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JZStudios

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Everything posted by JZStudios

  1. Fast decay doesn't mean anything on a speaker and waterfall charts are for room decay response. They're literally useless for speakers unless it's measured in a completely silent room with 0 reflections. No one measures "speaker decay." It's not really something that exists. The only reason a long decay/travel time would be audible is if it wiggles like jelly and you're sending a blip through the signal that stops instantaneously. Which is called a step signal test. Considering no music nor instrument does this is, it's a non-issue. There's an argument that if decay was too short it would sound empty and hollow, but even that doesn't track because the speaker is a vibrating mass being driven by a signal. As long as there's a signal it's not just cutting off and stepping between bits like aliasing. Semi-ironically for this argument, it's attack that's more important to keep in time and phase, considering the driver has physical mass. Mentioning waterfall plots just reinforces that the room is the biggest key factor. It's the room that makes speakers sound muddy. Every one that mentions "muddiness" also explains it occurs between 200 and 500hz, which is above the sub range anyways. If he sub is "boomy" you're room is fucked up and it doesn't matter what sub you get. Oh, and just from a music standpoint, "fast" never relates to decay because it doesn't make sense. You have a fast attack, then a short decay. I don't know who you are, nor what you do. If you can show me something about the importance of speaker decay that isn't complete bullshit I'll look into it. I tried looking into it and didn't find anything outside of random forum posts and one guy saying it was pseudoscience with no actual data. I don't know how many times I'm supposed to explain, nor how in depth I'm supposed to explain to him concepts he's capable of googling. I've said multiple times in every post that room correction and calibration are the most important factors. He said what I suggested is fairly novel, which A. Isn't true, B. is quickly remedied by a google search, and C. indicates he hasn't actually looked into proper studio environments. It's not secret technology, he's cruising around the audiophile forums where calibration and properly treated rooms are the devils work because it makes every speaker sound the same. As intended. Presuming he calibrates them at minimum. HEDD doesn't seem to show any frequency response charts either, and considering they have ribbons that go up to 40khz for no reason, I'm betting they're heavy on the highs. They should've put a low pass on it and cut it off at 25khz tops. Unless you're doing crazy specialized stuff like finding upper limits of animal hearing. Pretty much agreed on the sub thing. At least half, and that's assuming he has a better space to begin with. Getting a properly treated room and calibrated speakers, you'll be hard pressed to hear a difference between a $600 pair of Yamaha studio monitors and a $10k pair of whatever.
  2. You must've missed the multiple times I said your room was sub-optimal and you should hire a professional team to do the treatment. If you're moving/making a new room, you need to look for someplace that has good acoustics or hire professionals to help design the room. Otherwise the main argument still stands. At this point I have literally no idea what you want from a sub if a reference speaker isn't good enough for you. Nothing you've said about sub requirements makes sense, and it's evident that you don't know anything about audio.
  3. Quite literally, what the hell does that even mean? Neither he, as a music producer and audio designer nor I know what point a "fast decay" on a b is supposed to do. I could maybe understand if you said fast attack, it fast decay is bizarre. What you're really looking for is a fast decay time in your room which is why it needs to be treated. No, that's his response to your dismissal of our suggestions that room treatment is far more important, and your current room is non-conducive to a stereo of more than ~$2500. At this point, we have no idea what you want from a sub. I point you towards an excellent sub, you look at the price tag and scoff that it's too cheap. You're not open to opinion, you just want to blow money. It doesn't matter that the sub is flatter than the Mason-Dixon linee at high levels, it just has to be expensive and have, of all things, a fast decay. You really don't seem to be. You've made up your mind about spending $10k on a bookshelf stereo and want yes men. My buddy spent from his recollection ~$3000 to tear the walls of his studio out to put in more soundboard and insulation. You saying puing a curtain over the window makes it a none issue is laughable. If you were to do that now you'd have to factor in inflated costs of literally everything, and availability, and then still treat the inside of your room with properly sized and placed panels and deflectors. To treat your room properly it's going to be most of that budget. Even after all of that, your best bet is STILL the Yamaha monitors I initially suggested that are used by actual music producers that you said were a waste of time to recommend.
