JBL sound system multi surround!

[Brainstorm]

Well I won’t delay and I’ll just cut straight to the chase.

Don’t underestimate the look of this home cinema the TV maybe small don’t let that fool you it’s got plenty of surprises up its sleeve when it comes to sound presentation.


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Source

Pioneer DV-525 DVD player
SONY DVP-S336 player
Cello DR-810 DVD-RW recorder
Pioneer CLD-1750 laserdisc player
Pioneer CLD-2950 laserdisc player

Monitor

Toshiba 4:3

Decoding & processing

Kenwood KRF-X9050D THX select this basically the heart of all the decoding Dolby digital Dolby pro-logic, pro-logic II music and pro-logic II movie also dts which is mostly used of the dts laserdiscs.

Yamaha DSR-70 pro-logic this as been assigned to decode or extract monaural centre phantom sound that is placed within the left and right fronts, it’s connected to the main left and right outputs from the Kenwood KRF-X9050D THX select. It’s a very worthy piece of equipment that can turn or transform any (monaural centre phantom sound) to the centre channel from it’s centre channel output to a second Yamaha processor where I use the two internal inputs one for the discrete centre channel from the Kenwood KRF-X9050D THX select, and the other output from the Yamaha DSR-70 pro-logic where the two signals are brought together as one.

There’s a level adjustment that needs to be done with setting this up. Using the dts set-up and calibration disc where it has become very beneficial over the years with its assorted use of test signals and wideband pink noise.

Yamaha DSP-100 I have already mentioned the use for this decoder processor, but there is one other thing I use on this decoder and the Yamaha DSR-70 pro-logic and that is the low pass out put which is assigned to the Realistic 6 channel audio mixer, that is two outputs and two inputs are used for the three-screen sub bass extension array.

Limiting

Panasonic audio limiter (monaural) this is used for the centre channel only

Ferguson audio limiter ((stereo)) this is used for the left and right channels only

Pioneer VSP-200 Pro-logic AVR assigned for centre back surround sidewalls surrounds and height surround

Mixer

Realistic 6 channel model 32-1210

Realistic 6 channel stereo mixer assigned for sub bass extension and LFE.1 output it is from here all the blending of the low end which supports the three-screen array and surrounds is customised for specific playback same more or less applies for the LFE.1. Where I can monitor the output via the twin VU meters and make any adjustment to the level via cutting back on the low level control on the mixer, it’s fast and simple.

Also there is a low pass output on the Pioneer VSP-200 which is assigned to the Realistic 6 channel audio mixer.

Equalization

JVC SEA E-30, 10 band centre back and height surrounds
Genxxa model 31-2030, 10 band sidewall surrounds
Technics SH-8058, 7 band fronts left and rights
Technics SH-8055, 12 band centre channel and sub bass extension
Marantz EQ-551, 10 band fronts left and right

Active X over

2WEX used to filter for the LFE.1

Amplification

Marantz 1050 this is used for left and right front channel amplification of the JBL Control 5
Marantz 1050 this is used for centre channel amplification of the JBL Control 5
Marantz 1030 this is used for the JBL Control 1 surround array sidewall only
Pioneer VSP-200 this is used for the centre back JBL Control 1 array and height surround array.

Loudspeakers

JBL Control 5 three-screen array two extra JBL Control 5 for later use with five-screen array

JBL Control 1 x10 assigned to sidewalls rear wall and overheard, this is an ongoing project where I’m still installing JBL Control 1 for the ultimate in-room experience.

JBL 4645 this is used for the LFE.1 only its large 18” JBL 2240H gives good roll off of the LFE.1 when it cuts in during some action scenes or some musical passages to add just a bit more extension to the film without being overwhelming, lows moves smoothly from LFE.1 to sub bass extension without even realizing it’s a bit hard to distinguish and works very well indeed.

Eltax A12-R this is used for sub bass extension of the three-screen array and surrounds only! This helps to not over taxi the sub bass nor muddy up or confuse the signals, it also offers incredible flexibility easy and good dynamic range which supports films with creditability.


http://www.audioheritage.org/photopost/data//500/IMAG00031.JPG

http://www.thejudyroom.com/newsletter/pics/oz1.gif
"Follow the yellow brick road".

Lead out to lead in etc, etc.

RCA left and right front stereo outputs from the Kenwood KRF-X9050D THX select goes to an audio limiter then outputs to the Yamaha DSR-70 pro it then outputs from the left and right stereo where it goes to one EQ than of to 1x Marantz 1050 for the left and right JBL control 5.

Centre channel out from the Kenwood KRF-X9050D THX select goes to an audio limiter than outputs to the Yamaha DSP-100 where I use one of the inputs for a special front channel effect of blending two into one that is sent to either the JBL control 5 or two separate loudspeakers one that would be placed overhead of the JBL control 5.

Anyway the centre output then passes t x1 EQ than outputs to x1 Marantz 1050.

A second output from the Yamaha DSR-70 pro, the centre output where I can split the signal from left and right making it less in loudness as one part of the audio signal over to JBL control 5 centre channel via the use of the Yamaha DSP-100 where I use the other input and a single monaural output from that processor which acts as a pre amp in a why is set to full output on the fader.

The Yamaha DSR-70 and DSP-100 both have a low pass output that is sent to the audio mixer channels 1 for main 2 for centre 3 is used from the Pioneer VSP-200 low pass output and 6 is used for LFE.1.

All the faders are set to output the level of sub bass extension and LFE.1 with pan pots sent to full left hand side on channels 1 2 3 where the pan pot for right is sent set to full right hand side. There are two stereo outputs from the mixer and please don’t confuse this with (stereo sub bass). The Eltax R-12 A handles all the sub bass extension for the three-screen and surrounds, where the JBL 4645 handles only the LFE.1.

Surround outputs from the Kenwood KRF-X9050D THX select goes to the Pioneer VSP-200 where it has a built in amplifier for surround matrix this is used for JBL control 1 height surrounds the centre output is used for centre back for the two middle row JBL control 1.

The left and right stereo output from the Pioneer VSP-200 goes to x1 EQ then goes on to x1 Marantz 1030 where speaker A runs the sidewall JBL control 1 and speaker B runs the two outer rear stereo surrounds. I use A&B for Dolby stereo films or the odd few films with split-surrounds.

When in Dolby mode on the Pioneer VSP-200 it will engage the centre back and overhead surrounds when in bypass it will only run the sidewall JBL control 1 unless I switch on B where six JBL control1 will be running.

I think that covers it and who knows what I might add on tomorrow, its all in the Dolby mix.


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[Brainstorm]

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[Brainstorm]

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Looking downwards wow, kinder gives you vertigo :yikes: it does. But isn't she a beauty. :smile5:


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[kelsci]

I think you have some kind of hook-up there, Brainstorm. The only thing that I have is the Pioneer DV-525 player. It is a good player that produces and excellent picture and good sound from its digital outputs. However, the Pioneer Elite DV-37 is far superior in picture and particulaly digital audio output quality. I also own the first cd multi-player with LD capability, the Pioneer CLD M-90. Very good machine all the way around.

[icarus]

Thats quite the setup brainstorm it really will "knock my soaks off. SV must be in paradise looking at all of those JBL control 1xtremes. haha

PS. Brain storm you might want to check for a spelling error in your signature

[Brainstorm]

Signature. Noted and fixed cheers mate.:smile5:

Well I have two other DVD players, and thou they both look stunningly equal with image, where one is used for DVD-RW where some laserdiscs titles have been transfer for my own personal use and look a lot more clearer when the visual signal is sent out via RGB.

Some DVD titles don’t play of most DVD players has some of us have found out over the years, that’s why I use two, and one additional one for DVD-RW transfers only.

All the Star Wars films have been transferred to DVD-RW ok, except the 1997 versions I haven’t gotten around to those yet, a very rare 1982 PAL laserdisc pressing of Star Wars and been transferred Star Wars definitive the one with the 1992 Dolby stereo re-mix that is on the limited edition, Star Trek original Brainstorm The Get Away remake and many more from VHS tape as well.

I needed say anymore about how its all rigged up, just that it does what I thought it would do and more.

Until we get all round true 7.1 mixes and in which form? We already have 6.1 channels matrix and discrete except I’ve been running 6.1 since 1998 with my first Millennium dts 2.4.6 decoder where I hooked the split-surrounds up to a Dolby pro-logic processor the Yamaha DSR-70 with stunning results with films like Goldeneye dts THX laserdisc.

