What Means Woofer Displacement Ft3
CC or cubic centemeter displacement of the vehicles engine. The more cc's the bigger the inside of the engine, therefore usually more power. CC's is metric. The USA uses CID or cubic inch.
As part of our new powered subwoofer measurement protocol, we will be offering aroom size recommendation for each subwoofer tested. Based on the subwoofer's max CEA output vs frequency and distortion capabilitieswe measure, it is our goal to provide a reasonable estimate of just how large aroom the sub will be suited to play in. Of course a sub capable of playing well in a large room is more thancapable of playing well in a small room too, but using a sub with limitedoutput capabilities in a larger room means the sub may not be able to hitreference levels (the loudest intended output playback level) in such a large listening space. This can cause the subwoofer to strain and,in so doing, produce audible levels of distortion which is something thatshould be avoided if your desired goal is clean and accurate reproduction ofmusic and movies in your home theater. Read on to see if and how your favorite subwoofer will earn our 'Bassaholic' recommendation or to figure out how many additional identical subs you'll need to add to your room to achieve it.
In order to determine a subwoofer's room size capabilities, we have tomake some reasonable assumptions as outlined below.
How We Measure and Review Subwoofers
Reference Levels &Test Frequency
Thestandard calibration 'Reference Level' (RL) is 75dB at the listeningposition. The goal is to ensure thesystem calibrated at 75dB can hit clean 105 dB peaks for each of the speakerchannels and 115 dB peaks for the LFE channel. Note that the LFE channel is boosted 10 dB over the speakerchannels. Technically speaking, mostpeople redirect the bass from other channels to the subwoofer, which inconjunction with LFE could in theory ask the sub for a 123dB peak signal.However this is NOT a common scenario and most people don't listen at referencelevels (especially if they value their long term hearing). It is much morecommon for A/V enthusiasts to listen between -15 to -10db from reference. Thusa 115 dB peak at the listening seats in-room is a more realistic benchmark goalfor large rooms. To really stand out, a sub must hit the 123dB mark to earn our 'Extreme Bassaholic' rating. Anything higher is icing on the cake of course. Margin is always a good thing.
Next weneed to determine the test frequency that the sub must hit the 123dB peak at inorder to meet our 'Extreme Room' goal. CEA burst signals are a reasonably good approximation of how a sub willbe stressed with real program material. Since we are using CEA peak SPL datawhich is measured in 1/3 octave increments, we can either choose anywhere from20Hz to 63Hz in 1/3rd octave step sizes. The tactile bass we feel and hear happens mostly in the 30-60Hzrange. Room gain typically reinforcesultra low end bass frequencies (below 40Hz) - so at first glance, it seemsreasonable to average our CEA test data from 25Hz to 63Hz to determine asubwoofer's room size capability.
Annex A ofthe CEA 2010 standard recommends adding SPL data in dB to average over thecritical bands they refer to as 'Ultra Low' (20Hz to 31.5Hz) and'Low' (40 to 63Hz). It ismathematically incorrect to average logarithmic based numbers (such asdecibels) as it will bias the outcome to the lowest number in the data set. The correct way to average dB's is to firstconvert them to Pascals (a linear, not logarithmic, measure of pressure) toproperly average the data before converting back to dB's. There is a problem averaging like this,however, since our ears don't hear loudness equally for differentfrequencies. Averaging in Pascals willbias the average to the highest measurement in the data set. Properly averagingin Pascals (Pa) will make a sub with just one good SPL # still have a goodaverage score. Averaging in dB’s (instead of Pascals) will make a subwith just one bad SPL # look bad. This can be seen in the examples tabulatedbelow.
