“The only room in history that does down to 8 cycles”. There are multiple dozens of rooms that play down to 8Hz or lower on AVS forum. One guy I’ve visited in Virginia had 16, 18” subwoofers in his ~1500 cubic foot theater space, and could make his French doors in the utility room next door shake 6” on a 7Hz note from the movie Black HawK Down like a poltergeist was trying to get out. I’m not knocking your room or your work, it looks like it’d be really neat to visit, but just countering that initial 8Hz stand-alone claim. Also as to the dual opposed subwoofer design. Multiple internet direct vendors have done that long ago as well. Epik Empire, Seaton Submersive HP, BossoBass Raven as a few examples of inert cabinets based on dual opposed subwoofer designs. Here is the video of popalocks room showing a 7Hz cycle from the scene I described. Timestamp 15:30. ua-cam.com/video/l7OX6l-9TXQ/v-deo.html
That's a good point about the 8 Hz. Technically the Eminent Rotary subwoofer can go all the way to DC. Your eight 18's and the same eight 18's I plan to use can also have significant output at 8 Hz. And like you said, not to mention countless others that have multiple large cone high excursion drivers. I do like the whole infinite line idea but I got to thinking about it earlier today and I'm not sure it can match the side to side uniformity of your CBT side surrounds or the ones I plan to build. It might, it would be an interesting experiment to test at least. The CBT however has the advantage of putting shaded or attenuated drivers near the closer side seats and using the full output drivers directed at the seats across the listening area. A non shaded infinite line doesn't have this feature so it's very possible that it wouldn't perform as well on this one aspect. Maybe some day after I retire I'll build one and test it. Anyway, it's still a very impressive system, I would love to experience it. I would definitely want to do some testing before assuming infinite line is best for all speaker locations. I can see how it might be possible for the front three but due to the nature of the side surrounds, I think it's highly likely CBT is the better option. And hey, my mains are almost infinite line and CBT, they are just a little short of floor to ceiling🙂
@@mfkhometheater7742 Thank you for your comments on the Infinite Environments "sonic ship". It is true that other sound systems might be able to produce 8-hertz, but what objective measurement system was utilized in determining at what dB-SPL level and the percentage of distortion and noise was actually produced at that frequency? The goal of the design team at Infinite Environments, was to produce the widest and the most linear spectral acoustic "power" response everywhere in the room, with tremendous "dynamic headroom" (132 dB-SPL) with the lowest measured distortion components of any loudspeaker system in history! In 2000, Dan Siefert and I initiated the first step in creating what we envisioned to be a "quantum leap" in sound reproduction. This first step involved designing and fabricating the custom physical tools required to objectively quantify the characteristics of the individual electro-acoustic transducers or loudspeaker drivers that Dan was designing on a "clean sheet of paper." My job was to design a ten-cubic-foot "half-space" concrete test pit that was cast into a 1,000-square-foot concrete apron. The test pit was filled with acoustic fiberglass and featured an air-tight, removable "baffle board" on which the test drivers were mounted that was flush with the surface of the concrete apron. The drivers were positioned so the front was pointing to space and the rear side pointed into the pit. In my machine shop, I designed and fabricated a one-meter-radius "goniometer" with a "trolley" that held the "precision measurement microphone" and allowed this microphone to be positioned from 0-degrees (on-axis) to 90-degrees (off-axis) to the test driver in precise 15-degree increments. Designing a high-performance electro-acoustic transducer from scratch is a complex engineering endeavor that involves juggling more than fifty variables that all interact with each other in forming the final characteristics of the individual driver over its specified frequency range! Dan utilized computer based analytical modeling in the design phase and a FFT (Fast Fourier Transform) analyzer and many other specialized test instruments including a "laser interferometer" and "accelerometers" to objectively profile all of the mechanical, electrical and acoustical characteristics of our prototype drivers while being tested in the half-space test pit. Marshall Buck, Ph.D., was enlisted into our engineering effort as he offered more than forty-years of experience in audio engineering including V.P. engineering, Cerwin-Vega! 1976-1990, chief acoustics engineer, Harmon International (JBL) 1991-1997, president of the Audio Engineering Society and more! It took eleven years of research, development, fabrication and testing of the "first-article" components before Dan, Marshall and I started the physical construction of the Infinite Environments listening room. Dan decided early in the design phase that the "main" loudspeaker configuration would be seven, ten-foot high, "infinite line arrays". Each array incorporates one hundred and twenty-eight elements mounted on an internally arch-braced, "laser-cut" aluminum baffle with sixty four 3-inch "aluminum-coned" midrange drivers and sixty four 1-inch "soft-domed" ferrofluid-cooled tweeters. These infinite line arrays are mounted vertically and flush with the wall surface while being circumscribed by the ceiling and the floor "pressure boundaries", forming a continuous coherent cylindrical wavefront that does not follow the "inverse square law"! The seven main loudspeakers handle frequencies from 100HZ to beyond audibility with a 48dB per-octave crossover point between the midrange and tweeter of 1,000HZ and a power handling capacity of 5,000 watts rms for each main speaker. Each of the four 875-pound "subwoofer" cabinets contains eight, 12-inch woofers mounted into a "sealed" chamber and "horizontally-opposed" to each other in four groups to cancel the "Newtonian" mass of the moving components, completely eliminating vibrations being imparted into the extremely rigid cabinet structure. The four subwoofers combine a total of thirty two woofers with a cone area of eighteen square feet providing a frequency range of 8HZ to 100HZ with a 48dB per-octave crossover point between the subwoofers and the main speakers and a power handling capacity of 20,000 watts rms in total. All of the nine hundred and twenty eight transducers in the room are driven by nine audio power amplifiers that are characterized by programmable DSP ("digital signal processor") algorithms. These algorithms allow precise equalization control of "spectral amplitude" in 1/4-HZ and 1/4-dB increments and "temporal" control in 25-uS increments. You may believe that you’ve “heard it all before” when it comes to audio and reproduced sound, but be assured, you will ABSOLUTELY KNOW what you’ve been missing when you experience for the first time what can happen when unlimited technological resources and zero compromises meet reality in the INFINITE ENVIRONMENTS “sonic ship”. Make an appointment today and plan on being transported to places you’ve never heard!