As for the JBL control 1 surround array where I have 2 settings and it’s a hands on affair where if I want films like (Indiana Jones and Last Crusade) to play with x6 JBL control 1 at the present time I have to switch both A&B speaker settings on the Marantz 1030.

The two outer JBL control1 that are placed on the back wall are used along with the x x2 sidewall surrounds. Dolby stereo or six-track Dolby stereo mixes with (split-surrounds) are used with all six JBL playing at once.

For centre back and overhead surrounds I switch of B speaker setting on the Marantz 1030 and turn on the Dolby pro-logic on the Pioneer VSP-200 to divide the signals into four channels of surround with certain types of films not just Dolby-EX any film will work with good split-surround mixing.

SPL can peak up to 102dbc each with (Indiana Jones and the Last Crusade) where the temple starts to rumble and the ground breaks away. At the present moment I’ve been looping the last 15 minutes of the film and taking SPL db readings to calculate a further x4 JBL control 1 for split-surrounds use, with a peak of 117dbc. Of course I would only use it below that level where the rest is used for headroom.

[anamorphic96]

Hey Brainstorm in your sig line it should read. " I want you to knock my socks off "

Hope this helps.

[Brainstorm]

anamorphic96

Cheers mate

I fixed it, that’s one of the quotes from Brainstorm 1983 and does the Dolby stereo mix just do that with deep sub bass extension that one some occasions vibrates my eyes!

[emorphien]

ya lost me

[Brainstorm]

ya lost me

emorphien

Which part was that I often lose myself sometimes and while I’m typing I’m getting new ideas all the time even when I sleep I count db not sheep, hmm 100dbc +3db 103dbc +3db 106dbc +3db 109dbc.:D

[SAEA501]

Oh, Ashley......what are we ever going to do with you?

You're way out there my British friend.

[Brainstorm]

SAEA501


Well, well, we all recognise this sound, how can we forget, just read though this and see if you can make heads and tails of it. I’m sure you have plenty of laserdiscs and DVD sitting around with sounds that have eluded you?:smile5:

I think gating and additional techniques like keeping the surrounds active during most films where some mixes mute surrounds. For example (A View to A Kill) during the opening credits, not too sure about the newer DVD editions where some have altered the mix, you know the re-mix.

Feeding the information from the fronts in a matrix form requires Dolby pro-logic some re-plugging and extra surround loudspeaker’s or you can uses a stereo audio mixer and use the inputs alone with the (pan pots) to send the signals to the same surround loudspeakers with the usual discrete surrounds or split-surrounds, follow?

And adjust the levels outputting to the mixer from the fronts the usual Dolby matrix surround ambiance that keeps the liveliness of the film active and surrounding, until discrete surround information comes into the mix.

Films like Forest Gump hardly uses surround, practically during the (rain effects) where that’s only covered by the fronts LCR.

This is something I tired out last year with great affect it really worked well, but a few extra items like gating some of the signals frequency response with different thresholds, this would work very well. Take a film like Apollo 13, during the moments at mission control if you listen very carefully very, you’ll hear voices on the surrounds that sounds like the actual transcripts from the real Apollo 13 incident.

Now I’ve been thinking what would it take to make the frequency range of the specific range without blaring out loudly when cutting back to the CM command module?

There you are a few things you can quiz yourselves over the rest of the day, don’t talk, just pop on of the films in the laserdisc player of DVD and listen.

[emorphien]

You're way out there my British friend.
Yup. I find myself wanting to grab a red pen half the time :18:

[Brainstorm]

Well a pen always comes in handy to do quick nail sketches!:smile5:

Anyway I’m very busy listening to Star Trek III and the split-surrounds and only the (surrounds) hmm filtering some parts of the frequency range though some gates while sending it though a mixer with some audio limiters attached?:23:

You know I still think Dolby A or SR is still a good thing like the Dolby 363. Why well, can hear hiss on some films!

On occasions I see these been sold at cinema site supplier here in the UK at a crazy price.

http://i174.photobucket.com/albums/w118/Brainstorm3417/Dolby-CatSRA.jpg

http://gallery.filmvorfuehrer.de/albums/Prospekte/363_SR_A.jpg

[Dusty Chalk]

I think he's blaming the audio system for temporary blindness and lack of coherence and hence the misspellings and run-on sentences.

Better than drugs.

[L.J.]

Dude, you gotta lot of freakin' gear :eek:

[Brainstorm]

L.J

Yeah, and it still works just fine upgrades of amplification will take place some time soon. :9:

Dusty

Friend, as for my spelling I never criticize anyone else about there’s maybe you should take note you’re gain more friends that way.:smile5:

[Wireworm5]

That's quite an impressive setup you got there and I don't doubt that it sounds equally impressive. But why oh why would you not get a big widescreen tv to go with it?

[Brainstorm]

Wireworm5

Thanks

Never mind about the TV monitor my mind can expand beyond the room’s dimensions, the only item that will fill the picture is a video projector!

WOW the surrounds on Star Trek V are fantastic I’m presently monitoring the surrounds only to take readings and calculations when captain Kirk lobs that thing that catwoman creature onto the surrounds its between 85dba 94dbc WOW great.

[Dusty Chalk]

Dusty

Friend, as for my spelling I never criticize anyone else about there’s maybe you should take note you’re gain more friends that way.:smile5:Wait, two other people criticize your spelling in your sig (which you still haven't completely fixed), but me you nag? I wasn't even criticizing you, just explaining your "vibrating eyeballs" comment to others. I think I don't like you.

[Brainstorm]

Not amused at all in fact I’m very, very, very insulated by the immature and childish act!

[emorphien]

Not amused at all in fact I’m very, very, very insulated by the immature and childish act!
Better than fiberglass!

[Brainstorm]

Better than fiberglass!


Insulted LOL well looks like I need to go to ((spec savers)) well the one thing I can say about this spammer he hasn’t got the bottle to stick around because spammers end been shown to the door and booted out!

Still won’t be long before John deletes this spammers post and banned him from the site!:17:

[emorphien]

once again I have no idea what you're talking about. Are you saying yelhsa followed you here? I don't know who he is but I do know I've seen you on audioholics before.

[Brainstorm]

once again I have no idea what you're talking about. Are you saying yelhsa followed you here? I don't know who he is but I do know I've seen you on audioholics before.

As you too you to it’s a small world. Anyway do you have any interesting audio matters to discuss with me?

Blue you’re been awfully quite there?

[Rock789]

sweet!!!
I miss my 18" sub!!!
I shall have it back some day!!! (it is sitting at my parents basement for the time being...)

[emorphien]

I think 18" subs are in the realm of things I'm not in a big rush to get. I'd have to hear any particular 18" sub to believe it doesn't have some noticeable delay with certain material.

[Rock789]

I think 18" subs are in the realm of things I'm not in a big rush to get. I'd have to hear any particular 18" sub to believe it doesn't have some noticeable delay with certain material.
mine seemed to have a delay when I used it with my old prologic pioneer...
when I upgraded with the denon 2805, it was very tight and accurate!
best ht sub I have ever had!

[GMichael]

I think this thread made a left somewhere when I wasn't looking.
Maybe I zigged when I should have Zagged?

Nice set-up Brian. That's a lot of stuff man.

[SlumpBuster]

Back when I worked at a movie theater in high school and college, it was clearly apparent the the projectionists were a curious bunch. I don't know if Brainstorm is a curious fellow, but he does state that he is a former projectionist and this is definately a curious system.

Constructive critisisms:

I have to question the use of empty speaker cabinets and cardboard boxes as speaker stands. But it is efficient recycling.

Also, I've used that RadioShack mixer, and it almost certainly adds audible noise, although that may be minimal in a sub signal (assuming the crossover/low-pass is after the mixer).

I've been screwing around with EQs myself lately. I tried the el cheapo route with various eqs I had laying about. Couple of 7 band and 10 band models from the 80s. I have found that they are useless (Big suprise :idea: ) Too much noise (clearly audible on some) and not precise enough. You must use parametric eq, or a digital eq, or a quality analog eq with at least 31 bands to be at all effective. So I wonder about the efficacy of all those EQs. But lots o' modern AVRs include simple 7 band eqs for each channel, so YMMV.