Averaging across a bandwidth using discrete 1/3 octave widedata sets is just not a good idea anyway you slice it. The speaker which is flat is going to achieveapproximately the same score as one which is mistuned. If you tune too high,you get a bump followed by a quick rolloff. So if you average over too wide afrequency range, this information is obscured. 1/3 octave measurement isalready a crude approximation for a sub. If you average that 1/3rdoctave data over an even wider range, it just makes it harder to determine thequality of the product or measured data.
| Conversions & Formulas for comparing dB to Pa | ||
| 1 Pa = 94dB | ||
| Pa= [10^(dB/20)]*.00002 | ||
| dB= 20*log[Pa/.00002] | ||
| CEA Average Example (from CEA 2010 Annex A) | |||
| Frequency | Pa | SPL | |
| 20Hz | 0.079621 | 72 dB | |
| 25Hz | 0.158866 | 78 dB | |
| 31.5Hz | 0.316979 | 84 dB | |
| AVG | 0.185155 | ||
| CEAAverage | 78 dB | ||
| ActualAverage | 79.3 dB | ||
| Example of Typical Subwoofer | |||
| Frequency | Pa | SPL | |
| 20Hz | 0.709627 | 91 dB | |
| 25Hz | 1.588656 | 98 dB | |
| 31.5Hz | 2.825075 | 103 dB | |
| AVG | 1.707786 | ||
| CEAAverage | 97.3 dB | ||
| ActualAverage | 98.6 dB | ||
| Exampleof Subwoofer with wide variance | |||
| Frequency | Pa | SPL | |
| 20Hz | 0.355656 | 85 dB | |
| 25Hz | 5.023773 | 108 dB | |
| 31.5Hz | 20 | 120 dB | |
| AVG | 8.45981 | ||
| CEAAverage | 104.3 dB | ||
| ActualAverage | 112.5 dB | ||
Comparison of Averaging SPL Data in dB vs Pa
There are twosolutions to this problem:
- Use broadband Pink Noise and weight the response usingC-weighting to approximate how the human ear perceives loudness
- Take the CEA peak dataat 25Hz, and 31.5Hz to 63Hz and verify if the sub is within a set deviationlimit at 25Hz with respect to the established Reference level (RL in dB)between 31.5Hz to 63Hz.
Option #1 is not a very good solutionsince we are testing using CEA burst tones instead of pink noise. The CEA burst tones are far morerepresentative of actual program material and will stress the subwoofer in amore realistic way.
Option #2 is the best option inour opinion provided we set the limits reasonably so that the criteria isn'ttoo difficult or unrealistic to pass, or too easy so that a small sealed subcan meet our Bassaholic room size requirements. Wewant to set limits so that we can reasonably approximate how a sub will loadinto a room. More importantly, we don't want to create a way for manufacturersto 'game' the system and create subs that will yield good scores, butwhich only perform well in small frequency ranges.
How Does a Sub Work?
Let’s think about how a subwoofer works. Its criticaloutput region is in the 40-63Hz range. This is where it will play theloudest and where we will perceive and hear the most tactile response, it’salso where most of the low-bass content is in music and movies. Thus it seems reasonableto take the CEA peak dataat 31.5 Hz (a more strenuous test frequency than 40-63Hz) and set a toleranceso that the sub must hit reference level from 31.5Hz to 63Hz with no more than- 6dB attenuation at 25Hz. Most subs will always have their max output inthe 40-63Hz range and below 31.5Hz the room gain usually compensates for a subwith tapered off response, by boosting the output levels in the very lowfrequency range.
Hence wewill consider the subwoofer critical bandwidth to be 32Hz to 63Hz when determiningits room size capabilities.
The submust not exceed the following deviation limitation criteria to earn a room sizerecommendation:
- Reference Level (dB) from31.5Hz to 63 Hz with no greater than -6 dB @ 25 Hz
Room Size Categories
Most hometheater spaces are considered to be small when compared to an actual commercialmovie theater. However, the goal for asmall listening space is no less important for a large listening space. You want to be able to hit reference levelswith little to no distortion or compression. The bigger the room, the louderthe speaker or subwoofer needs to play to hit reference levels. We have broken up room sizes into fourcategories which, based on feedback from industry professionals, seems mostappropriate.
