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About Drewan77

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  • Birthday 23/05/1957

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    Cheshire UK
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  • Turn Table
    SL1200G + RP10 clone
  • Tone Arm & Cartridge
    AudiomodsV+AN IQ3
  • SUT / Phono Stage
    GrahamSlee Accession
  • Digital Source 1
    Yamaha DC-S2000 SACD
  • Digital Source 2
    SqTouch/Synology NAS
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    Graham Slee Majestic
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    DEQX HDP5 & HDP3
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    HD540II, HD650 +
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    I am not in the Hi-Fi trade

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  1. Peaks are easier to deal with than nulls unless you are very flexible with chair and speaker positioning. A peak can be brought down very precisely & quite easily with DSP (& acoustic treatment which can be more difficult with specific frequencies & widths - Qs) after accurate measurements whereas nulls don't really respond to DSP eq - by pouring more volume into a null, it often just makes the issue worse & the null deeper! The best way to deal with a null is to firstly identify it (using the methods described in prior posts) & then alter physical positions, aided by some acoustic treatment if practical.
  2. Please follow the advice Tony gives above... If you recall Andrew, when we first measured these speakers, I set an 8th order (48dB) crossover at 2khz to avoid potential damage to the tweeters. As far as setting MiniDSP filters is concerned, I suggest that Tony would be best placed to advise as I am not familiar with that setup.
  3. Glad it's worked out Andrew - well implemented DSP has improved all the speakers I have tried. Any cynic who has never heard what it can do should visit your setup at Kegworth.
  4. Andrew, if you recall when we measured these speakers in my garden, I checked time alignment between the individual drivers and they were fine so as you are now working on in-room eq, it should be for the speakers as a whole including crossovers, not individual drivers.
  5. As far as a 'flat' response goes I am in complete agreement, most music sounds too lifeless and thin without some sort of house curve. You may recall that on my system I use the four DEQX remote presets with varying levels of bass boost, position 1 being neutral & unadjusted (sounds good with bass heavy albums) & progressive uplifts through to position 4 (for the thinnest sounding albums). I can achieve very similar sounding frequency response whatever the source, to my listening preference (deep but clean, tight & very fast bass with a lot of transient slam) At the end of the day it's about enjoying what you hear rather than trying to recreate some sort of anechoic chamber 'perfection'.
  6. Andrew, the way I read your last post suggests that after initial confusion with measurements you have reached a satisfactory result from tuning by ear (your edited post). if you do need my input I am happy to come over & help, just let me know. Andrew
  7. Turntable occasionally used in a bedroom system, complete with Ortofon OM10 & speedbox speed controller (+ a Vinyl Engine printed Pro-Ject arc protractor). Fully working. £185 collect only or meet-up (NW UK location)
  8. Purchased new by me from Audio Counsel Oldham in 2003. Colour - cherry Fully working with a room filling, wide soundstage, typical of Omnis. Condition: Some small marks if viewed close up but in generally very good condition. One of the top grill meshes also has a slight top dint visible from the rear. Cabling from below, either banana or spade. Description: 4 top mounted super tweeters & 2 midrange tweeters , front mounted 8″ Seas woofer & rear mounted 10″ passive radiator. I believe the original boxes are in the loft. £1,850 ono – collection or meet up (location NW UK).
  9. These might help you get your head around parallel & series wiring Andrew:
  10. You could hook up & measure each amp in turn at something like 25% of its volume on the same channel (I would use the bass channel). This should enable you to view their relative outputs. Once you have a general idea, then adjust the settings in MiniDSP & connect both amps/channels. If there is no easy way for you to measure again and view then you will need to adjust by ear. As mentioned previously - I would expect Tony to have a more accurate & repeatable method. Andrew