What I like about systems like this:

They're Bonkers! But bonkers in a good way. Bonkers like a guy rockin' not one but two, three or more Pioneer and Akai reel to reels. Or a guy with a turntable with three arms. These systems include more gear than you can possibly use. But that is okay. I have more CDs and LPs than I could possibly listen to. And I only recently got over the "more gear than I can use" strain of the disease. Garbage pickers had a field day, although it really was all trash. The good stuff is still hidden in a back corner of my garage that my wife doesn't know about.

Yeah, I spent months of time and tons of money finishing my basement just to conceal wires and run new electrical. But, I have to admit that if I was left to my own devices, I'd probably have a snake pit of wires too.

On some other AV boards, systems like this are common. Here we seem to have a "cleaner" breed prevalent. But its nice to see some of these pop up every now and then. They are definately exhuberant. :5:

Thanks for sharing Brainstorm.

[SlumpBuster]

Oh, and FWIW, you might want to check out rope lighting instead of christmas lights. Much nicer IMNSHO:
http://www.doityourself.com/stry/ropelighting

[yelhsa]

Constructive critisisms:

I have to question the use of empty speaker cabinets and cardboard boxes as speaker stands. But it is efficient recycling.

Also, I've used that RadioShack mixer, and it almost certainly adds audible noise, although that may be minimal in a sub signal (assuming the crossover/low-pass is after the mixer).

I've been screwing around with EQs myself lately. I tried the el cheapo route with various eqs I had laying about. Couple of 7 band and 10 band models from the 80s. I have found that they are useless (Big suprise :idea: ) Too much noise (clearly audible on some) and not precise enough. You must use parametric eq, or a digital eq, or a quality analog eq with at least 31 bands to be at all effective. So I wonder about the efficacy of all those EQs. But lots o' modern AVRs include simple 7 band eqs for each channel, so YMMV.
Just be ready for what’s coming. In his mind he is always right and everyone else doesn’t know what’s going on and that includes the engineers who mastered the audio on some of the DVDs he owns. Thus he will continue to argue. He’s been banned from other forums.

Don’t say I didn’t warn you. :sad:

[L.J.]

Just be ready for what’s coming. In his mind he is always right and everyone else doesn’t know what’s going on and that includes the engineers who mastered the audio on some of the DVDs he owns. Thus he will continue to argue. He’s been banned from other forums.

Hmmm......sounds like someone that used to hang around here :idea:

[Brainstorm]

Slump

1/3 octave I’m very aware of the differences thank you for bring it to my attention. As you know most of us around here aren’t made of money and “these things, be done delicately.” So when I get the time all the amps and EQ’s will be changed just to satisfy me alone.

http://img.tesco.com/pi/entertainment/DVD/LB/518363_DV_L_B.jpghttp://img.tesco.com/pi/entertainment/DVD/LF/518363_DV_L_F.jpg

The overall look and sound of Small Soldiers was brilliantly sharp and rich in colour with this region 2 DVD framed at 2.35:1 scope it’s one of my favorite aspect ratios that worked well with the look of the film.

Sound was top notch with this six-track Dolby stereo digital surround mix that worked very well with centre back. Good spacing of dialogue panning with a few Wilhelm Screams thrown in that made me laugh. LFE.1 was sparely used.

Jerry Goldsmith’s score was a delight to listen to which help to tie in well with the characters and some famous film scores like 2001 with a few songs like War by Frankie goes to Hollywood and Wannabe by Spice Girls and some cracking humour where the neighbourhood all goes to hell with "Chip Hazard" is commando leader voiced by (Tommy Lee Jones) who hunting down Gorgonites leader "Archer" voiced by (Frank Langella).

Extras look good with animated menus. An audio commentary session would have gone down well. Still it was good value for money and good viewing.

Picture 10/10
Sound 10/10
Overall 9/10

[SlumpBuster]

Yeah! That's Bonkers, Baby! Now give me a review of Kick Boxer 2: The Road Back, or Leonard Part 6, no, no... Give me a review of The Adventures of Pluto Nash. Just make sure its an irrelevant movie that nobody in their right mind would possible watch!

[emorphien]

Slump

1/3 octave I’m very aware of the differences thank you for bring it to my attention. As you know most of us around here aren’t made of money and “these things, be done delicately.” So when I get the time all the amps and EQ’s will be changed just to satisfy me alone.
Since I'm not made of money, I don't have 30 speakers. How much did your whole system cost you?

[Brainstorm]

Well the surround array and only the JBL control 1 surround array cost a cool £249. 95p dipolar and bipolar would have been around the same price for a good pair but then your only getting two pairs.

I’ve seen B&W costing nearly £600.00 well they can keep them at that price.

The fronts well I can pick them up for around £105.00 for the pair. Thou when I get the chance fronts might be changed over for large JBL matching of coarse cant do it with mismatching, can we.

The JBL 4645 well I can tell you but I’ll have to feed you to the Sarlacc?:biggrin5:

[emorphien]

I mean what's the total cost of your system?

[basite]

SVI probably is so jaleous and depressed right now... :cornut:

Those are alot of speakers dude!
and for the B&W's, we have a B&W stereo and surround setup, and the difference was definately worth the money...

Rock on...
Bert.

[yelhsa]

Yeah! That's Bonkers, Baby! Now give me a review of Kick Boxer 2: The Road Back, or Leonard Part 6, no, no... Give me a review of The Adventures of Pluto Nash. Just make sure its an irrelevant movie that nobody in their right mind would possible watch!
Guys, you are wasting you time. :incazzato:

He is on medication. In other words, he has a medical condition.

[emorphien]

He is on medication. In other words, he has a medical condition.
I'm wondering what his condition is.

He does kinda remind me of SVI.

[topspeed]

You're either single or have the world's most understanding wife.

Enjoy your rig :).

[Brainstorm]

http://img.tesco.com/pi/entertainment/DVD/LB/622277_DV_L_B.jpghttp://img.tesco.com/pi/entertainment/DVD/LF/622277_DV_L_F.jpg

Just Rented Million Dollar Baby it was heartfelt and heart warming which left me in tears during the second half brilliant.http://www.thedigitalforum.com/images/smiles/icon_cry.gif

Clint Eastwood certainly knows how to make them these days Hilary Swank and Morgan Freeman where grand with great chemistry between them.

Framing in the 2.35:1 scope looked bright and sharply colourful with good focus all round.

Sound was warm with clear dialogue and good narration that carried the story along, surrounds worked well with (centre back) this helped to placed me inside the gym with good atmosphere, body punches where full and impacting even at 0db THX.

LFE.1 was used sparely while fronts use full range to pack a punch on the sub bass extension.

This is on the buy list.

Technical details

Certificate: 12

Region 2

Aspect ratio: scope 2.35:1 Panavision® (anamorphic enhanced)

Running time 127 minutes

Colour: Technicolor®

Cinema sound realise: 35mm Dolby Stereo (SR-D) type, dts SDDS

DVD sound realise: Dolby 5.1 with (split-surrounds)

Year of realise: 2005

DVD year of realise: 2005

Ratings

Picture 10/10

Sound 10/10

Overall rating 10/10

Presentational playback:

Fader: 0db THX reference level

Sound system: JBL

Sound indicator: Dolby 5.1

[topspeed]

Wait a sec...

Did Lexie bound off to Jolly 'ol England?

[Brainstorm]

Wait a sec...

Did Lexie bound off to Jolly 'ol England?

What? Who? Haven’t, a clue what you’re talking about must have the wrong thread?

[GMichael]

Wait a sec...

Did Lexie bound off to Jolly 'ol England?

I was thinking the same thing. But so far, NO CAPS.

[Brainstorm]

Are you talking about some other member who also lives in the United Kingdom, well I’m very pleased.

[GMichael]

Are you talking about some other member who also lives in the United Kingdom, well I’m very pleased.

Be careful going near the water cooler. Worf is looking upset today.