| Room | Dimensional Volume |
| Small Room | < 1,500 ft^3 |
| Medium Room | 1,500 ft^3 to 3,000 ft^3 |
| Large Room | 3,000 ft^3 to 5,000 ft^3 |
| Extreme Room | > 5,000 ft^3 |
CommonlySpecified Acoustical Loads & Associated OutputDifferences
| Full Space = 4 pi steradians This representsradiation into free space, that is in the open with no walls, floor orsurfaces nearby. 0 dB reference | |
| Half Space = 2 pi steradians (commonly specifiedspeaker load) If you imagineputting a speaker on an infinitely large baffle then the front of the speakerwould be radiating into half space. The plane divides all of space into twohalves. +6dB SPL increase compared to full space | |
| Quarter Space = pi steradians Imagine thespeaker placed at the intersection of two infinitely large perpendicularplanes. Approximated by the intersection of two walls. The two planes divideall of space into four quarters. +12dB SPL increase compared to full space | |
| Eighth Space = pi/2 steradians (1/8th freespace) Now, imagine thespeaker placed at the intersection of three walls, such as in the corner of aroom The three planes divide all ofspace into eight parts. +18dB SPL increase compared to fullspace (not factoring in ceilingcontribution of the room) |
Images and definitions courtesy of True Audio
Half space(ie.groundplane) is how Audioholics and most acoustic professionals measuresubwoofers. Our measurements are doneoutdoors to ensure room acoustics don't influence the measurement. We typically don't listen to our subsoutdoors so we need a way to translate what we measure outdoors to what can beexpected indoors.
In orderfor the sub to achieve the most output possible indoors, it is assumed thelistener will corner-load the sub which puts it into 1/8th the volume as itsees in freespace. Each halving of the sphere the acoustical device seescorresponds to a +6dB increase in SPL assuming distance from the acousticaldevice to the microphone is held constant and assuming the walls are not lossywhile also ignoring any additional room gain factors. Thus corner-loading a sub(1/8th freespace) increases the SPL output +18dB compared to freespace (Fullspace) and +12dB compared to our groundplane (Half Space) measurement.
Editorial Note about converting 2pi (half space) data to in-room corner loaded (1/8th freespace)
In real rooms the walls are not infinitely long and are also lossy so boundary additions are closer to +3-4dB for each surface added yielding a net gain of +9dB to +12dB for 3 surfaces instead of +18dB theoretical. However, SPL fall off in real rooms is more like 3dB for every doubling of distance instead of 6dB which happens in an anechoic environment. We are being conservative in our SPL derating to add more cushion in our recommendation which reduces the likelihood of overdriving the sub in the intended listening space. Also we do not factor in room gain which is highly dependent on room dimensions and composition and will also help your sub play louder than what can be predicted in our theoretical scenario.
Choosing a Common Subwoofer Distance
So we nowknow that simply adding +12dB to our outdoor 2 meter peak groundplane SPL data (+9dB for RMS data) will give usan equivalent corresponding corner-loaded room output at 2 meters. Again, this does not factor in any roomresonances which varies from room to room depending on room dimensions,position of the listening seats and room furniture, ceiling contribution, and the quality and kind ofconstruction of the room.
It is reasonableto assume the subwoofer will be (on the average) at a fixed distance of 4meters from the listening area.
So in orderfor us to translate our 2 meter groundplane data to a corresponding 4 metercorner-loaded approximation, we can simply add 6dB (+12dB for two additionalsurfaces and -6dB for doubling of distance) to our SPL data. IE. If a sub measures 110dB 2 metergroundplane, the corresponding in-room output if the sub was corner-loadedwould be roughly 116 dB at 4 meters.
Determining Subwoofer Room Size Rating
Now that wehave made our assumptions and set our desired benchmark goals, let's recap anddiscuss our procedure going forward.
Recap of Assumptions
- Targetreference level is 115dB for large room and 123dB for Extreme room Bassaholic rankings.
- Testsignal is CEA 2010 with RL data centered between 31.5Hz to 63Hz using the followingcriteria:
RL (dB) from 31.5Hz to 63 Hz with nogreater than -6 dB @ 25 Hz.