@@camera-support-rentals Yeah there is no doubt that a lot of the massive woofer systems out there have more 2nd and 3rd harmonic components than the owners realize. That's not something they can measure with the "Umik" because the microphone itself distortion is too high. You really need B&K for that, I use Earthworks and it's good enough for my purposes. I don't suppose you have heard Brian Elliot's panel woofer system? Brian is the guy that taught Siegfried Linkwitz about open baffle. His panel woofer is the cleanest bass I've ever heard. At 16 Hz, 2nd harmonic is over -50 dB and 3rd more than -70 dB. He put on a 16 Hz tone for me and it was dead silence but when I spoke my voice was modulated at 16 Hz. You didn't hear any harmonics or noise at all. You're with JBL, you must certainly be familiar with Don Keele's work in CBT. I've often wondered if CBT is not necessary in a situation where infinite line is possible but I believe CBT is certainly superior over any short un-shaded line where infinite is not possible. But as I mentioned in the comment above I wonder about the side surrounds, we measured Jonathan's surrounds, actually with Don Keele with us on a Facetime call, and found the uniformity across the listening area to be within about 1 ~ 2 dB. He's using the JBL non symmetrical CBT's all around whereas I will be using DIY full CBT's. I could be proven wrong but I'm not convinced infinite line is the best solution for a side speaker sitting right next to one listener and across the room from the other. I really think CBT can do that a little better. Infinite line is certainly better than any conventional 2-way, 3-way system as these have absolutely no chance of maintaining constant level over any distance. I would really like to experience your infinite line room some day. Right now I don't even have time to finish building my own system however. This theater is in my 2nd, "Forever house", knowing me there will be a 3rd, "Forever house" after I retire from the semiconductor equipment industry and I just might have to try your infinite line idea. Anyway my theater is in the Austin TX area (but I'm currently in Dresden Germany) so depending on where yours is, I may or may not have a chance to experience it some day. I would definitely like to!
I'm one of those guys. I only have (4) 18's and they measure flat down to 5Hz in my room. Cool looking room and deign though. I do find it a bit of a stretch to say you had "unlimited money, unlimited time and unlimited expertise." Unfortunately none of those three things actually exist.
@@camera-support-rentals hello Jon. Are you saying 132dB at 8Hz? Or the subwoofer system peaks at 132dB as a max SPL at another frequency? Many of the guys on avsforum with monster systems use calibrated termlab mics capable of accuracy up to > 150dB. If you truly have a 8Hz test tone hitting 132dB at that single frequency - that is truly impressive.
My name is David Riddle, thank you for your comments. To answer your questions; since Infinite Environments is truly the first, fully engineered sound reproduction room with the widest frequency response (8hz to beyond audibility) and dynamic range (136-Db SPL) with the lowest measured distortion of the loudspeaker and room combined, the sound quality is totally dependent on the program! Certain controlled reflections are utilized to enhance the listener's sense of "envelopment" of the sound stage. Anyone who as ever experienced this room, has always come away with their "jaw on the ground" because the music they had previously listened to from any loudspeaker and room, was a totally new experience due to the lack of distortion this room provides. You may believe that you’ve “heard it all before” when it comes to audio and reproduced sound, but be assured, you will ABSOLUTELY KNOW what you’ve been missing when you experience for the first time what can happen when unlimited technological resources and zero compromises meet reality in the INFINITE ENVIRONMENTS “sonic ship”. Make an appointment today and plan on being transported to places you’ve never heard!
Robert, my name is David Riddle, thank you for your interest in the unique sound reproduction facility that we have designed. Feel-free to contact us via phone for a no-obligation demo!
My name is David Riddle, thank you for your interest in the unique sound reproduction facility that we have designed. Feel-free to contact us via phone for a no-obligation demo!
Jay, my name is David Riddle, thank you for your interest in the unique sound reproduction facility that we have designed. As you have stated, Infinite environments is indeed the future of entertainment! This is the first time in history that digital, high-resolution 2D and 3D images complete with multi-channel digital audio, can be transmitted live to anywhere on the planet without a loss of quality! Historically, the problem with "simulcasts" either live or recorded, has always been the variable quality of visual and sound reproduction available in disparate venues. Modern theaters have installed high-resolution digital projectors but the sound systems have typically remained the same, where every seat perceives a different and distorted sonic perspective. Infinite Environments provides a total solution to this problem: during a live performance, a digital "split" of picture and all of the individual audio channels are sent to a master Infinite Environments theater where the audio portion is re-mixed to optimize the reproduction before being sent to "satellite" Infinite Environments venues. These Infinite Environments venues will provide every viewer and listener an experience with greater intimacy and vastly better sound quality than the audience saw and heard at the original venue! Feel-free to contact us via phone for a no-obligation demo!
What about Atmos? Are you guys able to implement Atmos into this system, that's the only thing I see missing from this system. Other then that, it sounds amazing!
Again, thank you for your comments on the Infinite Environments "sonic ship". My name is David Riddle, as far as your question about Atmos; since an Infinite Environments theater is a "fully-engineered" entity, any configuration of multi-channel audio, including Atmos, can be implemented and objectively tested to perform at our highest standard of acceptance. The real question is will the various configurations of Atmos combined with the vagaries of programming quality convince consumers to purchase all of the additional hardware required? Only time will tell if Atmos will succeed long-term in the marketplace.
@@camera-support-rentals that's great!! I personally think Atmos has been one of the single biggest addition to home theater to take the cinematic experience to the next level. I hope and pray that it stays around, I don't see it going anywhere, anytime soon (I hope 🤞) Also I'll be out visiting universal studios with my family mid October, which is very near your guys demo room, I'm from Utah so if you are still up for giving demos I'd LOVE to experience this room and pick your brain a little bit!
