How would I get stereo subs with my setup?

[SunnyOctopus]

I have a pair of KRK VXT 6 and a Creative X-fi Xtreme Audio soundcard.

I know how to hook up 1 sub to the speakers/soundcard, but how would I go about two? I want to pair them with two dayton 10's.

Thanks guys!

 

[TLS Guy]

I have a pair of KRK VXT 6 and a Creative X-fi Xtreme Audio soundcard.

I know how to hook up 1 sub to the speakers/soundcard, but how would I go about two? I want to pair them with two dayton 10's.

Thanks guys!

You don't want stereo subs. You want double mono. Just connect the two subs with a Y connector.

 

[SunnyOctopus]

You don't want stereo subs. You want double mono. Just connect the two subs with a Y connector.

Thanks guy. I love you. ;-;

 

[AJinFLA]

I want to pair them with two dayton 10's.

Which one? Both Dayton 10's, that I could find currently on the PE site, had amplifiers with through-put (in/out), so you could simply daisy chain (Soundcard out>sub1 in, sub1 out>sub2 in).

cheers,

AJ

 

[Seth=L]

You don't want stereo subs. You want double mono. Just connect the two subs with a Y connector.

How is this better than stereo subwoofers?

 

[JerryLove]

I have a pair of KRK VXT 6 and a Creative X-fi Xtreme Audio soundcard.

I know how to hook up 1 sub to the speakers/soundcard, but how would I go about two? I want to pair them with two dayton 10's.

The ideal way to hook stereo subs up is to use an external crossover. I would not be entierly surprised to discover crossover software existed for that card (which has 6-channels out). If not, an external crossover like a Behringer CX could be used (and then out to a 2-channel amp from there).

Alternately: one could use the filters in the subs (left in to left sub and out to left speaker: repeat with right), but as I understand it, the full range is still passed to the speaker and so that's not ideal.

 

[JerryLove]

You don't want stereo subs. You want double mono. Just connect the two subs with a Y connector.

Why does he not want stereo subs again?

 

[TLS Guy]

How is this better than stereo subwoofers?

Because in the deep bass you excite less standing waves and adverse room effects if the subs all have the same signal. That is why there is only one LFE output and not two.

 

[AJinFLA]

Because in the deep bass you excite less standing waves and adverse room effects if the subs all have the same signal.

Do you have evidence of this, or is it an opinion?

That is why there is only one LFE output and not two.

Then how do you explain the 7.2 format?

 

[BudgetHT]

Then how do you explain the 7.2 format?

The .2 in 7.2 is not stereo. It's mono.

 

[JerryLove]

Because in the deep bass you excite less standing waves and adverse room effects if the subs all have the same signal. That is why there is only one LFE output and not two.

Which is find for material mixed for one LFE. For stereo material that goes below the crossover to sub, there's phase cancellation to consider.

 

[TLS Guy]

Do you have evidence of this, or is it an opinion?


Then how do you explain the 7.2 format?

Good questions.

I could not find much on the Net, so I just did an experiment.

My studio has a slight room dominant reinforcement right at 50 Hz, just 4 db, but enough to create a slight warmth. Luckily my speakers are critically damped so the speakers do not overly reinforce this dominant mode.

I have two audio oscillators. Normally below 80 Hz my system is mono. However it is easy at the flick of switch to change that. I set my prepro to pass through with no processing and all electronic crossovers after the Rotel pre/pro.

I set two asynchronous oscillators to output 50 Hz at exactly 1 Volt and connected them to the left and right channels respectively. In stereo the 50 Hz room mode 50 Hz peak was reinforced by 3 db compared to mono.

Now my mentors told me years ago that deep bass should be mono, and I plead guilty to taking it on faith until now.

What else do I know. Well it has been known since the stereo era that in live sound reinforcement stereo is hopeless as it reinforces room peaks and leads to feed back and therefore significantly reduced forward gain from the mics. So reinforcement is always mono. I used to do a lot of reinforcement of live gigs and can absolutely attest to that.

The next is recording drums. I have just reviewed that literature, and there is overwhelming evidence that drum rigs are much cleaner and reproduce better recorded mono and then panned. That was always my practice.

I see there is lot of debate on some other forums about stereo subs. The consensus seems it is worse. I think it might be coming about for satellite systems as they have to crossover higher. In that case stereo subs would have a definite advantage.

Bass should only be coupled below 80 Hz in my view, and I believe that is the correct approach.

At those frequencies bass does not localize, so I see no advantage to more than one audio channel in the last two octaves. Potential phase summing and canceling super imposed on room reflections seems to me to be ripe for trouble.

However other than my experiment tonight, I can not find an in depth analysis, so may be it is an opportune time to visit this issue.

 

[AJinFLA]

The .2 in 7.2 is not stereo. It's mono.

Yes, I understand that, but to the best of my knowledge (more 2 ch than HT), the (2 LFE) channels can be individually low passed, such that their amplitude responses (free space) will not be the same.

 

[AJinFLA]

Good questions.

I could not find much on the Net, so I just did an experiment.

My studio has a slight room dominant reinforcement right at 50 Hz, just 4 db, but enough to create a slight warmth. Luckily my speakers are critically damped so the speakers do not overly reinforce this dominant mode.

Well, the problem there is that your measurement is dependent on the type of source (monopole most likely), its spatial position in the room and the spatial position of the measurement mic. Change the source types, positions (speaker and mic) and you get a totally different data set. It is a bit more complex than your example.

However other than my experiment tonight, I can not find an in depth analysis, so may be it is an opportune time to visit this issue.

It might be much ado about nothing, since whereas I don't agree that stereo subs are necessarily detrimental, I do agree that in the OP's case, shared signal might be preferred. The reason being power distribution. The 2 subs will share the load equally and maximize SPL capability, especially in the odd case where a stereo soundtrack might have higher LF content in one ch and little if any in the other. I've got a CD or two like that!
As mentioned, for HT, most likely a none issue (though I assumed he is using this as 2 ch).

cheers,

AJ

 

[TLS Guy]

Well, the problem there is that your measurement is dependent on the type of source (monopole most likely), its spatial position in the room and the spatial position of the measurement mic. Change the source types, positions (speaker and mic) and you get a totally different data set. It is a bit more complex than your example.


It might be much ado about nothing, since whereas I don't agree that stereo subs are necessarily detrimental, I do agree that in the OP's case, shared signal might be preferred. The reason being power distribution. The 2 subs will share the load equally and maximize SPL capability, especially in the odd case where a stereo soundtrack might have higher LF content in one ch and little if any in the other. I've got a CD or two like that!
As mentioned, for HT, most likely a none issue (though I assumed he is using this as 2 ch).

cheers,

AJ

I agree my experiment was down and dirty and on the fly. However I'm not moving these monsters.

So in my case that is how I listen to them, so I found that in my situation having the last octave in stereo does indeed aggravate the 50 Hz room mode.