[emorphien]

Technical details

Certificate: 12

Region 2

Aspect ratio: scope 2.35:1 Panavision® (anamorphic enhanced)

Running time 127 minutes

Colour: Technicolor®

Cinema sound realise: 35mm Dolby Stereo (SR-D) type, dts SDDS

DVD sound realise: Dolby 5.1 with (split-surrounds)

Year of realise: 2005

DVD year of realise: 2005

Ratings

Picture 10/10

Sound 10/10

Overall rating 10/10

Presentational playback:

Fader: 0db THX reference level

Sound system: JBL

Sound indicator: Dolby 5.1
He is like SVI. Look at all the pointless tech spec babble he posts!

[PeruvianSkies]

Rediculous...

There is no way possible that SMALL SOLDIERS or MILLION DOLLAR BABY are pristine 10/10 picture or sound discs, even though they might be good, they are not reference quality and if they were, then what score would HD formats get on the same time? 10+?

[Rock789]

perhaps he has a 480p monitor?

[Brainstorm]

Rediculous...

There is no way possible that SMALL SOLDIERS or MILLION DOLLAR BABY are pristine 10/10 picture or sound discs, even though they might be good, they are not reference quality and if they were, then what score would HD formats get on the same time? 10+?

Well you don’t live in the grand United Kingdom do you?:biggrin5:

[emorphien]

His TV isn't high enough quality to judge video quality on any sort of absolute or near absolute scale anyway.

[Brainstorm]

Well it looks fairly shape and it didn’t cost me a penny. The ole SONY KX-27PS1 which I was using before was 27” monitor, but she was starting to give up the ghost with slight loss of black levels all the contrast was going dull and after a few tweaks to keep her going I put her to one side in the kitchen.

So for the meantime I’ll be saving up slowly until I can buy a video projector but the Toshiba does give a shape and colourful image with RGB mode.

[jrhymeammo]

How do you like your 8000 watts of MOSFET RMS single-pento-ended 0.00005% THD Class Alpha total sound system in Tri-Ohm?

But seriously, it looks like fun, doesnt it? I would love to have that system if I had another room. Not sure if you got enough power though. Didnt care to read all the posts, just saw some pics.

[Brainstorm]

No, not interested in 8KW I have something a little more radical in mind, I’ll tell you soon…:D

[yelhsa]

Here’s an interesting read regarding Brainstorm's home theater. Link. (http://www.avsforum.com/avs-vb/showthread.php?t=788546)

[Rock789]

http://www.audioheritage.org/photopost/data//525/JBL_Control_5_front_array_3.JPG

simulating SDDS?
wicked!

[PeruvianSkies]

Well you don’t live in the grand United Kingdom do you?:biggrin5:

Right, I live in the USA, but I am quite familiar with dozens of Region 2, Region 3, Region 4 etc etc PAL/NTSC whatever DVD's as I own very many of them. As far as Region 2 goes I own the following and I am quite aware of their limitations and capabilites, moreover, I am aware of what a TV like that is able to confirm when it comes to picture ratings.

ALI Region 2 DTS
LEAGUE OF EXTRAORDINARY GENTLEMAN Region 2 DTS
DONNIE DARKO Sp. Ed. Region 2 DTS
HOLLOW MAN Region 2
RONIN Region 2 DTS Sp. Ed.
BRIDGE ON THE RIVER KWAI Region 2 Superbit
THE BONE COLLECTOR Region 2 Superbit
MADE Region 2 DTS
ENEMY AT THE GATES Region 2 DTS
FOR A FEW DOLLARS MORE Sp. Ed. DTS Region 2
FISTFUL OF DOLLARS Sp. Ed. DTS Region 2

[PeruvianSkies]

simulating SDDS?
wicked!

SDDS is more than just speaker placement, how are you decoding this on the DVD format for discrete 8 channels of sound?

[Rock789]

indeed
reason I said simulating hehe

[westcott]

Do you think my wife will let me set something up like this in my living room?

[Brainstorm]

http://i174.photobucket.com/albums/w118/Brainstorm3417/fugitive2.jpg

Still a creaking film with deep, deep, deep lows and Foley with a pucker punch!:9:

[Rock789]

just watched fugitive and us marshalls about a month ago

[Brainstorm]

Last time I watched US. Marshalls was December 2006, good Dolby stereo 5.1 mix.

[filecat13]

Hey mate, as I've written elsewhere, that's got to be the largest private collection of JBL Controls in the UK.

A lot of folks don't realize what those beasties are capable of, especially when they run in packs.

:9: :21: :8: :7: :23: :6:

Just keep playing it your way.

[Brainstorm]

Okay here’s what I’ve been up to these past few months.

A trip to D.J. Electronics to get some XLR plugs cable and soldering iron.

http://i174.photobucket.com/albums/w118/Brainstorm3417/Picture020.jpg

Well I had to pop over to Winton high street today to visit the building society and then decided to pop over to Columbia road to (D.J. Electronics) to find out how much XLR male and female plugs cost?

Wow whoopee what a saving I’ve made today a saving of (£1.79p) over Turnkey XLR (£2.99p) for the XLR which D.J. where doing XLR for (£1.20p) each and without hesitation I brought for starters (three males and three females) six (RCA phone plugs) each (0.30p) a new soldering iron (£5.00) and three meters of cable that is screened at (40p) per meter.

Grand total (£16.20p)

Wow I’m more than chuffed now I can get on with some soldering and just wait patently now for the (DCX2496) to arrive.

http://i174.photobucket.com/albums/w118/Brainstorm3417/Picture023.jpg

Note: too hold the plugs and cable in place I used (BLU TACK) it worked a treat in holding things together while keeping my hands free to do the soldering.

http://i174.photobucket.com/albums/w118/Brainstorm3417/Picture033.jpg

Leads from AVR Dolby processing to (DCX2496)

RCA phone plug (red wire) to XLR male plug (pin 2 hot positive)
RCA phone plug (black wire) to XLR male plug (pin 3 cold negative)

Blimey talk about a fiddly task if they only had the right cable F&*)k the soldering has just slipped onto the carpet with a f*76king hole ERRR!

http://i174.photobucket.com/albums/w118/Brainstorm3417/Picture034.jpg

I’m not pleased with the connection, I’ll have to buy some (installation tape) too cover the end up has tightly as possible to prevent movement on the RCA end damn that smell is turning my tummy. Looks like I’m going to have to buy a new carpet a cheap one, I mean I don’t like the colour of it anyway.

http://i174.photobucket.com/albums/w118/Brainstorm3417/Picture030.jpg

http://i174.photobucket.com/albums/w118/Brainstorm3417/Picture038.jpg

That was yesterday and so far I haven’t finished the output XLR leads it was almost a disaster last night, maybe I’m getting old or it could have been the light in the room it wasn’t bright enough to see what I was doing, I mean I had to use a magnifying glass to make sure I’m soldering the correct pins from the XLR to the RCA phone.

And that hole in the carpet doesn’t look good either.

[Brainstorm]

"Houston, Tranquility Base here. The Eagle has landed."

Its arrived at 11:30am I asked if I could shake the deliver guys hand I embraced his hand for the delivery of the (DCX2496). Now I can start unpacking and putting it together.

"Let’s see what she’s got."

http://i174.photobucket.com/albums/w118/Brainstorm3417/Picture.jpg

So far its taken me over 11 hours to get some output assigned to one of the front channels the JBL Control 5 is set up in full range mode for the time being until I start gradually moving over to newer amplification and set the LCR in active mode with the correct amount of low mid for the (LF bass mid driver) and high range to the tweeter HF with a crossover point set at the 2Khz region, dear god give me strength!

So I’ve got to figure out how to get Left and Right performing.

Left channel is outputting from the AVR with RCA phone and XLR going to the input on the (DCX 2496) output is XLR output going to the Marantz 1050.
Still now sound output!

Centre channel is outputting from the AVR with RCA phone and XLR going to the input on the (DCX 2496) output is XLR output going to the Marantz 1050.
Playing now!

Right channel is outputting from the AVR with RCA phone and XLR going to the input on the (DCX 2496) output is XLR output going to the Marantz 1050.
Still no sound output!

I can monitor though the unit via assigning the (menu) and going though the (parameters) and via switching the though A and C I can hear Left A and Right C, except I haven’t achieved proper output from the unit to the second Marantz 1050 that will drive the (stereo) left and right.



Well I’ve managed to get a music out of the Right channel now except when playing (Madonna) track 8 “Live To Tell” the left sound like it was playing though a filter and after switching CD disc over to the (dts CD demo disc) and playing track 14 in repeat mode I noticed the pink noise was indeed filtered off.