  4. Alright, so I have a buddy who does EE work for sound chips/amps, stuff like that, for these companies. And has his own music studio. It's a long random list of things, but let's go over it; SVS subs "Fast" doesn't really mean anything and we're both confused as to what you actually want from a sub. "He doesn't understand that in order to hear how a mix was intended you need a flat response in a treated room that also has a flat response." I'm not finishing the rest of that quote, and fuck you if you think I am. The "cheap" $450 SVS sub has a +/-3db range from 24-260hz. The micro 3000 which was "below your price range" does the same, but in a much smaller package. "It's flat at 90db. It's solid at that gain level. It actually has a pole zero pair right around ~15hz which means they added a high pass filter in there that could be tweaked if desired. It can actually go lower, but they set the -3db point around 25hz to filter off nicely with a -20db per decade roll-off. You can tell there's a pole zero pair at ~15hz because it first rises by 20db per decade and then you can see a little roll-off before the next gain stage kicks in. It's flat within measurement error." "It's super easy to get the circuit flat, but it's a different story to make the product as a whole flat with the box design." The have a ported version, which you don't like for some reason, because having bass that causes things to vibrate is... bad, that goes from 17-260hz, and potentially down to 14hz. Overall, yeah, it's pretty trash, and it's below your budget. He recommended this instead; JBL VRX918SP It's still only $2200 though, so maybe still a bit low end. Pretty sure it won't vibrate your house either. Oh, and he also recommended this for some reason. Might also be below your budget, I don't know. Room Setup. "He actually said the glass in his room won't matter." Even with a thick dampening theater style curtain. "He wants to buy shit just to say he has it. Then he will sit in his room and act like he's got such a great listening space and never learn." The sub he recommended "Is for concerts. So therefore it'll sound great in his living room to replicate what mix engineers intended because it's response is so fast you will never hear room reflections because the signals leaving the sub will beat reflections to your ears, therefore cancelling them out." In inverse phase, of course. "The JBL doesn't need any calibration, just plug and play. Put a few potatoes in the ports and you're golden. If it doesn't have ports, you can just drill them and then stuff them with potatoes." The potatoes are a semi-permeable membrane, so it's a balance between ported and sealed. "Solder the volume knob on the JBL up and solder it in place." "It can even be hung from the ceiling for isolation. You can even hang it in front of the windows to sound proof them, then you can skip the curtains. It won't even shake the floor if you put it next to the window." He then proceeded to explain to me that different subs make sound waves travel faster than others, and that JBL is the fastest. I'm not convinced, but he literally does this stuff for a living. I don't argue with him. He also said tubes 100% replicate audio signals, so you should get one of those too.
