Just as important as buying a good subwoofer is finding the right place to put it. Even the best subs will struggle if they sit in a room null, or if your listening seat is in a null relative to the location of the sub.
You may have heard the quick-and-dirty recommendation to put your subwoofer in a corner of the room for the strongest bass. To determine that, you should do a Subwoofer Crawl , which entails placing the sub in your primary listening seat and then crawling around the room with a sound level meter while an audio calibration disc plays a bass sweep test tone.
My own home theater room is unfortunately not a perfect rectangle. It has an alcove area to the right side. Additionally, the number of places where I can realistically place a subwoofer is limited by real world practical considerations, such as my furniture and equipment, the need to be able to walk through the room without tripping over a large subwoofer box, and spousal approval. The yellow numbers represent the two best placement options I found after doing a sub crawl.
The front of the room gave me decidedly better results. The smaller SB subwoofer tucks neatly into Position 1 in the alcove. For both aesthetics and spouse approval, this is perhaps my most convenient option. The ported PB is too big to fit in that space, which leaves me with no option except to put it between my front speakers.
Initially, I placed it with the woofer facing forward. That looked terrible with the sub sticking way out into the room beyond my other speakers, so I rotated it 90 degrees to sit sideways. Both the SB and PB are very capable subwoofers, and both made an immediate and obvious improvement over my old unit. I could easily be very happy with either one. In the audio community, an old generalization has it that sealed subwoofers are better for music while ported subwoofers are better for movies.
Ported subs, meanwhile, are able to displace more air and thus can hit deeper octaves at louder volumes, but at the cost of a steeper drop-off curve that may sound boomy. In other words, sealed subs are supposedly better for strumming cello notes while ported subs are better for cannon fire and explosions.
Most home theater fans listen to a mix of both music and movies — not to mention that musical scores are a critical component of almost all movies.
Any good subwoofer will need to strike a balance between both the musical notes and the explosions. Nevertheless, these two specific subwoofers, which are otherwise very evenly matched in terms of driver size and amplification power, do have discernible differences. Judging those differences is more complicated than just disconnecting a cable from one and plugging it into the other, however.
When you change subwoofers, especially when those subwoofers sit in different locations, each unit will react differently with the room and with your other speakers. The only valid way to judge either one is to do a full room correction calibration using Audyssey or whatever similar alternative you have before each.
As such, subtle differences are very hard to evaluate. My approach was to judge both subwoofers individually, leaving each connected to my system for a good amount of time and putting it through its paces before switching to the other and doing the same. After all, most interested users will only buy one or the other of these subwoofers anyway.
I started with the sealed SB, which was able to provide plenty of loud and rich bass with power and authority in my room. However, for all that, the SB was not able to fully pressurize my room on its own. Ideally, two of these subwoofers on opposite ends of the room would be a better fit for a space this size. Keep in mind that my experiences are specific to my own room.
A listener in a smaller room will no doubt get a more visceral impact from the exact same subwoofer. Recreating that same feeling in a large space is significantly harder to achieve. Alan Anton recalls, "We found Rock Island, named not for music but for geology. It is actually one big rock with stuff growing on it and has one small house with a great stone fireplace. We went there for a week at a time and between chopping wood, cooking, boating, whittling, hiking and staring into the fire, worked up some songs that were as laid back and sparse as the setting.
The Junkies moved into the rented home in the suburbs of Athens in June The producer and engineer John Keane had built a homey but state-of-the-art studio, and the band settled in quickly. Wanting to repeat the process of writing and creating used for Lay It Down , Michael Timmins found a house near a grist mill on a pond, a couple hours drive from Toronto, where he spent six months writing songs. Then Michael wrote more, until the songs were worked out and ready to record.
Van Zandt was a friend of the band, had toured with them in their bus in , and was perhaps the biggest influence as a songwriter on Michael. On the day that Michael Timmins had heard that Van Zandt had died he wrote the first draft of "Blue Guitar", "as a tribute to the man who had the bluest guitar that I had ever heard.
Throughout their career, Cowboy Junkies have approached each album to see where they can change or improve. While they were on a tour to support their live album Waltz Across America , which lasted nine months and had many breaks in the schedule, they began working on new material.
They added two to three new songs a month into their performances, allowing the songs to evolve on stage. During breaks, they would go to sound engineer Daryl Smith's studio, Chemical Sound, to live record material they had created.
Being able to set up in a couple hours, record some tracks, and be done by the end of the day was a departure from their habit of trying to complete an album's worth of songs in a set recording period. On each visit, they would record two or three songs. They also took the opportunity to re-record songs. After the band had recorded fifteen tracks, they listened and decided they had the songs they needed, with two additional songs recorded at Peter Moore 's home studio.
One Soul Now was recorded over the course of a year, from October to October Its central idea is that everyone is interconnected. When the band returned home after their Open Tour, they decided to turn their rehearsal area into a recording studio which they dubbed, The Clubhouse.
This new arrangement changed the process of how they created their tracks. Previously, they would start in the rehearsal space, determine how the songs would work, then go to a studio.
Now, the band recorded everything as they worked through the rehearsal process. The theme for the album was war, violence, fear, greed, ignorance, or loss, and everybody had to bring two or three songs written by other people. This album was unique in that John Timmins recorded with his siblings, playing guitar.
At the End of Paths Taken was released on April 9, Michael Timmins wrote songs that "reflect the complex, frustrating, edifying, and conflict-ridden web of relationships that constitute the family, from nuclear to extended to global.
He is a parent, and a son with aging parents. He plays with his siblings in the Cowboy Junkies. At times Timmons sounds as if he has lost control of his guitar playing, "until you realize there's not a stray note to be found.
