things with more accuracy since what your looing for is more specific in nature.

Like Wayne says, 40-100 hz is the range to be looking in. You might have a room suck out at 50-60hz. Somehting like that could be perceived as lacking.

Just because you have "quality" bass, and not some pumped up 90hz room shacking subwoofer. Doesnt mean you should not be happy. Good bass with low distortion and overtones does not mean you "have to get use to Quality bass" because you have never heard quality bass before!

Try patching in a graphic EQ to see what you need to push around to get the sound you want. Then move to a Parametric EQ if you need to maintain room EQ. you can fine tune lower frequencies and null spots better.

Remember to make any EQ changes and then come back time and again to rethink the settings. More often than not, you push settings around while listening and then bring tham back a click or two later on.

Lastly, all drivers are not created equally and certainly dont sound as such. I have had on more than one occasion a pair of drivers for woofers that look great on paper, plot out perfectly in programs, and to make matters worse actually measure on a FFT analyzer with outstanding performace. But, they just dont have the sound I wanted.
Dull, lifeless and no impact or clarity.

Anyway theres a bunch of stuff to mess with. good luck and dont pull your hair out.

Bill

Interestingly, I measure (and tame with a 31 slot graphic) a 12dB peak at 50Hz. I guess it's more than likely that, given what Wayne said about the unreliability of in-room measurements, that I'm creating the problem.

Maybe that's the issue in and of itself - I thought that by measuring at the nominal "sweet spot" I was doing the best thing possible, but there might be some sort of superposition at that location that has me actually damping the overall bass response.

Guess I have to get a bit more crafty....

Well, I respectfully disagree that in room tuning is a bad thing. In fact I'm a proponent of in room tuning and virtually opposed to lab and anechoic tuning.

Yes, of course in room tuning is more difficult to do. But. Since we don’t often listen to our speaker inside a chamber or laboratory. We need to have them balanced, voiced or tuned for the rooms we listen in.

If in room tuning was such a bad thing. then they would have all kinds of crazy EQ's, feedback destroyers and various other types of equipment for the balancing of studios, halls, rooms and all other venues including homes, home theaters and cars.

One of the main reasons anechoic testing is good. Is it gives all things an even playing field to compare against. theoretically the chamber in California is the same as in New York as in Sweden. This chamber also gives you a constant to measure any changes or modifications against.

Beyond that. In room testing, although difficult, is a must.

Good luck,

Bill

What I was trying to say is that if there's an inherent problem in measuring low frequency response (and I have no theoretical basis for "if" - as far as measuring I'm just "point and click") then what apears to be a huge peak to me may in fact not be a real problem.

I may be either over compensating or misinterpreting the observation.

But it seems indisputable to me that, difficult or not, the only place worth measuring and correcting is in the actual environment.

In my real life, everybody believes that factory test data is a useful QA tool, but nobody accepts that a piece of equipment works until it's bolted down in the field and run.

Anechoic means "reflection-free," so if a speaker is designed to work best in an anechoic environment, it is designed to work best outdoors. That's really all there is to it. When people do things to improve acoustics inside a room somewhere, they generally improve it in a way that makes it more anechoic.

If you're trying to setup your own system in your own room, then you naturally want to deal with the nuances of the room. Deal with the floors and the walls and the rugs and the furniture. That's why thinking about placement might be important. If the woofers are in positions that cancel, it won't matter if they provide perfect response in an anechoic environment. The problem is that they're in a situation that causes destructive interference, and nulls are the result.

I've always liked corner placement for bass systems, and using treble frequency horns that match directivity at 90o. It prevents wall reflections from causing cancellation and it provides a good load and directivity for the bass. Corner placement doesn't necessarily prevent cancellation between left and right woofers, but that's usually not an issue unless the room is very small.

I guess what I'm saying is that when I've placed woofers in the corners, I generally don't have big issues to deal with. Hollow crawlspaces are an exception, but other than that, corner placement goes a long way towards making the woofers work well in the room.

Accurate bass measurement indoors is pretty tough. You can do a close microphone measurement of the bass, but you can't usually gate it like you can the mids and treble. It's not going to tell you what you want to know but it's probably as close as you can get. This kind of measurement doesn't tell you what is going on throughout the room, and how it is charged at different frequencies. You might try placing microphones in a grid spaced at 1 cubic foot points or something; Possibly do a myriad of averaged measurements instead. That's really what you'd have to do to get an accurate picture of room response.

As for anechoic performance, as a speaker designer, I find it to be really important. Actually, the only thing I'm concerned about is making a design that is not tailored to my room or to any other specific room. I often design for specific placement, like corners. But I try real hard to do things that will make the speaker right in an anechoic environment. If a corner design, what I want is for the speaker to perform best in an environment that is solid on three sides forming the corner but completely open and reflection free on the other sides.

You're right that it's for comparison purposes, but more importantly, it is for making a baseline so that the speaker isn't tilted in response. If a guy uses one of my speakers in a room that is highly reflective, he may have a little more mids and treble. He could then treat his room or EQ the system in some way. Or if his room is shaped so that it really peaks between 50Hz and 100Hz, he can deal with that. But if I designed my speakers specifically to be flat in my room instead of an anechoic baseline, then when other people put my speakers in their rooms, they'd have to equalize for my room as well as for their own room.

I assume your comments are intended for system setup but I thought I'd mention this to clarify.

I agree 100%. I believe the original question is more related to setup than design.

I think there’s too much emphasis on designing a system that works in a non realistic room. I'm also happy to be in a minority with that opinion, but there are 'typical' room settings that are closer to reality than an anechoic chamber.