  5. I mean that a lot of producers use that exact model of Yamaha studio monitors, and a relatively inexpensive calibrated mic will get the response done pretty accurately. i.e. the same way a music producers setup is done. There's a lot that goes into proper room treatment other than just buying panels and placing them around. For $10k I recommend you find out if there's actual experts to get the job done, and it won't be cheap. They have to measure the room and surface types, speaker placements, and reflection locations, then if they're any good, make custom panels. The material isn't cheap, and neither is the labor. If you're not willing to do that, tossing curtains over the windows and some random foam panels isn't enough for that kind of system. Also, just typically speaking, the more expensive speakers are for load sensitivity and pressure level output. Which in a room that small is unnecessary, unless you want to blow out your ears. And for that matter, actual heavy blackout theater style curtains are ~$100. And Walmart stuff won't cut it. Spare room/den, whatever. Doesn't really matter. $10k on a stereo setup is ludicrous when proper room treatment and a $2500 setup will get you the same result as the mixing engineer. The thing about a properly balanced mixing system is if you input a 1k sine wave, the speaker should produce a 1k sine wave. This holds true for every speaker. THD and all that is effectively complete nonsense as long as it's below like .1%, which even dogshit speakers are. The primary point is, if you buy any decent set of speakers, it should be calibrated, and then it will sound pretty much the same as any other set. The timbre might vary slightly, but I'm honestly doubtful. If you calibrate your speakers in a treated room, you can get them to sound like pretty much any other speaker with a parametric EQ. Which, considering your playing from your PC, is freely available in EqualizerAPO. Those Japanese dudes are spending fortunes on their kit and gear in rooms that clearly aren't designed for it. It's literally wasting money. That's also assuming all the snake oil they're buying is actually true. Which it isn't. No, every calibrated test I've seen of SVS subs had a very flat response across the frequency range from like 20hz to 200hz or something. They're ridiculous. Why you think that makes them bad for music is beyond me. There's no logic behind that. The most important thing for a sub is placement. You're not getting a big sub, or even a small sub, that's hitting 20hz without causing shit to rattle. Again, 50hz is 50hz. If it's too loud, turn it down. The SVS subs should even have the phase on a pot, so placement can be even looser. The placement, again, I'd ask actual local professionals if you can. If the price of lumber weren't so astronomically high I'd actually rather suggest you build a dedicated listening room. My only viewpoint is I've taken a disliking to audiophiles because they, for lack of a better term, snort their own farts. They don't actually care about the music, they buy into expensive bullshit, they look down on people with lesser systems, and when presented with actual facts they just cry. And they do shit like buy their own power poles and $100k speakers for their 250sq/ft apartment. If you want to spend $10k, I can't stop you. All I'm trying to tell you is it would be better to get your room professionally treated, and if you aren't, then $10k on a simple stereo setup is pointless. Actual musicians, mixers, audiologists, electrical engineers, and recording engineers really don't like audiophiles.
  6. If you want to listen to your equipment in a woefully unprepared room, go for it. Can't stop you. In fact, I encourage you. I'm telling you for a fact that a $2500 setup will produce exactly what the musician and recording engineer/mixer intended. You're looking to spend about as much money as a movie theater sound system on a stereo setup in your living room. You sound like these Japanese guys. I have no idea what to make about your #3 point. You want to spend $10k on a stereo system, but you don't want a nicely tuned sub with a wide, flat response because they'll shake the room? What the hell kind of sub are you looking for? And why wouldn't you be able to turn the SVS down? None of your requirements make any sense. It's probably up against the wall too.
  7. No, it doesn't. You're intentionally being dumb. There's been lots of cases about home copies, and they're 100% legal, so you're incorrect. That's exactly what EULAs are, I'm tired of arguing this. They are not in any way legally binding until it's resolved in court. It's not my fault you don't know anything about law. Any company can write whatever they want in a EULA, it doesn't make it legally binding unless it's backed up by pre-existing laws. Mods are not up for any debate. You own that software license, you free to do with it as you please, outside redistributing it. Distributing mods that you created is not illegal. You're not distributing anything that has copyrights on it owned by anyone other than you. For the love of god, look up some law. For the third time, EULAs don't mean shit. I don't have links. Why am I expected to just have these links on hand? Alternatively, why am I expected to Google things for you? Google copyright law, specifically software licenses, dvd and game rips, game emulation, fan edits, reselling software, and EULAs. Specifically in the US, particularly since T2 is an American company.