Timmons' guitar playing has grown more aggressive over the years. For the twentieth anniversary of their breakthrough album, The Trinity Session , the Cowboy Junkies reinterpreted the album to highlight what twenty years of performing experience brought to the songs.
In order to expand upon the goal of reinterpreting, the Cowboy Junkies invited three guest musicians whose work has affected the Cowboy Junkies, and whose work and lives were affected by the album. They also perform on other tracks. Jeff Bird, a session musician who has appeared on virtually every Cowboy Junkies album, is also included in the project. The guest musicians worked with the band to re-imagine the songs, making suggestions, trying out fresh nuances.
The album contains a performance film, Trinity Revisited , and a documentary film, Trinity Session Revisited. Although the album was not recorded with a single microphone like the original album, the directors placed the musicians in a circle and used a surround microphone, augmented the recording with ten close-mics to record them.
The Nomad Series is a set of four albums that was released over three years from to The Nomad Series is not based on a particular theme regarding music, but are based on a set of paintings by their friend, artist Enrique Martinez Celaya. The group found the name appropriate, since they have been touring for over 30 years.
The first album in the series is Renmin Park , which is based on ideas the band's principal songwriter, Michael Timmins, got while living in China for three months with his wife and three children. Two of his children were adopted from China, and during their stay they visited the birth village of his adopted daughters.
Most of their time was spent in Jingjiang, situated on the Yangtze River about two hours' drive from Shanghai. Timmins found most of the musicians outstanding, he thought the singers were good because they all performed with passion.
About halfway through the visit, Timmins was introduced to Eric Chen, who was passionate about music, and became Timmins' friend. Chen brought Timmins a variety of CDs and videos that showcased the Chinese rock scene. Michael asked his brother, Peter Timmins, to send him a high-end portable recorder, which he carried everywhere he went, and recorded music, conversations, exercise classes, badminton games, traffic, students chatter in classrooms, street hawkers, and more. He sent the recordings to Joby Baker in British Columbia with instructions to create loops of the sounds, and to use his imagination.
The core of the album is built around a fictional love story between two people who live in different worlds that always keep them apart. Renmin Park is also a thank-you letter to the people of the city that so kindly welcomed him and his family. On December 25, , at the age of 45, Cowboy Junkies friend, Vic Chesnutt , died from an overdose of muscle relaxants.
Chesnutt was generally a friendly and cheerful man, but he sometimes suffered bouts of severe depression. Chesnutt sang the lead on the song, "Postcard Blues. Michael Timmins stated, "One of the hopes of this album is that it inspires people to seek out the originals and keep his music alive. May 3, 2. Feb 14, Torrance, CA. Which is louder? Slapping or fingerstyle? The post wasn't very clear.
It might be technique, but if you feel your technique is fine then IMHO I say just adjust the volume knob when changing styles.
I do this when changing between pick and fingerstyle. Pick is noticeably louder than fingers for me, so I just adjust my volume to compensate. May 3, 3. Dec 22, QLD Australia. May 4, 4. Jan 28, Collinsville, IL. It's a good thing most basses come equipped with a high tech device called a volume pot If you're looking for quick volume changes though, you could always get a pedal for it Dag, Yo. May 4, 5. Jan 22, Maria Stein, OH. Papersen, I play a 4-string Cirrus. Loyalty is what matters to Nardo, who suspects the iPod generation of being riddled with attention deficit disorder.
Get into it. So, with a debut EP, a performance regimen, two expanding companies, a mission to save Long Island music and a state border dividing the band, Styrofoam Junkies may be the busiest band in the world.
With a sound all their own, the guys are bringing all around good times in their shows, using their sound that has yet to be classified into a single genre.
We got a great interview with the guys. They have some great answers so come and read! He asked that we 1 buy him 2 22 oz. Heinekens and 2 listen to a cd he made of himself drumming. We had been working on some new stuff with Steve and Ryan after our old band A Staggering Genius which Steve, Ryan and I played in and Ricky managed fell apart, and Steve was drumming and singing. From there, we grabbed Vinny and welcomed him to the family and Steve got to have a go at being a proper frontman.
Every other name - and we must have gone through hundreds - someone would have a problem with and we were back to square one. A friend of ours actually came up with it one night at a drunken bonfire. PWC: Now, thats how you do it! PWC: How would you describe your sound?
Ricky: Surprising. Always different, always changing. Vinny: Different, but catchy. PWC: How do you feel the internet has affected your music and fan base? Ricky: I don't think it has necessarily effected to content of our music. But it has definitely made our band's fanbase! If it wasn't for site's like Myspace, Purevolume, Indie-music. PWC: Do you draw any inspiration from bands you listen to now or grew up listening to? Ryan: Absolutely. Steve and I are the primary songwriters and I know that my influences are all over out tunes.
If I sat here and gave you all my influences you would have a three page answer. PWC: What would be your dream tour? Steve: Right now, any tour would be a dream tour. But, to make it really dreamy, a nice bus with some 30s of Pabst Blue Ribbon would be ideal.
Random groups I know but all amazing. PWC: What's the most embarrassing song on your ipod? Rich: Ummm about half of it. I have a ton of 10, Maniacs on there, which gets me made fun of.You’re reading Motown Junkies, an attempt to review every Motown A- and B-side ever powermetal.ballanaranuadakelvgukree.infoinfo on the “previous” and “next” buttons below to go back and forth through the catalogue, or visit the Master Index for a full list of reviews so far. (Or maybe you’re only interested in Marv Johnson?Click for more.).