The efficiency of a subwoofer is increased by about 10dB when placed in the near field. Virtually no equalization was needed for the dipoles (see blue curves in frequency plots). Two subwoofers in the near field ( 5 & 6) remove level differences between the 3 mic locations while improving frequency response and maintaining very low modal ringing. There's still some room interaction visible in the frequency response of the monopole subwoofer whereas the dipole subwoofer response is remarkably smooth and doesn't show much room effects at all. Spectrograms show virtually no modal ringing. When placing a single subwoofer in the near field ( 3 & 4), the direct sound field dominates and detrimental contributions from the room are greatly reduced. The behavior in the time domain is slightly worse than the single subwoofer case suggesting that the locations for the subwoofers are not optimal. Nevertheless this is a rather good result and shows how adding low frequency sources reduces overall seat-to-seat differences. The spectrogram shows a considerable amount of modal ringing.Īdding a second monopole subwoofer ( 2) eliminates the large swings at 30–40Hz and 100–120Hz at the expense of making the frequency response worse in between. Once again this shows that every room is different and only measurements will reveal its specific characteristics. The area from 50–100Hz is surprisingly smooth though. This is typical for such a configuration. The frequency response of the single monopole subwoofer ( 1) in the far field shows rather large differences between seats (here 30–40Hz and 100–120Hz). FloorplanĪ = Single monopole subwoofer configurationī = Dual monopole subwoofer configuration, optimized for low seat-to-seat differencesĬ = Location of single near field subwooferĭ = Location of dual near field subwoofer
Spectrograms were generated in REW V5.00. Underlying data in frequency plots has 1Hz resolution. Measurements were taken with FuzzMeasure 3.2.4. Then the in-room response was measured at the main listening position and 60cm to the left and the right. The Audyssey mic was left at location 1 (main listening position - see floorplan) for all 3 runs. The in-room response was equalized using Audyssey MultEQ XT32 with the mandatory 3 runs. near field) and subwoofer types (monople vs. If only Soundlabs weren't so darn huge and expensive.The behavior of different subwoofer configurations (far field vs. If only Soundlabs weren't so darn huge and expensive. The rest of us will struggle on, keeping somewhat recent production as well as vintage Quads alive, and loving them when they perform, with the help of specialists and a lot of patience.
#Fuzzmeasure vs rew how to
In this app note we will show you how to get started with the UMIK-1 and FuzzMeasure Pro.
#Fuzzmeasure vs rew pro
Probably they'll all live in China or somewhere in Asia. FuzzMeasure Pro is an easy-to-use acoustic measurement program for Apple Mac computers. My expectation is that Quad, as a company/technology that will either A) be sold to someone else who wants to try to figure out how to produce Quads now that the people who really know what makes them tick are no longer around, or B) it will gradually simply wither away, with a limited number of dealers and service network and many very rich, very dissatisfied, very hooked, very disappointed owners. It's just a matter of time before they fail. I don't think it is fair for me to put a number on it. Most of the time it sounds superb.įrom what I've read, the current production Quads have a very high failure rate. The is the one that has only been serviced once and has generally functioned well. I'll see if I can't fly a Tech into town to do it. If I have my speakers serviced again I doubt that I will ship them to have them serviced. Kent was able to do so, after replacing all my panels for the third time on that one speaker. Very difficult, no - almost impossible, to track down. The source of the noise turned out to be an intermittent solder joint somewhere down in the power supply. I now run a dehumidifier frequently and I try to keep it low. Kent McCollum, of Electrostatic Solutions, who came to my house at my expense to repair a speaker that had been sent to him but still had annoying distortions, advised me to keep the humidity below 55%.
And then they make me crazy.įor many years I knew nothing about humidity and did nothing to control it.
But there are a few frequencies that can trip them up. To be brief, my speakers perform incredibly 98% of the time. My experience with the 2805s matches up quite a bit with some of the comments you read around the 'net. They were unmolested and functioned perfectly.) I replaced my 63s with fully serviced 2805s. Sold them to my cousins husband, before I really appreciated how rare they were to be trouble-free and perfect. I've owned ESL 63s (should have never sold them.
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