@@texast2595 hi TexasT you are welcome to come and check out the system anytime. Please call us and let us know what day is good for you and you are welcome to bring your family too. Call me Jon 818-994-3461 or Dave 818-314-7275 who is the inventor and the guy talking in the video
i had just about every physical felt with , i still recall earthquake 70mm six-track sensurround at , abc screen 1 , bournemouth feb '75 , 8 year old . saw it 4 times over many months of half year it ran for . i even recall first experience of lucasfilm ltd THX sound system after reading about the hype of it since 1988 and experienced it , after seeing "indiana jones and the last crusade" 70mm six-track Dolby Stereo SS format 43 , 3 times at abc screen 1 , bournemouth so i was very familiar with the soundtrack then saw it world famous CIC Empire Leicester Square , london , twice in lucasfilm ltd THX sound system . oh , difference was thee true night and day . so is that what i was missing on the soundtrack ? in terms of feeling it , feeling it . i mean feeling it . then saw another movie at another THX cinema at CIC UCI high wycombe , "arachnophobia" in Dolby Stereo SR format 05 and the THX JBL sound power was out of this world . a friend that took me there , said it was voted 8th best THX sound system cinema on the planet ! sadly no THX cinemas exist in the uk anymore . I use JBL professional cinema pa used and ultra cheaper than JBL synthesis . most JBL synthesis on ebay hardly sells . it was overpriced in my humble honest opinion . may use of use some parts used in actual JBL cinema pa systems and the JBL cinema systems i would buy that over synthesis as JBL pa cinema has actually been used in cinema . having worked as projectionist decades ago now retired . started with UCI cinemas and lastly warner bros . UCI tower park like few other UCI sites used experimental overhead surround and that was 1989 , with Dolby Stereo CP55 with SRA5 all 35mm vic 5 projectors with EV speakers LCR and overhead surrounds , no subs at the site thou typically required for SR soundtracks . my JBL system 4673A five screen wide with 2 to 6 or 8 subs x2 JBL 4645/c 2x JBL 4682 TCB , or i can use two inner channels Le Re for subs to do "star wars" or "close encounters of the third kind" used for different , special sound format presentations that no other home cinema can do , not even a trinnov . yeah , try doing that at home cinema . x11 JBL 8330 mkII that can play many surround formats including the original left-half right-half , something no home cinema can do . it can also do CBS and 6.1 , 7.1 or atmosPlusIIIx beyond . i know what to look for , listen for and feel for . overhead surrounds x9 JBL 8330A that uses world first DOG channels anywhere on the planet . most use overhead surround and no they are not atmos channels . atmos is merely new codec encode/decode of extracting discrete more channels . "overhead surround" . also world first anywhere on the planet i think the vastly infinity of the expanding universe ? "below matrix surround" . an idea i came up with since 1998 . oh , and CBS centre back surround , came up with that idea while in projection booth at UCI and that was 1989 as i was frustrated with phantom sound on the split-surrounds while watching at another cinema that can show 70mm , "indiana jones and the last crusade" . i put my idea into motion 1998 with dts laserdisc of "goldeneye" using x2 sidewall and x5 CBS back wall or centre back surrounds . nearly a full year before dolby labs announced "ex" of course dolby labs got the idea from me , with 30 min long distance , 9pm uk time to new york , eric kristofferson who was more than interested and therefore dolby labs , steal my idea with not even crediting me for the discovery idea . i was , ex professional projectionist that knew what to look for , listen for and feel for with movie soundtrack content . system 15.12.2/6/8 and beyond 38.000kw THX using the actual cinema , lucasfilm ltd THX sound system 3417 . a common denon avc-x8500h integrated with some classic cinema sound processors , Sony SDDS D3000 and the best of the lot , Dolby Stereo CP200 made released in 1980 , regarded best cinema processor ever made and very rare , and still in use at selected cinemas today . if i had passport i would fly over just to listen to it with content/movies of some that i heard in THX . if the line-array speakers ain't playing the movie soundtrack as discrete as LFE.1 should only play the discrete not have all the bass from the discrete channels mixed into it . there is only time bass is diverted to the subs is with Dolby 4.2.4 bass extension . i heard when talking with projectionist at UCI high wycombe early around 2000 on phone , that two JBL subs was used at THX cinema . x2 ? i still find that hard to believe as that THX cinema vibrated my body , with screen channels bass as well and surrounds ? bass with "arachnophobia" was pressing felt against my face , my upper body , lower part of my body , jeans/legs even my feet was feeling it in my shoes . i saw the same movie at preview show 1989 at odeon screen 6 , bournemouth , didn't expect to see it again jan 1990 in THX . i have idea to do my whole room as speakers since most cinema professional pa JBL are cheap , as the surround channel is still not fully covered , i mean fully covered but still wouldn't be cheap even thou it is cheap , wouldn't be cheap but it i would design new surround formats for the surround channels . i am ex professional retired projectionist and i would even go beyond my own expectations . then again there really isn't any it's case of willing to doing it . sound air particles in real life , i know what it sounds like . most movie mixes often never even get timber matching of atmospheric airy outdoor sounds correct . the tone of surrounds vs the LCR mix the sound of even rain effects even sounds out of tonal balance . and rain effects with these , atmos mixes ? really ? rain is complex effect to mix and mostly the rain is heard at ground level as gravity is pushing it down to landing on multiple surface objects . even underwater movies never get the sound frequency pressure correct on the body least of all the ear and even so would be extremely uncomfortable as small less than teaspoon small drop of water resting against the eardrum would be very uncomfortable . audiologist tested my hearing years ago , used water and ultra sonic to test . even when i use ear-drops , it makes me feel uncomfortable . earthquakes . now that is a complex sound to do it right ? a sub bass won't do earthquakes correctly . even "sensurorund" really ? i doubt very much bass is going to come up at me in vertical angle and press against my body . more like the floor violently vibrating and slowly walls breaking apart due to the tremendous forces of the earthquake buckling the walls and flooring . sound would pass though the building since , earthquakes happen many thousands of feet or few miles down under the earths surface . i have an idea figured out but the use of it would be only good for certain movies ? i think at times i'm taking home cinema a bit too literal , lol . a truck l, lorry or bus passes along side on the road while walking on the pavement . i know how that feels . yet can a movie soundtrack reproduce it ? i even brought that overrated movie uhd atmos "ford vs ferrari" 2019 , a total waste of my listening time . the cars drive-byes sound/feel nothing like and even if could would maybe knacker the amps/speakers and the amount of square foot of air it would have to push which would be near to impossible . movie mixes have competition to mix with the three elements of the soundtrack DME dialogue track , music track , effects track , some element of the tracks would have to be compromised and all mixes use compression . otherwise the sound would wreck the amps and speakers and once at 0dB there is nowhere else to go that's it's limit . and the mid to highs on some movie mixes is often harsh dB deafeningly unrealistic and would result in possible HF hearing loss . i can still hear high frequency pitches up 16,000KHz on few rare movies where a fundamental sound effect pitch reaches up 18,000KHz , "alien 3" 1992 . the germans i think was doing tests with infersonic to see the effects on people . makes my skin crawl . so You're the system can 8Hz ? lol unless in nature it can do that ? well even if walk around i'm sure i can feel it lower than 8Hz . i done many psychoacoustic tests using ear-plugs to see what i can hear to feeling and it is like , just like using a dsp crossover . my cats can hear or google says 40Hz to 90,000KHz and that doesn't mean they can't feel say 20Hz when laying on my cinema seats with bass shaker transducer now . then again my JBL system reaching 20,000KHz or fraction over at 22,000KHz must surly annoy my cats and would be easy for them to hear that tone pitch . humans , meh , unless your under the age of sweet 16 which is roughly where hearing range rolls off at that age .