  8. Well if he's getting those, he needs at least 4, so his budget is a little too low. I've heard Chase has good credit card limits, they're interest rate is only 30%
  9. At $10k for a stereo setup you're definitely entering snake oil territory. Music producers don't even spend that much on a stereo setup, certainly not for bookshelves. My buddy uses Yamaha HS5's and HS8's. The HS5s are only $400/pair and they're used by a lot of music producers. A high end SVS sub is ~$600 unless you want to get really crazy. Give budget for interfaces, you're looking $2k tops. Conveniently I'm also American, so your metric measurements need to be re-converted. Your room is 9ft tall, 13ft wide, and ~21.5ft long. You ideally want to be set up lengthwise, meaning having your setup against the 13ft wide wall. At that size you really need room treatment and having stone and glass you can't cover is going to lead to a lot of reverb making high end systems pointless. You need to have at minimum rugs and curtains to help absorb something. My buddy's living room/house is pretty much all tile with nothing absorptive, which makes everything reverb, sound louder than it really should be, and extremely harsh. He blames his dogs for not having rugs. At this room scale and what frankly very little I know about SVS subs, you only need one. You're looking to get into the "audiophile" market, which I highly don't recommend. It's all snake oil. You're listening from your PC, so expensive analog equipment is entirely unnecessary, any cable can perfectly send a digital signal... there's a lot wrong with the scene. I want Klipsch speakers because they look good, and even then, they don't cost $10k for a full Atmos setup. Alan Parsons, the legendary mixer and recording engineer for Pink Floyd, The Beatles, Wings, solo work, and many others said that audiophiles don't listen to music. They use music to listen to their equipment.
  10. You're perspective is irrelevant and incorrect. You purchased the license for your copy, and you have a legal right, backed by court cases, to do with it whatever you please. If you buy a DVD, you're 100% in your legal right to rip it to your computer and make your own edit. EULA's legally don't mean shit until taken to court. They almost always have stuff in them that's illegal or otherwise dismissible. It's also been held true in court that expecting the layman to read and understand EULAs is unrealistic. They don't mean anything. The fact is, you've purchased your license, you can do whatever you want with it for personal use. They only thing you can't do is redistribute it. R* and T2 have zero legal ground. The mods people are making are either their own work and creation, which R* and T2 legally can't do shit about, or it's very simple modified .ini files and the like. The fact is they simply knew the "definitive edition" was dogshit and want people to buy the new product, and the only way to ensure they can't legally ignore it for something they may already own is to bully the little guys they know won't take them to court over fraudulent charges.
  11. ...So then we're assuming the pirated the game? What's your point? And I said that's completely wrong. Even clearer and more straightforward.
  12. No, they can't. You own the software license you purchased and anything you do with it is legal. As long as the mods aren't redistributing copyrighted material, R* and T2 have no legal grounds for a cease and desist. Even if the mods are redistributing altered code, it's technically a new piece of material. But these modders aren't going to court with T2 even though they're in the right, and T2 knows it.
  13. There's like 6 of those that drive around here. Always thought they were pretty common, never liked them.
  14. It is kind of stupid that such simple shapes can be trademarked and copyrighted though. Pretty sure Sony has TMs for their button logos, which are literally a plus, a circle, a square, and an equilateral triangle. In terms of laws as is, maybe. He could argue he has 6 chevrons, they have 8, and they're pointed in the opposite direction. So then the question comes down to whether or not they own the trademark on anything with a basic chevron, regardless of number and orientation. If he only had one chevron , would it still infringe? How about 2? Just seems like there should be limits on these things when they're basic primitive shapes.
  15. The online is the worst part about these games anyways, other than the fact that online means you don't have to deal with dumbass drivaters driving like assholes and slamming into you at 200mph. The only reason I interacted with online in 4 at all is because they had seasonal cars tied to online events you can't otherwise buy through the game, because being able to access to the content you actually own outside bullshit special events and a literal slot machine would be too easy for the player. I'm prone to not buying it because they won't even fix game save transfers. Given I have a wheel, I'd like wheel support, and FH4 on Steam is broken in this regard. Both things that should be non-issues and certainly should've been fixed for a new release. I have no idea about controller compatibility, but they've outright said they aren't fixing the save game issue. That being said, the premium edition isn't just early access, so acting like it's $40 for just 4 extra days of play time is... dumb. It's also entirely reliant on hype. The add-ons for the past few Horizon games have been kind of shit, and the car packs are wildly random, so they might just be a bunch of cars you don't care about, you just don't know yet. You're pre-paying for $40 worth of "new" content that's probably already done, and you don't even know what it is.