Anyway I’ve corrected the frequency output and noticed in the full band mode I can cut the lows at any point, very nice indeed and this is what I was looking for.

Still not out of the woods yet I’ve still got a long way to go, I’m just worried with what other surprises are in store.

Talk about get blood from a stone!

Well it’s got lots of potential in the, users manual the final goal is to as you said and as I’ve been planning it out now for the last few months is to use

Channel input A Left / with channel outputs for Right channel on outputs (1 LF and 2 HF)

Channel input B centre / with channel outputs for Centre channel on outputs 3 LF and 4 HF)

Channel input C Right / with channel outputs for Left channel on outputs 5 LF and 6 HF)

A second unit would be used for additional sub bass extension for the fronts that will be assigned to the ether the JBL 4645 or the other sub bass unit, I haven’t decided on that issue yet.

A third unit for the left sidewall surrounds centre back surrounds right sidewall surrounds.

A fourth unit for height surrounds and LFE.1.

Anyway I’m getting some sleep now rest I’m totally done in!

Plus I might change all the EQ’s for 1/3 octave band types for one for L & R and one for C & centre back surround one for left& right sidewall surrounds, one for height surrounds and LFE.1.

Well getting some kip now.

Well I’ve now managed to get a little more hands on practical use of the unit, and thou the matching LCR fronts are only assigned for full spectrum sound until I start buying the new amplification. I’d like to start of with one next week for the centre channel use and then get one for the left or right channel makes no differences, except I won’t connect them until I have all three amplifiers.

http://i174.photobucket.com/albums/w118/Brainstorm3417/Picture092.jpg

Assigning the wide and narrow frequency bands for smooth high range was apparent on Star Trek II The Wrath of Khan with a more accurate approach during the attack sequence on the Enterprise.

When Kirk says visual there’s a hissing sound of the turbo door opening to the left and about 1 second later pans to the centre channel. In the past it was a kinder muddy masked sound that was so diffused as well as difficult to hear on the left channel, but now thanks to the (DCX 2496) array of features and technology software its more easier on the ear.

http://i174.photobucket.com/albums/w118/Brainstorm3417/Picture095.jpg

Sorry the digital camera can’t focus when up and close to objects.

So what changes did I make, first after exploring the unit with a more hands on experience I noticed I can ether narrow the band or wider the frequency band, so with 7.2Khz set to (((wide))) as to the value well its different for all users rooms and depending on whether the user as matching LCR it would be pointless discussing in greater detail.

So is the (DCX 2496) worth the (£174.99), absolutely and I can’t wait to buy a few more as it really can shape the sound into a more cinematic approach within the room excellent value for money.

http://i174.photobucket.com/albums/w118/Brainstorm3417/Picture094.jpg

[Brainstorm]

The monitor AB and C modes are fairly good so if I where to assign centre channel and select the monitor on channel 2 for the time being and call up the input for B I can select A or C for compression tests on the centre.

For example I used (reference film material only) Star Trek the motion picture original 1979Dolby stereo mix that was transferred from laserdisc to DVD-RW for my own personal use!

The films got some very impressive dialogue panning and sound effects usage that I place on the DVD and then use the (DCX 2496) to match levels. But there’s also the dts demonstration disc, with track 14 all channels wideband pink noise is very useful in adjusting timbre matching over the matching LCR JBL control 5.

Another feature is the delay short or long and it worked out very well with DIE HARD last night with the sound of the buildings explosion and “John McClane” hanging from the outside widow beating it down with his feet, then pushes himself away from the window and taking aim with his (Beretta 92) shots out the window the close ups from the interior shot with each piece of glass on the left and right breaking away with precision and then the shattering plunge throw the window, WOW!

Yes the (DCX 2496) really can make films shine better without the substandard approach where its very common in most homes film soundtracks tend to be too bright and less accurate sounding.

As to the settings of the long and short it’s different for all home cinema set-ups. But its an invaluable feature on the unit that works very well.

Did I mention the memory (flash cards) for storing information, well that’s something I’ll have to buy next. The more EQ X-over as well as the other features I use on the (DCX 2496) the free memory becomes less and less on the unit. Not sure if the updates from Behringer, for the (DCX 2496) will greatly extend the units features?

Must say one of my favourite films at the moment is Star Trek II The Wrath of Khan

With each cut back to each starship, the tension slowly builds up in layers, which probably why Star Trek II is the best Star Trek adventure action film still to this time

“They still haven’t raised there shields”
The mood of the music on left and rights have a more musical sound to it now with low string movement.
“Raise are ours”

“There shields are going up”

“Lock phasers on target”
The string movement starts to pitch a little higher
“Locking phasers on target”

They’re locking phasers”
“Raise shields”
Until it peaks climate and Khan yells out in mad rage!
“FIRE!”

The phaser fire from U.S.S. Reliant crosses from screen left to centre extremely fast with a mild lower level on screen right. Fantastic, Khannnn, Khannnn…

The (DCX 2496) is a whole lot of fun once set-up and thou it depends greatly on the matching LCR it’s a blast.

Anyway since last night I’ve changed the input EQ, and only this afternoon went though the whole thing again step by step (LCR) with small trims at -1db.
2.03khz -1db Q 0.1
3.04khz -1db Q 0.1
4.02khz -1db Q 0.1
5.08khz –1db Q 0.1
6.03khz -1db Q 0.1
7.01khz -1db Q 0.5
8.14khz -1db Q 0.4
9.06khz -1db Q 0.04
10.1khz 1db Q 0.3

Dynamic EQ inputs left and right
2.30khz -2db Q 0.1

Centre
2.30khz +2db Q 0.5

Left and right
Threshold -10db
Ratio 1.1:1
Attack 10m/s
Release 20m/s

Centre
Threshold -10db
Ratio 2.5:1
Attack 10m/s
Release 20m/s

Anyway I’ll explore the inputs now and free date space % is very limited now.

Setting the delay or resetting the configuration and after playing “Apollo 13” (dts THX laserdisc) from chapter 15 where buttons are pressed and switches moved over on screen left it was so easy to hear the difference this (DCX 2496) can make some part of the sounds where mixed in the centre channel. The sounds that where kinder in-between would be suited for left-centre and right-centre

Still it was rewarding to hear it sounded like the cinema to me.

Centre channel

Short delay
800 mm
2.33m/s

Long delay
2.65m
7.71 m/s

The left and right are still in the process of being addressed later in the day. I have only a few hundreds or so less films to try out and once I’ve got figured out that’s the way it’s going to be here.

[Brainstorm]

Via setting one the screen channels with a delay suited to the room’s distance to the listening position at just 4.20m 12.23m/s off screen and left centre right centre half parts of the sound translate with a clearer sound heard on the right when a Nancy, screams in Star Trek original TV show “The Man Tarp.”

Its followed by the scream paned slightly to the left while knowing its half placed in the centre it really works well in widening the width of the three-screen. The sound of Nancy’s scream then anchors to the centre channel with a high pitch 1Khz scream.

http://i174.photobucket.com/albums/w118/Brainstorm3417/Picture119-1.jpg

http://i174.photobucket.com/albums/w118/Brainstorm3417/Picture120-1.jpg

http://i174.photobucket.com/albums/w118/Brainstorm3417/Picture121-1.jpg

The image is taken with the digital camera, sorry about the odd colour it’s the light balance of the camera.

The scream is faint on the left and right in pitch, but it is clearly heard. I wouldn’t have got anywhere near to this without the (DCX2496) features its kinder opened up the sound and enhanced other parts of the soundtrack.

Other scenes inside the caverns with an open reverb echo that gives it size. Other features like Dynamic EQ and threshold settings each one set at 1Khz and gain boosted +15db Q 1.0. Threshold is set to -60db on left and right. Centre is to 1Khz gain +9db Q 1.0 threshold -22db.

As this is only an experiment, to see whether the settings that I have programmed on (DCX2496), so far its worked very well with Star Trek “The Man Tarp.”


Stop The Press!

Looks like I’ve been had by Turnkey with there so called low prices, I see that the DCX2496 is going for details below and no I’m not a happy bunny at all I’ve shelled out a mere £27.00 pounds more!