My name is David Riddle, as far as your question about Atmos; since an Infinite Environments theater is a "fully-engineered" entity, any configuration of multi-channel audio, including Atmos, can be implemented and objectively tested to perform at our highest standard of acceptance. The real question is will the various configurations of Atmos combined with the vagaries of programming quality convince consumers to purchase all of the additional hardware required? Only time will tell if Atmos will succeed long-term in the marketplace.
hello from France, here is a very great information about the JBL SYNTHESIS, the best very high fidelity sound system made from pro sound technology where JBL is the world leader "pro sound comes home". I have not well listened the name of the creator, a very great engineer !
Yes, infinite line is definitely a good way to go. My lines are 9'-8" tall but they are open baffle CBT, not infinite line. My woofers and subwoofers are mounted magnet to magnet to cancel mechanical energy also, this does work really well. As a test I stood nickles on edge on the test baffles for the 18" drivers and they didn't fall when cranked up with a 16 Hz tone. As for the reversing to cancel even harmonics, I did that from around the late 80's until just a few years ago when I decided I would rather keep the even harmonics to help mask any odd harmonics. It's really open to debate which route is best and of course it also depends on the harmonic content of the drivers used, reversing is probably best in some cases, not in all cases. You definitely have a unique room there, very well engineered! I thought I put a lot into mine but this is definitely... actually a little beyond, "next level". I'll send a link to this video to Don Keele, I think he will enjoy seeing this.
@@mfkhometheater7742 Do you use it only for yourself or do you rent it out? We are trying to figure how to market our system. If you have any suggestions let us know. Thanks
@@camera-support-rentals For me it's just a hobby although the theater I built in 2008 was used to promote the movie, "Road to Juarez" to investors. I didn't charge anything for this, one of the primary producers of the movie lives just down the street from me so I just let them use it for free. My day job is in semiconductor manufacturing equipment, I constantly travel the world dealing with issues with multi-million dollar machines that are used to make all those little micro chips in your smart phone, tablet etc. I try to keep the machines running production, the machines try to drive me insane;-) I'm not sure what the best way to market something like that would be. Where is it located? Depending on where it is, it's possible the movie industry might have an application for it for screening material as they shoot their movie. Also, how many seats? Possibly you could rent it for private movie parties? Of course you could use it to market the theater itself, I'm sure there are people out there that would pay you to duplicate it for them in their own space. I've considered going into the custom home theater speaker business after I retire from semiconductor. I would probably approach a home theater installation company and offer them the opportunity to offer their clients custom designed loudspeakers. Something like that might be your best bet too, use your system to demonstrate what is possible but also offer more affordable designs.
My name is David Riddle, thank you for your interest in the unique sound reproduction facility that we have designed. Unfortunately to build an Infinite Environments audio reproduction system anywhere within the continental USA, will cost approximately 1.2 million! Feel-free to contact us via phone for a no-obligation demo!
Ascendo makes a single 50" infrasonic sub that plays 136db continuous and 140db peak. It's advertised to pay down to 5hz, but it'll play to 1hz easily. So just put two of those in a room and nothing could touch it. I am a huge fan of live array and hopefully someday I can make it out to demo this room
There are a handful of super-sized subwoofers like the Ascendo 50" on the market today. Just for the record, each of the four IE subwoofers is equivalent to one 34" driver, and there are four of them . Focusing on low end extension and loudness misses the point. Ascendo (and others like it) are just big. They do not address the most important problems with subwoofers. 1. The moving mass of such a transducer is measured in pounds! When you move it, there is an equal and opposite force applied to the enclosure. The enclosure will walk across the room at high levels! Any and all enclosure movement is unwanted distortion. The IE design completely cancels the Newtonian forces. Even at full volume the enclosure is utterly still. 2. Dumping 6kW into a single voice coil will generate prodigious heat which cannot be dissipated fast enough to avoid significant power compression and high level of distortion. The IE subwoofers distribute the power among 32 voice coils. 3. Big subwoofers are BIG. They eat up a lot of the room they are in. The IE subwoofers are in the walls. There is no intrusion into the living space and they are optimally placed for the most efficient operation. I too hope some day to be able to demonstrate the IE system to you! Dan Siefert
@@dansiefert1863 True, cancellation of mechanical energy in the driver frame, the cabinet etc does make a big difference. Unless the woofer to be used has very rigid frame however, it's best to couple the opposed drivers by the magnets, not the driver flanges. And of course definitely never depend on the cabinet to carry the load of coupling the drivers. Unfortunately the few commercially available subwoofers with opposed drivers do this, they just mount a woofer by its flange on opposite sides of the cabinet. At least all the ones I've seen do it that way. This is certainly better than having woofers only on one side but not the right way to eliminate the mechanical energy. Personally, I prefer mounting them magnet to magnet but since most have pole vents there is still a span between them so the mounting hardware also has to be rigid to prevent any any resonance between the two drivers.
@@mfkhometheater7742 I should have mentioned that the IE sub cabinets are 1.5” HDF with extensive load bearing braces. Further, the drivers are clamped into place, not merely screwed down. I promise, there is no stray vibration in any axis. Bolting the motors together is also bulletproof, I just went a different route.
@@dansiefert1863 Yeah that sounds like it will definitely do the job. The main thing is to eliminate that mechanical energy and if any remains, decouple it from the baffle. I expect your approach does this extremely well!
Lot of nonsense here. Of course the sound reflects off the ceiling and floor. Even the baffle wall affects the sound. A slotted diffuser does not "spread all frequencies equally". I can't even get halfway through this video.
Nate, my name is David Riddle, thank you for your comments. You might have misunderstood Dan and my statements; the "first boundary reflections", that is the initial sound waves emanating from the infinite line arrays, do not reflect from the ceiling and the floor as the arrays form a cylindrical wavefront that provide equal pressure (and rarefaction) floor to ceiling. As the initial wavefront travels to the rear and sidewalls past the diffusers, additional reflections do indeed occur but at much lower level and milliseconds later. As far as the action of the diffusers, they were engineered with multi-depth cavities to equally distribute sound waves over a 180 degree arc into the entire room starting approximately at 1000HZ to above audibility. Feel-free to contact us via phone for a no-obligation demo to eliminate your supposition!