- Subwooferis corner-loaded (1/8th freespace)
- Listeningposition is 4 meters away
- BoundaryGain from corner loading sub: +12dB compared to groundplane measurement
- Otherroom gain influences not factored since they are highly variable depending onroom dimensions and loading
- Roomsize de-ratings happen in -6dB intervals for halving of volume which requires asub with 6dB less output accordingly (Pressure (SPL) is directly proportionalto the volume in which it is confined.)
- Addingan additional identical sub corner-loaded will increase system output by +6dBwhich can upgrade a single sub room size recommendation to a higher level ifcombined output meets the requirement.
Procedurefor Determining Subwoofer Room Size Capability
- Measurethe sub 2 meter groundplane outdoors using CEA test bursts
- TranslateCEA 2 meter outdoor groundplane peak SPL data to4 meter corner-loaded in-room (1/8th free space) by adding +6dB (+9dB for RMS values)
- If the 4 meter 1/8th freespaceSPL equals/exceeds 123dB then the sub is suited for'Extreme' room size
- If the 4 meter 1/8th freespaceSPL equals/exceeds 115dB then sub is suited for 'Large' roomsize
- If the 4 meter 1/8th freespaceSPL data equals/exceeds 109dB then sub is suited for 'Medium'room
- If the 4 meter 1/8th freespaceSPL data is below 103dB then sub is suited for 'small' room
| Room | Dimensional Volume | RL SPL Output @ 4 meters | RL SPL Output @ 4 meters |
| (L x W x H) | 25Hz | 31.5Hz to 63Hz | |
| < 1,500 ft^3 | < 103 dB | < 109 dB | |
| 1,500 ft^3 to 3,000ft^3 | > / = 103 dB | > / = 109 dB | |
| 3,000 ft^3 to 5,000ft^3 | > / = 109 dB | > / = 115 dB | |
| > 5,000 ft^3 | > / = 117 dB | > / = 123 dB |
Minimum TargetedSubwoofer Output Criteria vs Room Size
Conclusion
It is ourhope that the methodology we chose in determining the room size capability forsubwoofers can be a useful general rule of thumb for an end user attempting todetermine which model is right for their listening space. There are obviously too many variables inmaking this an exact science, but our test data should certainly help whenattempting to determine just how much output you need in your room to hitreference levels. These are “rule ofthumb” calculations designed to let you make quick judgments based on a fewnumbers.
If asubwoofer gets a 'Medium' size room recommendation based on itsoutput capabilities, the end user can always simply add a second identical suband position it in the opposite corner to achieve up to +6dB (colocated) more output (which at very low frequencies is equivalentto a doubling of loudness). The rule of thumb is for every doubling of identical subs you use and load in the same corner, your overall system response will go up +6dB. However when not placing each sub in the same location, the net output gain will be much less than the theoretical +6dB rule. This is a trade off worth considering if you want the best and most consistent performance. We always recommend multiple subwoofers not just forthe potential of more overall output but for the benefits of modal averaging toprovide smoother and more consistent bass response from seat to seat. The goal for a great A/V system is lots ofclean output and a similarly good listening experience for all listening seatsin the room, NOT just the money seat.
Many thanks to Ed Mullen of SVSound, Paul Apollonio and Josh Ricci for their consultation and peer review in developing our new subwoofer room size protocol.
| Thread Tools |
One Final thing, PLEASE PLEASE! dont get out of the subject or ask silly questions.
DIY Stereo Integrity SI 18' Subwoofer X2, HTPC Running XBMC 14TB , Roku HD Player
Sony VPL-VW70 Pojector, Xbox 360 250GB, Yamaha RX-V573
| Sponsored Links | |
That being said...a LOT of new drivers are 'just around the corner'...so if you are patient you will be rewarded.
| Sponsored Links | |
How much are you wanting to spend total? And what are your size restrictions?