  16. So now you're back to arguing my initial point of "They expected something and hoped for more." Glad we've come full circle. An agreement has been made, understanding has been reached. This pointless argument reaches it's conclusion, and now I'll have to find something else to fill my internet argument time with.
  17. They did though. They gave out the user information they had. You keep saying a court ordered demand has zero expectations. You're continually changing your argument and then saying you never said it. You're not following your own logic. You agreeing to this is counter to your first line. Well that's not true. They demanded everything Signal had, which they provided. They can't get mad at Signal for not having more information. There's nothing to charge them with. Not really. the FBI demanded everything Signal had, which they provided. It was less than they hoped for, but not less than they expected.
  18. Well, good thing it's already been to court and decided. All he said was he thought the kid was terminal, but it turns out he's just ugly, in the middle of a standup routine. This arguments already been had. Y'know, there was an episode of Third Rock from the Sun where Dick, an extraterrestrial, goes to a comedy club and doesn't understand why everyone is laughing about the guy on stage saying his mothers flabby arms were so large a tricycle fell out. Or something to that effect. This man was just being viciously demeaning towards his mother. He had to learn to understand what sarcasm, expression, exaggeration, and comedy are. Maybe you should watch that episode.
  19. Okay, so in your first example the Feds are now asking you specifically for some random guys messaging info, and not the place that actually provides the service. This is a fucking terrible point and you know it. How can you say your first terrible point, that you expect to not get a cookie from me, then say you never said they didn't expect anything? You're arguing with yourself. Your definition of the line between demand and request in this instance is incorrect. The FBI demanded Signal turn over all info they had about this user, which they did. They didn't demand a request, that's stupid and makes no sense. In legal terms, a request is like a cease and desist. Stop doing this thing or we will sue. You can at that point choose whether or not to comply. Once the court case is done and you lose, their request turns into demands which you must do. There is zero logic to giving a demand and treating it like an optional request. The fact that there was no punishment doesn't mean anything. The demand was for Signal to give over the data or (probably) be held liable in impeding an investigation among other things. The only way this would be a request is if Signal gave them the info before going to court. Thus, it was a demand, and expectations were had.
  20. "Buy a man eat fish, he day, teach fish man, to a lifetime." - Joe Biden I can't believe this, but I absolutely fucking love that AP fact checked that. What a bunch of maroons. https://apnews.com/article/fact-checking-afs:Content:9945191104
  21. It matters because if you're forcing someone to do something for you, you clearly expect a result. If you pay for a cookie, you expect to get a cookie. If you sue for damages, you expect to get money. They are forcing someone to give them something, how could it not matter? Clearly you do think that if you believe a court order means they weren't expecting to get anything. You're missing my point, and seems like it must be intentional. I said they expected something and hoped for more, you said they expected nothing, which defeats the purpose of asking in the first place. When you get a court ordered demand, it's no longer a request and you have clear intention of receiving something.
  22. The people he's asking aren't court ordered to do so. I'm not sure where you think getting a court order or paying for something means you actually have no intention of obtaining said thing. And again, his intention in that scenario is to get some to check out the store. If he honestly believed no one would check it out, he wouldn't mention it. Not sure where you got that expectation means more than what you actually asked for.
  23. If someone asks for a cookie, they expect a cookie and might hope for a cake. You don't ask for a cookie and expect to get a cake instead. In this case, the feds asked for a cake and got a cookie instead. Especially in this regard since Signal was court ordered to hand over the cake, even though they only had crumbs left.
  24. You don't request something without expecting to get something out of it. If anything they expected something and hoped for more, not the other way around.
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