It pays to shop around! :cornut:

BEHRINGER ULTRADRIVE PRO DCX2496
Product Code: 370330Our price: £147.50 ex VAT£173.31 inc VATStock: Call for more details
http://www.studiospares.com/pd_37033...0DCX2496.h tm

[Brainstorm]

http://img.tesco.com/pi/entertainment/DVD/LB/306552_DV_L_B.jpghttp://img.tesco.com/pi/entertainment/DVD/LF/306552_DV_L_F.jpg

Early this afternoon I’ve set some small changes to three of the two dynamic EQ that are on the DCX2496 one is for inputs, the other is for outputs. So what I changed was the frequency at 80hz with…

Left and right channels 80Hz +7db Q 0.3 threshold -50db
Centre channel 80Hz +8db Q 0.1 threshold -30db
Each one above is set with, attack at 10m/s release at 501m/s

The centre channel has been delayed for weeks now at 2.55m 7.42m/s and performs very well with this afternoons feature The Mummy (1999). Sound that is usually placed off to the left or right have left centre right centre halves, and with the delay made it so easy to hear those placed off to the left and right.

When Rick throws a bag onto a table with rather jumpy Evelyn, and along with exactly clear dialogue ADR, Rick, opens up his assorted weaponry poach from centre too left channel it clearly unwraps and while following its detail made it so involving. While checking his revolvers and sticking them into his side holster placed around him, again its clearly heard. With the delay turned off it becomes slightly difficult to hear, it tends to overlap a kind of shift to the left>.

The rest of the film is still very surprising with terrific split-surrounds that where played with centre back and height. Also I decided to change the outer side JBL Control 1 that are placed to left and right on the rear wall and re-plug them with a Y lead and send the output from the EQ that controls the centre back surround and plug the loudspeaker leads up to the Marartz 1050. The last remaining channel on the Alesis RA300 is powering the middle centre back surrounds.

As soon as I get around to installing the surround amplifiers after I’ve finished with the fronts I might decide on a new plan, hence subject to change at anytime, well I’m only human.

Sub bass extension and LFE.1 via the JBL 4645 was thundering due the last part of the film, this would be where wall doors start closing down the rumbling was tickling my ear as well as pressing on me, kinder felt like the EMPIRE Leicester square. Not once did I see the Alesis RA300 go into clip but the amount of bass mid with the 80Hz boost on the dynamic EQ did a good task on the end credits with good percussion.

Yes I like the DCX2496 it surly makes a sound improvement, its well worth the wait.

[Brainstorm]

Here’s something that might be of sound interest, we always read too much from members about favourite scenes in the movies so I thought I’d add picture stills and text to describe that particular scene.

One of my favourite listening subjects is complex Dolby film mixers where the discrete soundtrack offers a few sequences that might go unheard to most of users, for example HEAT 1995.

There’s a moment at the airport where Neil is running across a busy runway with a DC-10 panning from left to right screen channels only! While presented in the centre channel we hear nothing but the Foley work of footsteps panting and breathing that on most home cinema systems this would be severely masked by the aircrafts noisy jet engines!

This presents very little difficulty here with the help of the Behringer DCX2496 loudspeaker management system and its use of features like dynamic EQ audio limiters crossover filters and basic general EQ and much more, for setting up a perfect or near perfect than what you heard before. The matching fronts in my screen array are JBL control 5 LCR fronts placed up front and have been in use since I brought them back in 1990.

Audio masking is one of those headaches most of hath to deal with and thou there are ways around to a small degree it takes a great deal of patience and careful listening.

http://i174.photobucket.com/albums/w118/Brainstorm3417/HEATNeilDC-10.jpg

As the DC-10 pans from left to right with smooth loudness rather than a shrilly too much for taking sound that would normally be encountered in most home cinema rooms, it presented no trouble with the matching JBL control 5 LCR along with matching Alesis RA300 amplifiers and the brains of the taming all this the affordable Behringer DCX2496 for which none of this would have been possible.

http://i174.photobucket.com/albums/w118/Brainstorm3417/HEATNeilDC-102.jpg

As Neil runs across the runaway breathing and panting along with footsteps that can be easily heard with the settings on the DCX2496 it makes the whole sequence fresh and exciting to listen to rather than struggling with turning the centre channel up which is what most would do but without some to tame the sound when it gets too loud, you simply back at the beginning again.

http://i174.photobucket.com/albums/w118/Brainstorm3417/HEATNeilDC-103.jpg

As Neil gets nearer towards us the breathing gets a little louder but being soft and gentle at the same time as the DC-10 pans off to the right Neil runs towards safety in the airfields back felids. I have to say you can really get into it at this moment and the heals on the shoes really hit that concrete nicely.

http://i174.photobucket.com/albums/w118/Brainstorm3417/HEATNeildieingcentrechannelbreathin.jpg

With Neil’s luck finely running out Hanna puts Neil, down with several gunshot wounds, with musical background sounds on the left and right and with centre channel carrying breathing exhaling with exhaustion along with a few cricket sound effects.

http://i174.photobucket.com/albums/w118/Brainstorm3417/HEATNeilslowingfadingawaybreathingi.jpg

A bass note accompanies and enhances the centre channel deeply followed with musical high notes that slowly build up in layers while left and right would normally be drowning out the centre channel by the point and without anyone realizing just how good the centre channel can sound with proper care and adjustment.

http://i174.photobucket.com/albums/w118/Brainstorm3417/HEATlowbassinthecentrechannelwithbr.jpg

Barely able to hold on Neil finally fades off with last gasp that cuts over the left and right but not too heavily I made sure to maintain the levels so that good stereo separation can still serve the films story.

http://i174.photobucket.com/albums/w118/Brainstorm3417/HEATclassicDobystereodigitalfilm.jpg

As the music reaches a climatic high, with Neil and Hanna in the mist of breathtaking backdrop too what was brilliant cop thriller from the 1990’s and one of many best Dolby stereo digital soundtracks from that era.

(Moby’s) “God moving over the face of the waters” has a nice tranquil feeling a spiritual feeling that suites last moments of the film until (Eliot Goldenthal) score fades in on the closing credits.

I’m not sure if the settings that I made to the DCX2496 would be of any use to someone who owns this fine little unit or if this thread is wetting someone’s appetite to starting over fresh again with there home cinema with matching amplifiers matching fronts LCR and a Behringer DCX2496 loudspeaker management system to make the magic come alive. Or maybe you have matching loudspeakers and amplifiers but haven’t brought the amazing DCX2496 which as been out for several years now.

This is why 9 times out home cinema 10 users always moan why I can’t hear the centre channel but it goes further than a lot further.

[Brainstorm]

Meanwhile I was looking over another classic from 1979 ALIEN with a few scenes from the film some you may be familiar with well almost I’ve just taken it further with the use of the DCX2496 and thou I have struggled along with this before with other techniques that barely worked but never still they worked. In the past I used basic audio limiters and lot of analyzing of the mix over and over and over again until I solved the problem. But with the DCX2496 it’s so far easier in a simple package with fine technical specifications.

Anyway shall we get on with, the little picture show?


With chapter 13 no blood no Dallas we see an air-lock door opening with clear sound down the centre and bleeping sound emitting from the with Jerry Goldsmiths score on screen left and right as with camera steadily moving back the door seals tightly ready for the capture of unwilling guest to be flushed out into space!

http://i174.photobucket.com/albums/w118/Brainstorm3417/ALIENsoundscerentestairlockoepning.jpg

As Dallas proceeds to enter the air duct shafts armed with a flamethrower to flush the beast into the air-lock and zap into outer space his dialogue his clear over the sound of the iris as it closes on screen the left and right with metallic scrapping sound as if it hasn’t grassed in years.

http://i174.photobucket.com/albums/w118/Brainstorm3417/ALIENirisopeningonscreenleftandrigh.jpg

http://i174.photobucket.com/albums/w118/Brainstorm3417/ALIENirisclosingscreenleftandrigtDa.jpg

http://i174.photobucket.com/albums/w118/Brainstorm3417/ALEINclosingirisscreenleftandrightd.jpg

“Okay I’m moving on.” left and right can still be clearly heard while still keeping your attention fixed to dialogue and storyline. One thing should be noted with this scene is that the music with sound effects are played on left and right with occasional music notes being sent to the centre channel.

http://i174.photobucket.com/albums/w118/Brainstorm3417/ALIENRipleylookingforherfriends.jpg

With chapter 16 and now a scared now but lonely Ripley as she nears a compartment being cautious as she peaks around the doorway carefully and calls out “Parker”?

http://i174.photobucket.com/albums/w118/Brainstorm3417/ALIENRipleycallsforParkerwithslight.jpg

With no answer she kneels down sniffing, and breathing with plank face while the mechanics of the engines can be heard on screen right and a decompression of oxygen leaking on screen channels left and right or (centre phantom) (more on how to deal with centre phantom monaural channel later).

http://i174.photobucket.com/albums/w118/Brainstorm3417/ALIENRipleysudderswithclearsoundfro.jpg

Ripley’s face turns cold with shuddering shock on her face it’s clearly heard the drama behind it plays well and reacting to her emotions tells us the ALEIN can be anywhere?

http://i174.photobucket.com/albums/w118/Brainstorm3417/ALEINherfriendsdangerlingwitheffect.jpg

http://i174.photobucket.com/albums/w118/Brainstorm3417/ALEINRipleybacksawaywithhorrorclear.jpg

Knowing she’s the last one she backs away quickly to get of the doomed Nostromo while Foley can be hard with good accuracy.