I said my total are $500 max on drivers, might go a little higher like $600 for two drivers if they over atleast 95% of the performance compared to the competition. There is no size restrictions
DIY Stereo Integrity SI 18' Subwoofer X2, HTPC Running XBMC 14TB , Roku HD Player
Sony VPL-VW70 Pojector, Xbox 360 250GB, Yamaha RX-V573
But you can buy the worlds best subwoofer and it'll sound like crap in the wrong type of application or enclosure or room.
For audio quality, I'd stick with sealed or horn subwoofers.
If you go sealed, then you'll spend a small fortune on multiple subs & amplifier power to get into the teens at reference SPL's in a medium or large room.
With a good horn sub, you'll get super clean bass. Or, 'all the bass with 1/2 the sound' as I like to think of it. Because a horn sub tends to have less bass sound but what you do hear is very clean and well integrated with everything else.
Typically, a horn is the worst sub that a boomy-boom-boom guy can go with. Because you lose a ton of bass sound that shouldn't really be there, but most people are used to hearing with average or poorly designed sealed or vented applications.
Ported subs can sound great also. But a high quality vented enclosure is kind of hard to build and only sounds great with some material.
But if you don't care how big the subs are and don't have a small fortune to spend on amp power, then I'd definitely consider horn subs.
With properly designed horn sub enclosures, you don't need super high quality drivers. Because the build is much more dependent on the enclosure design than it is the driver itself.
DIY Sound Group: Information and Tips
I said my total are $500 max on drivers, might go a little higher like $600 for two drivers if they over atleast 95% of the performance compared to the competition. There is no size restrictions
Eddie got at what I was saying. Total cost means drivers, amp(s), and enclosure which includes finish. Speed $500 on a driver and you could easily double or even triple the cost of the sub by the time you're done. If you have $600 total to spend I would point you toward a horn. If you have more, I might load you up with sealed placed all around the room. I do like the idea of 2 of the f20's.
4-8 mfw-15 in 4-8 sealed enclosures.
+1, that's what i am doing
4 sealed mfw....total cost under $800
4 mfw - $380
amp - $200 (used e2500)
wood - $135 (baltic birch)
other accessories - $50
pretty bold statement'....but it is also true.
you will not get a kick in the chest 'just like car audio'...with any subwoofer in the home...like in 'pulp fiction'...i know that is a
pretty bold statement'....but it is also true.
I beg to differ. Pair of horns can easily do it in most spaces. I'm way past that level.
8 LMS Ultra Ported - JBL 15' 2way - Classix II
I beg to differ. Pair of horns can easily do it in most spaces. I'm way past that level.
While my setup can't come even close to notnyt's, I would agree that it's quite possible to get that effect in home. Horns would certainly get it done.
Eddie got at what I was saying. Total cost means drivers, amp(s), and enclosure which includes finish. Speed $500 on a driver and you could easily double or even triple the cost of the sub by the time you're done. If you have $600 total to spend I would point you toward a horn. If you have more, I might load you up with sealed placed all around the room. I do like the idea of 2 of the f20's.
I said the drivers only. I already have an ep2500 amp, actually I have two. I just want the DRIVER nothing else that is $500, might spend a little more for two drivers.
DIY Stereo Integrity SI 18' Subwoofer X2, HTPC Running XBMC 14TB , Roku HD Player
Sony VPL-VW70 Pojector, Xbox 360 250GB, Yamaha RX-V573
you will not get a kick in the chest 'just like car audio'...with any subwoofer in the home...like in 'pulp fiction'...i know that is a
pretty bold statement'....but it is also true.
Ummm, no.
Not even close to true.
Sorry.
A pair of F-20s with Tempests or other capable drivers, driven with an EP2500 or similar will easily exceed 120 dB at the couch in a typical room, more than enough for a kick in the chest
Each cabinet will do that in a groundplane setting at a meter.
Simple Offset Driver HornResp Tutorial
Simple Tapped Horn Tutorial using Hornresp
Ummm, no.
Not even close to true.
Sorry.
skeptical....at best. Saying it does not make it so. Show me the freq graph that shows what you are claiming.
skeptical....at best. Saying it does not make it so. Show me the freq graph that shows what you are claiming.