“The only room in history that does down to 8 cycles”. There are multiple dozens of rooms that play down to 8Hz or lower on AVS forum. One guy I’ve visited in Virginia had 16, 18” subwoofers in his ~1500 cubic foot theater space, and could make his French doors in the utility room next door shake 6” on a 7Hz note from the movie Black HawK Down like a poltergeist was trying to get out. I’m not knocking your room or your work, it looks like it’d be really neat to visit, but just countering that initial 8Hz stand-alone claim. Also as to the dual opposed subwoofer design. Multiple internet direct vendors have done that long ago as well. Epik Empire, Seaton Submersive HP, BossoBass Raven as a few examples of inert cabinets based on dual opposed subwoofer designs. Here is the video of popalocks room showing a 7Hz cycle from the scene I described. Timestamp 15:30. ua-cam.com/video/l7OX6l-9TXQ/v-deo.html
That's a good point about the 8 Hz. Technically the Eminent Rotary subwoofer can go all the way to DC. Your eight 18's and the same eight 18's I plan to use can also have significant output at 8 Hz. And like you said, not to mention countless others that have multiple large cone high excursion drivers.
I do like the whole infinite line idea but I got to thinking about it earlier today and I'm not sure it can match the side to side uniformity of your CBT side surrounds or the ones I plan to build. It might, it would be an interesting experiment to test at least. The CBT however has the advantage of putting shaded or attenuated drivers near the closer side seats and using the full output drivers directed at the seats across the listening area. A non shaded infinite line doesn't have this feature so it's very possible that it wouldn't perform as well on this one aspect. Maybe some day after I retire I'll build one and test it.
Anyway, it's still a very impressive system, I would love to experience it. I would definitely want to do some testing before assuming infinite line is best for all speaker locations. I can see how it might be possible for the front three but due to the nature of the side surrounds, I think it's highly likely CBT is the better option. And hey, my mains are almost infinite line and CBT, they are just a little short of floor to ceiling🙂
@@mfkhometheater7742 Thank you for your comments on the Infinite Environments "sonic ship". It is true that other sound systems might be able to produce 8-hertz, but what objective measurement system was utilized in determining at what dB-SPL level and the percentage of distortion and noise was actually produced at that frequency? The goal of the design team at Infinite Environments, was to produce the widest and the most linear spectral acoustic "power" response everywhere in the room, with tremendous "dynamic headroom" (132 dB-SPL) with the lowest measured distortion components of any loudspeaker system in history!
In 2000, Dan Siefert and I initiated the first step in creating what we envisioned to be a "quantum leap" in sound reproduction. This first step involved designing and fabricating the custom physical tools required to objectively quantify the characteristics of the individual electro-acoustic transducers or loudspeaker drivers that Dan was designing on a "clean sheet of paper." My job was to design a ten-cubic-foot "half-space" concrete test pit that was cast into a 1,000-square-foot concrete apron. The test pit was filled with acoustic fiberglass and featured an air-tight, removable "baffle board" on which the test drivers were mounted that was flush with the surface of the concrete apron. The drivers were positioned so the front was pointing to space and the rear side pointed into the pit. In my machine shop, I designed and fabricated a one-meter-radius "goniometer" with a "trolley" that held the "precision measurement microphone" and allowed this microphone to be positioned from 0-degrees (on-axis) to 90-degrees (off-axis) to the test driver in precise 15-degree increments.
Designing a high-performance electro-acoustic transducer from scratch is a complex engineering endeavor that involves juggling more than fifty variables that all interact with each other in forming the final characteristics of the individual driver over its specified frequency range!
Dan utilized computer based analytical modeling in the design phase and a FFT (Fast Fourier Transform) analyzer and many other specialized test instruments including a "laser interferometer" and "accelerometers" to objectively profile all of the mechanical, electrical and acoustical characteristics of our prototype drivers while being tested in the half-space test pit. Marshall Buck, Ph.D., was enlisted into our engineering effort as he offered more than forty-years of experience in audio engineering including V.P. engineering, Cerwin-Vega! 1976-1990, chief acoustics engineer, Harmon International (JBL) 1991-1997, president of the Audio Engineering Society and more!
It took eleven years of research, development, fabrication and testing of the "first-article" components before Dan, Marshall and I started the physical construction of the Infinite Environments listening room. Dan decided early in the design phase that the "main" loudspeaker configuration would be seven, ten-foot high, "infinite line arrays". Each array incorporates one hundred and twenty-eight elements mounted on an internally arch-braced, "laser-cut" aluminum baffle with sixty four 3-inch "aluminum-coned" midrange drivers and sixty four 1-inch "soft-domed" ferrofluid-cooled tweeters. These infinite line arrays are mounted vertically and flush with the wall surface while being circumscribed by the ceiling and the floor "pressure boundaries", forming a continuous coherent cylindrical wavefront that does not follow the "inverse square law"! The seven main loudspeakers handle frequencies from 100HZ to beyond audibility with a 48dB per-octave crossover point between the midrange and tweeter of 1,000HZ and a power handling capacity of 5,000 watts rms for each main speaker.
Each of the four 875-pound "subwoofer" cabinets contains eight, 12-inch woofers mounted into a "sealed" chamber and "horizontally-opposed" to each other in four groups to cancel the "Newtonian" mass of the moving components, completely eliminating vibrations being imparted into the extremely rigid cabinet structure. The four subwoofers combine a total of thirty two woofers with a cone area of eighteen square feet providing a frequency range of 8HZ to 100HZ with a 48dB per-octave crossover point between the subwoofers and the main speakers and a power handling capacity of 20,000 watts rms in total. All of the nine hundred and twenty eight transducers in the room are driven by nine audio power amplifiers that are characterized by programmable DSP ("digital signal processor") algorithms. These algorithms allow precise equalization control of "spectral amplitude" in 1/4-HZ and 1/4-dB increments and "temporal" control in 25-uS increments.
You may believe that you’ve “heard it all before” when it comes to audio and reproduced sound, but be assured, you will ABSOLUTELY KNOW what you’ve been missing when you experience for the first time what can happen when unlimited technological resources and zero compromises meet reality in the INFINITE ENVIRONMENTS “sonic ship”.
Make an appointment today and plan on being transported to places you’ve never heard!
@@camera-support-rentals Yeah there is no doubt that a lot of the massive woofer systems out there have more 2nd and 3rd harmonic components than the owners realize. That's not something they can measure with the "Umik" because the microphone itself distortion is too high. You really need B&K for that, I use Earthworks and it's good enough for my purposes.
I don't suppose you have heard Brian Elliot's panel woofer system? Brian is the guy that taught Siegfried Linkwitz about open baffle. His panel woofer is the cleanest bass I've ever heard. At 16 Hz, 2nd harmonic is over -50 dB and 3rd more than -70 dB. He put on a 16 Hz tone for me and it was dead silence but when I spoke my voice was modulated at 16 Hz. You didn't hear any harmonics or noise at all.