[Brainstorm]

I like it now that all three screen channels are in (active cross over mode) it’s a problematic issue to loose most of the EQ filter bands due to the X over function but after listening to some of my favourite films late of last night and this even with some extracts from, The Bourne Identity films with clearer wider frequency response on the ole JBL Control 5.

The harsh brittle sound in the mid bass has been greatly reduced with warmer sounding tones HF is free from that cross talk which resulted in shrillness that was too much too bare.

The cross over is set for Linkwitz-Riley 24db LF 50Hz to 1KHz – HF 24db 1KHz to 16.1 KHz 80Hz +7.0db Q 1.0 for the LF LCR channels.

Audio limiter
-16.6db LF LCR
-20.0db HF LCR

The dynamic EQ needs a little more experimentation at the time being but it does sound way better than before only wished I had larger JBL monitors matching LCR for the fronts but I’m pleased never the less very pleased.

I noted how clear STAR TREK the motion picture sounded when Sulu was pressed a button right channel just before Enterprise departed wow now that’s how I remember it in the Empire Leicester square back in 1989.

Going back to the Jason Bourne adventures with the wild car chase in “The Bourne Supremacy” toward the end was cracking tire screeching and metical hits glass and gunshots shined surprisingly over the three-screen.

http://i174.photobucket.com/albums/w118/Brainstorm3417/TheBourneSupremacy1.jpg
http://i174.photobucket.com/albums/w118/Brainstorm3417/TheBourneSupremacy2.jpg
http://i174.photobucket.com/albums/w118/Brainstorm3417/TheBourneSupremacy3.jpg

[Brainstorm]

These pictures where taken a few nights back while I was modifying each of the three JBL Control 5 monitors.

Here I have installed two extra cables into screw socket holes that hold the passive crossover. With the passive crossover HF disconnected and with the new cables connected power the HF tweeter via an electronic frequency dividing network system.
The crossover is set for Linkwitz-Riley 24db LF 50Hz to 1KHz – HF 24db 1KHz to 16.1 KHz 80Hz +7.0db Q 1.0 for the LF LCR channels.

http://www.audioheritage.org/photopost/data//500/Picture_040.jpg

A closer view of my little JBL Control 5 and for the first time they sound a lot better this way without the harshness of brittle sound thou they have been quite beneficial for the past 16 years, but now its time for active crossover active is the way to go its cleaner and its got far more potential.

http://www.audioheritage.org/photopost/data//500/Picture_041.jpg

Catwomen was the first film to be tested with the Behringer DCX2496 loudspeaker management system. I was astonished at how the hash sound disappeared into the JBL Control 5 thus leaving it with cleaner more dynamic lower and higher range, meow.

http://www.audioheritage.org/photopost/data//500/Picture_043.jpg

[Brainstorm]

The delay setting fools the ear very effectively and works very on the DCX2496 so far with films like HEAT chapter 16 “Dead Man Talking” when “Roger Van Zant” gets phone call the tone is heard from the centre channel as well as the left channel.

Here the tone can be heard from the left channel just as it was in the cinema from the conventional optical Dolby stereo soundtrack. The Dolby digital track presents a lot more and few hidden Easter eggs sound surprises that I doubt you’ve even heard before on this rather complex Dolby film mix.

http://i174.photobucket.com/albums/w118/Brainstorm3417/HEATcentrechanneRogerVanZant1.jpg

http://i174.photobucket.com/albums/w118/Brainstorm3417/HEATcentrechanneRogerVanZant2.jpg

[Brainstorm]

http://img.tesco.com/pi/entertainment/DVD/LB/781524_DV_L_B.jpghttp://img.tesco.com/pi/entertainment/DVD/LF/781524_DV_L_F.jpg

Bought the new (Mel Gibson) film today and what a cracking Dolby film it had on the JBL set-up I was surprised by its openness of the jungle sounds and thou this has been attempted before in other films, it wasn’t a bad Dolby mix dialogue or the original linguistic of the natives made this all seem realistic and thou subtitles are provided to help the viewer follow the story it was bad. Audio commentary by (Mel Gibson) and (Farhad Safina) and "Gibson" is out of control, just listening to the guy near the end credits “SDDS sucks” and “colour by Deluxe” the guy is nuts!

LFE.1 was used subtlety in the film while most of the low end is either covered by the LCR surrounds and with deep waterfall sounds it adds a little more deeper extension without mudding or colourizing the sound. So make sure you’re sub bass extension is calibrated correctly and the LFE.1 channel sub bass or array isn’t going to overpower the mix!


One other thing a few nights back I set the levels of the matching JBL control 5 LCR with the centre channel EQ from centre channel first at output on B channel on the DCX2496.

3.04 KHz -0.7db
4.02 KHz -1.4db
5.08 KHz -1.7db
6.03 KHz -0.9db
8.14 KHz -0.8db

I noted the SPL level and frequency response via the RCA phone that was connected from the SPL to the RTA display Technics SH-8055 and all looked well with a flat line, SPL was set to db A weighting for the high frequency test with wideband pink noise.

Next I played some simple dialogue in down mix mode, this is where its all sent to the left and right channels only! Noted the difference and then switched back to Dolby 5.1 up mix mode! Noted the difference was rather high on the left and right and made some simple adjustments to the left and right with a -10db on left and right that is set on the DCX2496.

While this started to sound ok at first I did however notice the left and right was a bit bright sounding so I added some EQ on left and right at.

1.60 KHz -0.5db
2.03 KHz -0.1db
3.18 KHz -0.9db
4.02 KHz -0.9db
5.08 KHz -1.7db
6.03KHz -0.9db
8.14 KHz -0.9db
9.06 KHz -4.0db

100Hz +0.3db
161Hz -0.1db

Thou these settings might be of some use with someone having the same unit I would say the settings might be useless, well its all about trail and error, and thou its less louder now and with greater clearness of the centre channel from music dialogue and sound effects that are placed in the centre channel and don’t forget the centre channel is delayed it was a higher number the week before but for now its at.
2.35m
6.84m/s

Phase is also been adjusted to compensate for the three-screen when bass is sent to all channels, so I played a few openings from a few films “Catwoman” during the first few moments of the opening titles there’s a nice deep bass note that’s sent to LCR and LFE.1 as well, but I was the centre channel that needed some attention because now it was out of phase with the rest of the three-screen.

Setting the phase by going step by step though the different settings, I finally settled with 180° which placed the three-screen channel in-phase and when set with the LFE.1 it adds greater depth not to mention sub bass extension.