I have. Where is yours to counter it?
Simple Offset Driver HornResp Tutorial
Simple Tapped Horn Tutorial using Hornresp
With a good horn sub, you'll get super clean bass. Or, 'all the bass with 1/2 the sound' as I like to think of it. Because a horn sub tends to have less bass sound but what you do hear is very clean and well integrated with everything else.
Typically, a horn is the worst sub that a boomy-boom-boom guy can go with. Because you lose a ton of bass sound that shouldn't really be there, but most people are used to hearing with average or poorly designed sealed or vented applications.
This statement really seems to contradict everything else that has been said about horns on this forum: clean bass, but way more output.
Ok here's my take on the chest thump. It's apples and oranges. A good HT can give you an amazing experience. My current system is great to say the least. I've had THT's, huge ported, multi sealed blah blah blah. My car on the other hand, has kick like no other, and thats simply because the chest thump is 135-140 db's at 60-80hz. Me coming from mostly car audio is the reason I've invested so much into my HT trying to recreate the experience in my house. It's pretty much not possible with a good car system in the upper HZ regions 120-40hz. As good as notnyts system is, it's still can't compete with a high powered car system, that is unless your getting 155+ db's in the upper freq's., which isn't happening. I have 4 db drag race wins in 4 years with my old 85 grand prix within my class. 4 kicker solos 15's L7's with 15,000 watts. What someone think of in terms of 'chest thump' from a car to a home could be entirely different that your perception. I loved my car audio days but in the end, my HT is my true passion. Trying to get close to a good car system is chasing you tale in terms of sheer output form 40-50hz on, it's just won't happen. My old system could make you teeth actually chatter @ 50hz.
I barely dipped my toes into the car audio world when I was a teenager so I don't have a great idea of the spl numbers typically generated. Instead I can only remember what it felt like. So, are 140db's typical?
.....then, get your self a nice EQ and tweak it later, like icing on the cake...
.....its not perfect, but it wall do everything you need quite nice...
**HT Build https://www.avsforum.com/forum/19-ded...-door-0-a.html **
DIY HT builds, are 90%planning, 10%construction
DIY Stereo Integrity SI 18' Subwoofer X2, HTPC Running XBMC 14TB , Roku HD Player
Sony VPL-VW70 Pojector, Xbox 360 250GB, Yamaha RX-V573
I have. Where is yours to counter it?
HUH?
I am asking you to show me your RTA that shows me 'this kick you claim'...and you want to see mine?
My what? Want me to google every sub here in the forum that does NOT have 30db's of cabin gain in the 80-100 hz range? that would be all of them...
I am not saying you can't get great sub bass in the HT...I am just saying it is differnt than what you would feel in a well design car audio system...
I have done both for the past 30 years...so i kind of know what they each sound like.
Eddie got at what I was saying. Total cost means drivers, amp(s), and enclosure which includes finish. Speed $500 on a driver and you could easily double or even triple the cost of the sub by the time you're done. If you have $600 total to spend I would point you toward a horn. If you have more, I might load you up with sealed placed all around the room. I do like the idea of 2 of the f20's.
No offense but, whats so hard about answering the question, I hate when people go off topic. I know you are probobly trying to help but I NEVER said that I had $600 to build a subwoofer. I just want to know the best DRIVERS , not amps, not wood, not anything else. Thats my BUDGET for the DRIVERS. I dont know why most people are going around the question. If theres an already proven subwoofer that uses a driver can ranges anywhere between 0-$500 Id be happy to listen.
DIY Stereo Integrity SI 18' Subwoofer X2, HTPC Running XBMC 14TB , Roku HD Player
Sony VPL-VW70 Pojector, Xbox 360 250GB, Yamaha RX-V573
With a good horn sub, you'll get super clean bass. Or, 'all the bass with 1/2 the sound' as I like to think of it.
With properly designed horn sub enclosures, you don't need super high quality drivers. Because the build is much more dependent on the enclosure design than it is the driver itself.