You're with JBL, you must certainly be familiar with Don Keele's work in CBT. I've often wondered if CBT is not necessary in a situation where infinite line is possible but I believe CBT is certainly superior over any short un-shaded line where infinite is not possible. But as I mentioned in the comment above I wonder about the side surrounds, we measured Jonathan's surrounds, actually with Don Keele with us on a Facetime call, and found the uniformity across the listening area to be within about 1 ~ 2 dB. He's using the JBL non symmetrical CBT's all around whereas I will be using DIY full CBT's. I could be proven wrong but I'm not convinced infinite line is the best solution for a side speaker sitting right next to one listener and across the room from the other. I really think CBT can do that a little better. Infinite line is certainly better than any conventional 2-way, 3-way system as these have absolutely no chance of maintaining constant level over any distance.
I would really like to experience your infinite line room some day. Right now I don't even have time to finish building my own system however. This theater is in my 2nd, "Forever house", knowing me there will be a 3rd, "Forever house" after I retire from the semiconductor equipment industry and I just might have to try your infinite line idea. Anyway my theater is in the Austin TX area (but I'm currently in Dresden Germany) so depending on where yours is, I may or may not have a chance to experience it some day. I would definitely like to!
I'm one of those guys. I only have (4) 18's and they measure flat down to 5Hz in my room. Cool looking room and deign though. I do find it a bit of a stretch to say you had "unlimited money, unlimited time and unlimited expertise." Unfortunately none of those three things actually exist.
@@camera-support-rentals hello Jon. Are you saying 132dB at 8Hz? Or the subwoofer system peaks at 132dB as a max SPL at another frequency? Many of the guys on avsforum with monster systems use calibrated termlab mics capable of accuracy up to > 150dB. If you truly have a 8Hz test tone hitting 132dB at that single frequency - that is truly impressive.
Amazing System. I have never seen anything like it on the planet
Pretty cool home theater. How does music sound though? Did harmon’s study show people liked reflections for music?
My name is David Riddle, thank you for your comments. To answer your questions; since Infinite Environments is truly the first, fully engineered sound reproduction room with the widest frequency response (8hz to beyond audibility) and dynamic range (136-Db SPL) with the lowest measured distortion of the loudspeaker and room combined, the sound quality is totally dependent on the program! Certain controlled reflections are utilized to enhance the listener's sense of "envelopment" of the sound stage. Anyone who as ever experienced this room, has always come away with their "jaw on the ground" because the music they had previously listened to from any loudspeaker and room, was a totally new experience due to the lack of distortion this room provides.
You may believe that you’ve “heard it all before” when it comes to audio and reproduced sound, but be assured, you will ABSOLUTELY KNOW what you’ve been missing when you experience for the first time what can happen when unlimited technological resources and zero compromises meet reality in the INFINITE ENVIRONMENTS “sonic ship”.
Make an appointment today and plan on being transported to places you’ve never heard!
@@davidriddle3496 ok thanks for the response.
James, Feel-free to contact us via phone for a no-obligation demo!
Great video. The audiophile in me loves geeking out on this kind of stuff
Robert, my name is David Riddle, thank you for your interest in the unique sound reproduction facility that we have designed. Feel-free to contact us via phone for a no-obligation demo!
That's amazing.
I've never seen this deep knowledge and skills in sound.
I applause you sir.
My name is David Riddle, thank you for your interest in the unique sound reproduction facility that we have designed. Feel-free to contact us via phone for a no-obligation demo!
This is the future of sound entertainment.
Jay, my name is David Riddle, thank you for your interest in the unique sound reproduction facility that we have designed. As you have stated, Infinite environments is indeed the future of entertainment!
This is the first time in history that digital, high-resolution 2D and 3D images complete with multi-channel digital audio, can be transmitted live to anywhere on the planet without a loss of quality!
Historically, the problem with "simulcasts" either live or recorded, has always been the variable quality of visual and sound reproduction available in disparate venues. Modern theaters have installed high-resolution digital projectors but the sound systems have typically remained the same, where every seat perceives a different and distorted sonic perspective.
Infinite Environments provides a total solution to this problem: during a live performance, a digital "split" of picture and all of the individual audio channels are sent to a master Infinite Environments theater where the audio portion is re-mixed to optimize the reproduction before being sent to "satellite" Infinite Environments venues.
These Infinite Environments venues will provide every viewer and listener an experience with greater intimacy and vastly better sound quality than the audience saw and heard at the original venue! Feel-free to contact us via phone for a no-obligation demo!
What about Atmos? Are you guys able to implement Atmos into this system, that's the only thing I see missing from this system.
Other then that, it sounds amazing!
Again, thank you for your comments on the Infinite Environments "sonic ship". My name is David Riddle, as far as your question about Atmos; since an Infinite Environments theater is a "fully-engineered" entity, any configuration of multi-channel audio, including Atmos, can be implemented and objectively tested to perform at our highest standard of acceptance. The real question is will the various configurations of Atmos combined with the vagaries of programming quality convince consumers to purchase all of the additional hardware required? Only time will tell if Atmos will succeed long-term in the marketplace.
@@camera-support-rentals that's great!!
I personally think Atmos has been one of the single biggest addition to home theater to take the cinematic experience to the next level. I hope and pray that it stays around, I don't see it going anywhere, anytime soon (I hope 🤞)
Also I'll be out visiting universal studios with my family mid October, which is very near your guys demo room, I'm from Utah so if you are still up for giving demos I'd LOVE to experience this room and pick your brain a little bit!
@@texast2595 hi TexasT you are welcome to come and check out the system anytime. Please call us and let us know what day is good for you and you are welcome to bring your family too. Call me Jon 818-994-3461 or Dave 818-314-7275 who is the inventor and the guy talking in the video
i had just about every physical felt with , i still recall earthquake 70mm six-track sensurround at , abc screen 1 , bournemouth feb '75 , 8 year old . saw it 4 times over many months of half year it ran for .
i even recall first experience of lucasfilm ltd THX sound system after reading about the hype of it since 1988 and experienced it , after seeing "indiana jones and the last crusade" 70mm six-track Dolby Stereo SS format 43 , 3 times at abc screen 1 , bournemouth so i was very familiar with the soundtrack then saw it world famous CIC Empire Leicester Square , london , twice in lucasfilm ltd THX sound system . oh , difference was thee true night and day . so is that what i was missing on the soundtrack ? in terms of feeling it , feeling it . i mean feeling it . then saw another movie at another THX cinema at CIC UCI high wycombe , "arachnophobia" in Dolby Stereo SR format 05 and the THX JBL sound power was out of this world . a friend that took me there , said it was voted 8th best THX sound system cinema on the planet ! sadly no THX cinemas exist in the uk anymore .