[Brainstorm]

Note wit this screen capture, the scene where Obi-Wan walks calmly towards Darth Maul, and where Maul, uses the force to throw box towards the control panel that opens the doors. The sound is heard in the centre channel as well as on the right channel, with the delay setting on the centre channel where it simply makes it easier to hear the right channel thus creating a smoother front stage as well as keeping the centre channel information loud and clear.

http://i174.photobucket.com/albums/w118/Brainstorm3417/StarWarsep1tpm.jpg

Even when Darth Maul, inhales you can hear the subtlety of it. Oh yes I like the new DCX2496 and the new matching amplifies, truly indispensable

http://i174.photobucket.com/albums/w118/Brainstorm3417/StarWarsep1tpm2.jpg

[Brainstorm]

Take a few simple (breezeblocks) and with some plastic of other placed underneath them prevent them from making a mess then place the sub bass on them. If the sub has feet its okay as this will not scratch the surface. If it doesn’t have feet place some carpet on them followed by the sub bass.

http://i174.photobucket.com/albums/w118/Brainstorm3417/SubextesnionwithbreezeblocksEltaxA-.jpg

This was one of the things I tired out since late of last week and thou it was kinder successful at reducing vibrations it wasn’t near enough when I got around to playing Return of the Jedi yesterday afternoon.

http://i174.photobucket.com/albums/w118/Brainstorm3417/STARWARSReturnoftheJediEmperorarriv.jpg

Chapter 13 The Emperors Arrival all the deep tympani bass was kinder lost due to the placement as I had only played a few films since and I guess some of them didn’t have bass between 20 and 40Hz that was deep enough. So after use the SW-Re-mix function on the Kenwood KR-F9050D THX select and sent the screen channel bass to the JBL 4645 where it sounded outstanding with lots of drama in chapter 13 when the Emperor arrives at the new Death Star.

Now all I had to do was re-position it which took around 8 minutes played the same scene over again and wow that was better and no vibration that is originally within 2” from the floor surface this produced enormous rattling problems with the floorboards where I forced to reduce the volume be many db, and as you guessed it this would reduce the impact emotional drama of the mix.

When Han Solo gets punched after carelessly steeping on a twig SNAP! The stormtrooper gives him one heck of smack that felt better than before yes a few (breezeblocks) can make a bit of difference.

http://i174.photobucket.com/albums/w118/Brainstorm3417/STARWARSReturnoftheJediHanbeingpunc.jpg

http://i174.photobucket.com/albums/w118/Brainstorm3417/STARWARSReturnoftheJediHanbeingp-1.jpg

[Brainstorm]

http://i174.photobucket.com/albums/w118/Brainstorm3417/raidersofthelostbreezeblocks.jpg

Had this rather interesting conversation with mate down under that says this technique has been down once before back in 1990 and much to my surprise I think it’s a wonder solution to tighten up the sub bass and give it a fast attack.

http://forum.ecoustics.com/bbs/messages/1/372928.jpg

So here’s the deal I’ll grab a few more breezeblocks in a jiffy for an LFE.1 experiment in the morning as its too late here right now! I’ll need x3 for the task one for each end and one for the middle.

I won’t just go right into it I’d first test it out without the (breezeblocks) make notes of it, the way it feels! SPL db notes would be a little pointless as the unit will only be off the floor be as much as 4” but still I’ll take SPL db readings to use as guide reference.

Also I’ll plug the lead into the SPL db metres output and take RTA readings before and after.

While it may have improved the sub bass extension with tighter low end response and faster attack as that is what I noticed and I’ve had the darn thing in that position time and time again with the same thing having to turn it down slightly due to the sound waves vibrating the floorboards directly beneath the sub bass driver. That’s it beneath “What Lies Beneath” I haven’t tried that one out that’s got awesome low end that is supported over the range of channels mostly the threes-screen like when Norman puts his wife in the bathtub and the water level is rising above the overflow pipe with deep low end!

One other minor change I’d have to make is to the height of the JBL Control 5 right channel it’s going to up by 4” and I’d have to figurer a way of getting it within a few millimetres.

I kinder feel like Indiana Jones “Raiders of the Lost Breezeblocks.”

Oh yeah I’ll try that scene out with the bolder rolling down the cave.

When I get around to building horizontal platform for the front loudspeakers which would take care of placement overnight and a lot more.

Okay time to garb a few breezeblocks before someone else garbs.

Well that didn’t take long and yes I encountered spiders but no snakes, slugs yes and one centipede and I hate bugs.

Well before bring those breezeblocks in I cleaned them down with broomstick and its just struck me, I’m going to need some type of carpet or other to place over or around the breezeblocks before I start moving the JBL 4645 on top them as I don’t what to damage the surface!

http://forum.ecoustics.com/bbs/messages/1/372929.jpg

http://forum.ecoustics.com/bbs/messages/1/372930.jpg

Well I now have some cardboard and I can go ahead with the project sometime today, it was easy after spotting the (ISS) passing overheard only 10 minutes ago heading (southeast) out towards Europe and after showing a girl at the (Co-Op) I then asked for some cardboard and look what I got yes this is more than enough.

http://forum.ecoustics.com/bbs/messages/1/372936.jpg

[Brainstorm]

Now there’s term I like to call “crazy bass” that hits the ear in way that you kinder flitch to one side quickly this was more recognized when I saw Titanic at the local ABC and via the -auditoriums JBL 4675-A screen array. When “Jack and Fabrizio” are running though the crowded docklands the bass rhythm was tapping my ear drum with pleasurable and yet pleasing situation that was kind of ticklish.

Now try that one at home but you’ll need matching fronts and a little phasing of one of the channels left and right to achieve this. The music is one the left and right fronts with subtle instatement on the split-surrounds the centre channel carries dialogue and effects during this sequence.

The first bass note starts around here with slow rhythm that picks up the beat in the next shot it taps the ear somewhere between the 40Hz and 60Hz region.

http://i174.photobucket.com/albums/w118/Brainstorm3417/Titanicbassrhythmthatticklestheear1.jpg

http://i174.photobucket.com/albums/w118/Brainstorm3417/Titanicbassrhythmthatticklestheear2.jpg

[Feanor]

These pictures where taken a few nights back while I was modifying each of the three JBL Control 5 monitors.

Here I have installed two extra cables into screw socket holes that hold the passive crossover. With the passive crossover HF disconnected and with the new cables connected power the HF tweeter via an electronic frequency dividing network system.
The crossover is set for Linkwitz-Riley 24db LF 50Hz to 1KHz – HF 24db 1KHz to 16.1 KHz 80Hz +7.0db Q 1.0 for the LF LCR channels.

...
A closer view of my little JBL Control 5 and for the first time they sound a lot better this way without the harshness of brittle sound thou they have been quite beneficial for the past 16 years, but now its time for active crossover active is the way to go its cleaner and its got far more potential.

...
Catwomen was the first film to be tested with the Behringer DCX2496 loudspeaker management system. I was astonished at how the hash sound disappeared into the JBL Control 5 thus leaving it with cleaner more dynamic lower and higher range, meow.

http://www.audioheritage.org/photopost/data//500/Picture_043.jpg

I have one of those older model Radio Shack SPL meters myself; I also have the newer mode.

[Brainstorm]

I have one of those older model Radio Shack SPL meters myself; I also have the newer mode.

Yeah its been dropped lord knows how many times and keeps on giving me good readings for a 10 year old SPL metre. It was sold by (TANDY) here in the UK and (TANDY) packed up here around mid 1990’s the only thing close to a Tandy store is (MAPLIN Electronics) I just re-soldered the wires on the VU metre last week an its fine.

Oh well I’m back and I’m tired after humping that huge monolith of 2001 odyssey JBL 4645 sub onto those breezeblocks, well it was easy the cardboard made it slide onto them and its kinder added a slight impact with X-Men II The Last Stand when Jean uses her powers to suspend objects until it all came down to thundering SLAM!

http://i174.photobucket.com/albums/w118/Brainstorm3417/Picture060.jpg

http://i174.photobucket.com/albums/w118/Brainstorm3417/X-MenIILFE.1test1.jpg
http://i174.photobucket.com/albums/w118/Brainstorm3417/X-MenIILFE.1test6.jpg
http://i174.photobucket.com/albums/w118/Brainstorm3417/X-MenIILFE.1test8.jpg
http://i174.photobucket.com/albums/w118/Brainstorm3417/X-MenIILFE.1test9.jpg

I believe the frequency response is down to 25Hz on X-Men II when that house slams into the ground as well as most part of film. It hit at 112dbc in the middle and that was more than enough comfortable without being overwhelming.

http://i174.photobucket.com/albums/w118/Brainstorm3417/JBL4645LFE.1subbassbreezeblocktest2.jpg

At the moment I’ve got summer hit from 1999 The Mummy playing chapter 5 when “Rick” busts in to save “Evelyn” his voice his heard from the left sidewall surround array and partly the front its then accompanied by some crazy LFE.1 pounding on my body.