Ed, I'm certainly not singling this post out because many people have also said this very same thing...
I just can't help myself here; Is this what you all mean by 'super clean bass'?
Speaker Box Calculator App
I threw together a short wav file that plays a fairly narrow tone (not a pure sine tone) first with no harmonics, then with 2nd and 3rd harmonics based on the amount of 2HD+3HD of around 25-30 Hz noted in the 110dB sweep in Josh's posted graph and subsequent harmonics by order breakdown graph.It's just a single note, with and without the HD. I'm too lazy to do a bass run with the varying amounts of HD the 'super clean' horn gives, but it's much more noticeable when some notes have lower HD and others have higher HD.
http://plunder.com/102a018584
LMK if you think that amount of HD is audible.
Of course, we know Mike's F-20 horn is super clean 'cause he properly designs them.
Bosso
Right now I'm pretty happy with the MFW setup, under 500$ for everything including a used Crown 402 amp and the 3/4' MDF to build them . The large LOW tuned cabs sound pretty tight though I might just order 2 more drivers and build 2 sealed dual opposed boxes just to see if they can sound even better.
I barely dipped my toes into the car audio world when I was a teenager so I don't have a great idea of the spl numbers typically generated. Instead I can only remember what it felt like. So, are 140db's typical?
I'd say a typical system is anywhere from 125-135db's depending on car what what you got in there. 150+ is where you face feels like it's falling off lol
A good HT system that is capable of 130db's is what I'd consider pretty badass! There really just is no way to compete with a car, they are to different.
In my current 86 Regal T with 1 x 12' kicker L7 in a sealed 2.5 CF box, I can hit over 130db's fairly easily with my 1500 watt usamps.
As far as your drivers, the question becomes more 2 part. What type of enclosure has to be part of it. Then you can determine proper driver for that enclosure. The deal that the mfw drivers have going on right now is pretty amazing. I say you should up your budget some, pick up 8 of the mfw-15's and run 4 per ep2500. You'll have a great sounding system and in a single car garage you should easily get the desired effect. You can have the enclosures built right under the screen if you're going that route. Spanning the width of the room should help with any room issues.
On the other hand to save money you could go with horns. They work in a tht, but the dimensions would be much different and will limit versatility on the placement. 2 of the mfw drivers with shipping should be well less than $200. I like horns but with the deal going on with the mfw's I am leaning towards multiple driver config for you.
I think 4 of these in dual sealed cabinets for an 8ohm load to a bridged EP2500 could give you what you need. That 8 ohms would be a friendly load for each EP.
Bosso,
Could you please offer a nice course on all that you know, i would drive out for a nice two week course...wish i could add to your post, but....
Whar ever you would charge would pale compared to what i could walk away with.....
**HT Build https://www.avsforum.com/forum/19-ded...-door-0-a.html **
DIY HT builds, are 90%planning, 10%construction
I'd say a typical system is anywhere from 125-135db's depending on car what what you got in there. 150+ is where you face feels like it's falling off lol
A good HT system that is capable of 130db's is what I'd consider pretty badass! There really just is no way to compete with a car, they are to different.
In my current 86 Regal T with 1 x 12' kicker L7 in a sealed 2.5 CF box, I can hit over 130db's fairly easily with my 1500 watt usamps.
Nobody was seeing they wanted to compete with a car, they said they wanted chest thump. If can do 130db+ at 10hz, what do you think I can do at 40hz-80hz?
You don't need a setup as ridiculous as mine to get that loud, horns will get you there, and with a lot less power, but you wont have <20hz response.
I have two JBL10w3s in my rx7. Little 650w dei amp. The sound is incredible. Not hard to pressurize a cabin that is so small. Two 10s and minimal power and the jobs done. If only home audio was so easy.
8 LMS Ultra Ported - JBL 15' 2way - Classix II
| Sponsored Links | |
| Posting Rules | |
You may not post replies You may not edit your posts Smilies are On HTML code is Off Pingbacks are Off | |