I use JBL professional cinema pa used and ultra cheaper than JBL synthesis . most JBL synthesis on ebay hardly sells . it was overpriced in my humble honest opinion . may use of use some parts used in actual JBL cinema pa systems and the JBL cinema systems i would buy that over synthesis as JBL pa cinema has actually been used in cinema . having worked as projectionist decades ago now retired . started with UCI cinemas and lastly warner bros . UCI tower park like few other UCI sites used experimental overhead surround and that was 1989 , with Dolby Stereo CP55 with SRA5 all 35mm vic 5 projectors with EV speakers LCR and overhead surrounds , no subs at the site thou typically required for SR soundtracks .
my JBL system 4673A five screen wide with 2 to 6 or 8 subs x2 JBL 4645/c 2x JBL 4682 TCB , or i can use two inner channels Le Re for subs to do "star wars" or "close encounters of the third kind" used for different , special sound format presentations that no other home cinema can do , not even a trinnov . yeah , try doing that at home cinema .
x11 JBL 8330 mkII that can play many surround formats including the original left-half right-half , something no home cinema can do . it can also do CBS and 6.1 , 7.1 or atmosPlusIIIx beyond .
i know what to look for , listen for and feel for .
overhead surrounds x9 JBL 8330A that uses world first DOG channels anywhere on the planet . most use overhead surround and no they are not atmos channels . atmos is merely new codec encode/decode of extracting discrete more channels . "overhead surround" .
also world first anywhere on the planet i think the vastly infinity of the expanding universe ? "below matrix surround" . an idea i came up with since 1998 . oh , and CBS centre back surround , came up with that idea while in projection booth at UCI and that was 1989 as i was frustrated with phantom sound on the split-surrounds while watching at another cinema that can show 70mm , "indiana jones and the last crusade" . i put my idea into motion 1998 with dts laserdisc of "goldeneye" using x2 sidewall and x5 CBS back wall or centre back surrounds . nearly a full year before dolby labs announced "ex" of course dolby labs got the idea from me , with 30 min long distance , 9pm uk time to new york ,
eric kristofferson who was more than interested and therefore dolby labs , steal my idea with not even crediting me for the discovery idea . i was , ex professional projectionist that knew what to look for , listen for and feel for with movie soundtrack content .
system 15.12.2/6/8 and beyond 38.000kw THX using the actual cinema , lucasfilm ltd THX sound system 3417 .
a common denon avc-x8500h integrated with some classic cinema sound processors , Sony SDDS D3000 and the best of the lot , Dolby Stereo CP200 made released in 1980 , regarded best cinema processor ever made and very rare , and still in use at selected cinemas today .
if i had passport i would fly over just to listen to it with content/movies of some that i heard in THX .
if the line-array speakers ain't playing the movie soundtrack as discrete as LFE.1 should only play the discrete not have all the bass from the discrete channels mixed into it . there is only time bass is diverted to the subs is with Dolby 4.2.4 bass extension .
i heard when talking with projectionist at UCI high wycombe early around 2000 on phone , that two JBL subs was used at THX cinema . x2 ? i still find that hard to believe as that THX cinema vibrated my body , with screen channels bass as well and surrounds ? bass with "arachnophobia" was pressing felt against my face , my upper body , lower part of my body , jeans/legs even my feet was feeling it in my shoes . i saw the same movie at preview show 1989 at odeon screen 6 , bournemouth , didn't expect to see it again jan 1990 in THX .
i have idea to do my whole room as speakers since most cinema professional pa JBL are cheap , as the surround channel is still not fully covered , i mean fully covered but still wouldn't be cheap even thou it is cheap , wouldn't be cheap but it i would design new surround formats for the surround channels . i am ex professional retired projectionist and i would even go beyond my own expectations . then again there really isn't any it's case of willing to doing it . sound air particles in real life , i know what it sounds like . most movie mixes often never even get timber matching of atmospheric airy outdoor sounds correct . the tone of surrounds vs the LCR mix the sound of even rain effects even sounds out of tonal balance . and rain effects with these , atmos mixes ? really ? rain is complex effect to mix and mostly the rain is heard at ground level as gravity is pushing it down to landing on multiple surface objects . even underwater movies never get the sound frequency pressure correct on the body least of all the ear and even so would be extremely uncomfortable as small less than teaspoon small drop of water resting against the eardrum would be very uncomfortable . audiologist tested my hearing years ago , used water and ultra sonic to test . even when i use ear-drops , it makes me feel uncomfortable .
earthquakes . now that is a complex sound to do it right ? a sub bass won't do earthquakes correctly . even "sensurorund" really ? i doubt very much bass is going to come up at me in vertical angle and press against my body . more like the floor violently vibrating and slowly walls breaking apart due to the tremendous forces of the earthquake buckling the walls and flooring . sound would pass though the building since , earthquakes happen many thousands of feet or few miles down under the earths surface .
i have an idea figured out but the use of it would be only good for certain movies ? i think at times i'm taking home cinema a bit too literal , lol .
a truck l, lorry or bus passes along side on the road while walking on the pavement . i know how that feels . yet can a movie soundtrack reproduce it ? i even brought that overrated movie uhd atmos "ford vs ferrari" 2019 , a total waste of my listening time . the cars drive-byes sound/feel nothing like and even if could would maybe knacker the amps/speakers and the amount of square foot of air it would have to push which would be near to impossible .
movie mixes have competition to mix with the three elements of the soundtrack DME dialogue track , music track , effects track , some element of the tracks would have to be compromised and all mixes use compression . otherwise the sound would wreck the amps and speakers and once at 0dB there is nowhere else to go that's it's limit . and the mid to highs on some movie mixes is often harsh dB deafeningly unrealistic and would result in possible HF hearing loss . i can still hear high frequency pitches up 16,000KHz on few rare movies where a fundamental sound effect pitch reaches up 18,000KHz , "alien 3" 1992 .
the germans i think was doing tests with infersonic to see the effects on people . makes my skin crawl . so You're the system can 8Hz ? lol unless in nature it can do that ? well even if walk around i'm sure i can feel it lower than 8Hz . i done many psychoacoustic tests using ear-plugs to see what i can hear to feeling and it is like , just like using a dsp crossover .
my cats can hear or google says 40Hz to 90,000KHz and that doesn't mean they can't feel say 20Hz when laying on my cinema seats with bass shaker transducer now . then again my JBL system reaching 20,000KHz or fraction over at 22,000KHz must surly annoy my cats and would be easy for them to hear that tone pitch . humans , meh , unless your under the age of sweet 16 which is roughly where hearing range rolls off at that age .
