Hey all,
Ive never really been knowledgeable about hardware but have years of experience on the software side.
I make electronic music and have always cut my lows out because ive never owned a subwoofer to hear it and do any manipulation in that range, despite wanting to make bass music. I’ll have a bigger space next year and want to start developing synth patches that take advantage of that range (subwork like GRiZ and Bassnectar stand out).
I know that there is some relation to diameter and ported/nonported that will make an impact on accurate reproduction, but most of the threads I find are for “BIGGER BIGGER BASS” and mainly Car AV.
I was originally going to get a ported 10" because i think that would reach the deepest notes but then I wonder if it wont be a very tight response. So then I was thinking 2x 8" because it distributes the power more evenly and i can use higher gain for clarity without just overblowing the sub bass. I also heard that nonported subs have a flatter response? I got a bit lost in the search.
If you wanted the best fidelity you could get, down to 20-30Hz range, what speakers would you go with?
FYI: up top i am thinking 6.5" with 1" tweeters to compliment.
Both of those reads are wrong.
There are many people into hifi as a hobby who are not after absolute accuracy, and there are also many established, widely respected hifi brands who don’t pursue absolute accuracy in their speaker designs. And I would say the increasingly dominant approach in this hobby, even for the people who are more analytically minded, is to pursue a response that takes cues from one of several psychoacoustic response curves… which are not flat.
And I don’t think there are any experienced mix engineers who just want louder and louder sound. Maybe that’s true of teenagers who are spending money from their summer job on some KRK Rokits at Guitar Center… but music mixing is an actual job, and good mix engineers want one thing from their monitoring, which is mix translation. You want your monitoring to be accurate, with minimal coloration of its own, so that when you play your track back on a different system, you don’t end up with completely unpredictable results. If your system has major nonlinearities and idiosyncrasies that you have to compensate for to get things to sound right, those compensations (which apply to your system and yours only) will end up baked into your mix, and your mixes will translate poorly to any other setup. That means your records will sound bad, and you won’t get hired again.