  11. Andrew - Something we didn't discuss while you were visiting.... You may find it useful when viewing measurements to change the 'smoothing' level which makes the frequency response graph easier to interpret, especially at higher frequencies. To do this, go to the title bar at the very top of your screen and select 'graph', then choose something like 1/12 smoothing. (I don't normally use REW because the Earthworks M23 mic, even with its calibration file doesn't produce data that I'm happy with compared to FuzzMeasure Pro or DEQX software. Having said that, your Umik mic measurements via REW were very close to M23/DEQX which is as it should be.... & reassuring!) Tony J is clearly more familiar with REW & Minidsp so he will offer the best advice with those of course. Good luck
  12. Although I don't use Minidsp, that looks correct for one amp/speaker provided you connect CH1 to the woofers & CH2 the tweeter! (repeat with CH3 & 4 for the other amp/speaker) Andrew
  13. I'm the 'other' Andrew mentioned above!..... Here are the outdoor measurements we took when using DEQX to set up the speakers via my own system so we could then move on to REW as in Andrews' posts above (only one speaker measured for this purpose): 1. Anechoic measurement from 1m showing only a slight mic reflection @10.2ms & then its decay refections 22ms, 33ms etc ('clean' data @10.2ms was therefore used for analysis) 2. Raw measurement of woofers/tweeter (as this is outdoors & in 'free air' & because of the 10.2ms boundary, bass response below 200hz drops away in the plot even though the speakers actually produce bass well below this): 3. Phase response of speakers - green = tweeter, blue = woofers. 4. Crossover applied at 2khz because above this, the woofers display a significant null & the tweeter is smoother. I 'guessed' that Mini DSP would only allow LR up to 8-way so I set at 48dB rather than the brick wall Xovers DEQX allows (up to 50-way 300dB) : 5. Just for fun - DEQX speaker correction applied within the blue box 'windowed' area (red line is the result - flat response for phase, time alignment & group delay) NOTE: THIS WAS JUST TO ILLUSTRATE TO ANDREW WHAT FULL DEQX CORRECTION CAN ACHIEVE & WAS NOT USED FOR ANY OF THE SUBSEQUENT MEASUREMENTS TAKEN WITH REW - we played back some music outdoors using the uncorrected speaker & then using this correction filter with a razor flat speaker response 100hz - 22khz. The difference was significant, as I expected. Andrew should have an opportunity to produce some pretty nice sounding music using these as 1st off active speakers & will learn a lot during the process.....
  14. I'm still struggling with this height thing - it only happens if I artificially change time alignment between mid-highs within the OBs, whereas leaving them as calibrated, images are very precise at a point between midrange driver & ribbon positions. Image clarity is outstanding, as is soundstage depth (less so width beyond the speakers) but never height. Mono recordings always play at a vertical point in space between speakers & chair you can almost touch. I can only surmise that this is as a result of the corrections made from my original speaker measurements (quoting DEQX themselves..."DEQX-Cal breaks the measured response of the speaker into thousands of separate frequency groups, minutely adjusting their timing so that all groups arrive at the listener’s ear at the same time."). I guess that this level of correction may account for what I (don't) hear. In some ways I wish I did!
  15. Ross, I completely agree with this. My Open Baffle speakers are about 5' tall with ribbon tweeters on the top baffle, angled to the listening chair and all drivers phase & time aligned. The soundstage has great depth & reasonable width, sometimes beyond the speakers (depending on the original recording of course). Image clarity is pin-sharp vertically between the tweeters & midrange drive units, about 4' up from the floor. Here's the interesting bit - it's quite easy for those of us with an active system to change the time alignment of any set of drivers & this will blur the imaging of instruments/voice but it can also affect the impression of height. I just did it! Delaying all drivers except the tweeters by 8ms, then instruments with a lot of high frequency information seem to come from a higher point, confused by the blend of other frequencies produced. Imaging is less precise & fluctuates. Delaying by 15ms, the system sounds uncomfortable. Therefore it seems logical to me that with less than perfect time/phase alignment, some of the effect we 'hear' is caused by this. The rest may be expectation bias which we 'audiophiles' all seem to possess in abundance!