I don't think very many ppl are going to read your book.
Can your environment playback all surround format Dolby Atmos, Auro 3d
My name is David Riddle, as far as your question about Atmos; since an Infinite Environments theater is a "fully-engineered" entity, any configuration of multi-channel audio, including Atmos, can be implemented and objectively tested to perform at our highest standard of acceptance. The real question is will the various configurations of Atmos combined with the vagaries of programming quality convince consumers to purchase all of the additional hardware required? Only time will tell if Atmos will succeed long-term in the marketplace.
hello from France, here is a very great information about the JBL SYNTHESIS, the best very high fidelity sound system made from pro sound technology where JBL is the world leader "pro sound comes home". I have not well listened the name of the creator, a very great engineer !
Yes, infinite line is definitely a good way to go. My lines are 9'-8" tall but they are open baffle CBT, not infinite line. My woofers and subwoofers are mounted magnet to magnet to cancel mechanical energy also, this does work really well. As a test I stood nickles on edge on the test baffles for the 18" drivers and they didn't fall when cranked up with a 16 Hz tone.
As for the reversing to cancel even harmonics, I did that from around the late 80's until just a few years ago when I decided I would rather keep the even harmonics to help mask any odd harmonics. It's really open to debate which route is best and of course it also depends on the harmonic content of the drivers used, reversing is probably best in some cases, not in all cases.
You definitely have a unique room there, very well engineered! I thought I put a lot into mine but this is definitely... actually a little beyond, "next level".
I'll send a link to this video to Don Keele, I think he will enjoy seeing this.
Hi mfk where is your theater located? Thanks
MFK, I like what you did also! Bravo!
@@camera-support-rentals Just south of Hutto Texas which is just NE of Austin Texas... still part of the Austin area.
@@mfkhometheater7742 Do you use it only for yourself or do you rent it out? We are trying to figure how to market our system. If you have any suggestions let us know. Thanks
@@camera-support-rentals For me it's just a hobby although the theater I built in 2008 was used to promote the movie, "Road to Juarez" to investors. I didn't charge anything for this, one of the primary producers of the movie lives just down the street from me so I just let them use it for free. My day job is in semiconductor manufacturing equipment, I constantly travel the world dealing with issues with multi-million dollar machines that are used to make all those little micro chips in your smart phone, tablet etc. I try to keep the machines running production, the machines try to drive me insane;-)
I'm not sure what the best way to market something like that would be. Where is it located? Depending on where it is, it's possible the movie industry might have an application for it for screening material as they shoot their movie. Also, how many seats? Possibly you could rent it for private movie parties? Of course you could use it to market the theater itself, I'm sure there are people out there that would pay you to duplicate it for them in their own space.
I've considered going into the custom home theater speaker business after I retire from semiconductor. I would probably approach a home theater installation company and offer them the opportunity to offer their clients custom designed loudspeakers. Something like that might be your best bet too, use your system to demonstrate what is possible but also offer more affordable designs.
i really like this theatre.\I WONDER HOW MUCH THIS COSTS$$?
My name is David Riddle, thank you for your interest in the unique sound reproduction facility that we have designed. Unfortunately to build an Infinite Environments audio reproduction system anywhere within the continental USA, will cost approximately 1.2 million! Feel-free to contact us via phone for a no-obligation demo!
Ascendo makes a single 50" infrasonic sub that plays 136db continuous and 140db peak. It's advertised to pay down to 5hz, but it'll play to 1hz easily. So just put two of those in a room and nothing could touch it.
I am a huge fan of live array and hopefully someday I can make it out to demo this room
There are a handful of super-sized subwoofers like the Ascendo 50" on the market today. Just for the record, each of the four IE subwoofers is equivalent to one 34" driver, and there are four of them . Focusing on low end extension and loudness misses the point. Ascendo (and others like it) are just big. They do not address the most important problems with subwoofers. 1. The moving mass of such a transducer is measured in pounds! When you move it, there is an equal and opposite force applied to the enclosure. The enclosure will walk across the room at high levels! Any and all enclosure movement is unwanted distortion. The IE design completely cancels the Newtonian forces. Even at full volume the enclosure is utterly still. 2. Dumping 6kW into a single voice coil will generate prodigious heat which cannot be dissipated fast enough to avoid significant power compression and high level of distortion. The IE subwoofers distribute the power among 32 voice coils. 3. Big subwoofers are BIG. They eat up a lot of the room they are in. The IE subwoofers are in the walls. There is no intrusion into the living space and they are optimally placed for the most efficient operation. I too hope some day to be able to demonstrate the IE system to you!
Dan Siefert
@@dansiefert1863 True, cancellation of mechanical energy in the driver frame, the cabinet etc does make a big difference. Unless the woofer to be used has very rigid frame however, it's best to couple the opposed drivers by the magnets, not the driver flanges. And of course definitely never depend on the cabinet to carry the load of coupling the drivers. Unfortunately the few commercially available subwoofers with opposed drivers do this, they just mount a woofer by its flange on opposite sides of the cabinet. At least all the ones I've seen do it that way. This is certainly better than having woofers only on one side but not the right way to eliminate the mechanical energy.
Personally, I prefer mounting them magnet to magnet but since most have pole vents there is still a span between them so the mounting hardware also has to be rigid to prevent any any resonance between the two drivers.
@@mfkhometheater7742 I should have mentioned that the IE sub cabinets are 1.5” HDF with extensive load bearing braces. Further, the drivers are clamped into place, not merely screwed down. I promise, there is no stray vibration in any axis. Bolting the motors together is also bulletproof, I just went a different route.
@@dansiefert1863 Yeah that sounds like it will definitely do the job. The main thing is to eliminate that mechanical energy and if any remains, decouple it from the baffle. I expect your approach does this extremely well!
Lot of nonsense here. Of course the sound reflects off the ceiling and floor. Even the baffle wall affects the sound. A slotted diffuser does not "spread all frequencies equally". I can't even get halfway through this video.
Nate, my name is David Riddle, thank you for your comments. You might have misunderstood Dan and my statements; the "first boundary reflections", that is the initial sound waves emanating from the infinite line arrays, do not reflect from the ceiling and the floor as the arrays form a cylindrical wavefront that provide equal pressure (and rarefaction) floor to ceiling. As the initial wavefront travels to the rear and sidewalls past the diffusers, additional reflections do indeed occur but at much lower level and milliseconds later. As far as the action of the diffusers, they were engineered with multi-depth cavities to equally distribute sound waves over a 180 degree arc into the entire room starting approximately at 1000HZ to above audibility. Feel-free to contact us via phone for a no-obligation demo to eliminate your supposition!