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FAQs
OPTIMAL PLACEMENT OF THE SUBWOOFER WITH SLAPS?
Earthquake’s SLAPS technology has many advantages. It increases output dramatically. It decreases compression and increases momentum. It allows very low tuning frequency from unheard-of small enclosures/cabinets.

All SLAPS come with a new set of placement considerations.  When the sound comes out of both ends of the subwoofer, you require additional insight and forethought to achieve optimal placement. How the subwoofer integrates with the room has a huge impact on the sound reproduction.
It’s therefore a really good to invest some time optimizing your subwoofer placement. Signs of a SLAPS subwoofer being misplaced are usually boomy, inaccurate and thundering reproductions.

Placering 1.

It’s the optimum location. It gives the same “loading” of both the passive and active device. Corner-based locations function as a horn-loading which increases the acoustic output, which results in an increased peak SPL. Since both devices connect to one corner / wall , the largest output and the best timing and sound quality will be achieved.

Placering 2.

This location is also good. It is important that the passive SLAPS is facing inward towards the wall. This location also uses the horn-effect of the wall corner , incresing the output effect from the subwoofer.

This location can be problematic if the rear wall is made of a thin and easily vibrating material, which could result in wall vibration and abnormal sounds in the room. If the back of the wall is a more solid construction, this will not be a problem. Make sure to leave at least 10 cm between the subwoofer and the wall as the SLAPS can move up to 9 cm in low frequency output at high volume.

Placering 3.
Denne placering kan bruges hvis placering 1 eller 2  ikke er mulig. Placer subwooferen så Slaps enheden vender indad mod højre sidevæg i en afstand på godt 90 cm.

This location can be used in positions 1 or 2 is not possible. Place the subwoofer so the SLAPS unit is facing inwards towards the right side of the wall at a distance of about 90 cm.

Når man eksperimentere med placering er det vigtigt også at bruge de rumkorregerings værktøjer indbygget i subwooferen. Da disse er forskellige fra sub til sub henvises der til den pågældende subs manual.

På illustrationerne er P= den passive Slaps og A = den aktive primær enhed.

 

When experimenting with placement, it is important to use the rumkorregerings tools built into the subwoofer. Since these are different from sub to sub , please refer to the subs manual.

The illustrations are P = Passive SLAPS and A = Primary Active Unit

SUB OR LFE ??

Many of Earthquake’s subwoofers are equipped with a SUB-LFE switch button. This button allows the optimization of the subwoofer depending on the input signal.

When the button is in the LFE position expect the subwoofer to receive a pre-filtered LFE signal from the processor / receiver / decoder. This means the signal will only contain the bass information you wish reproduced by the subwoofer without any high-frequency information.  Choosing the LFE setting disables the  built-in subwoofer crossover and the subwoofer can play up to 2 kHz. The advantage of this is that the signal only has to go through a crossover which will maintain optimum sound quality. It also allows perfect integration with special filters and advanced DSP devices.

When the button is in the SUB position, the subwoofer’s built-in crossover is cut and divides the signal. This sharing can be adjusted through the frequency button, which changes the frequency the subs share. This setting is used when subs receive a full-frequency signal or sub-signal that you want shared deeper than one processor could.

See illustration.

 

WHY ARE THERE TWO INPUTS ON MY SUBWOOFER??

Most Earthquake subwoofers have dual subwoofer signal input. This serves several purposes.

1. It enables down-mixing of a 2 channel stereo signal into a mono signal that still contains all the original information that was in the stereo signal. This is useful if you have a stereo sub signal, but only one subwoofer.

2. It allows a LFE mono + stereo reproduction. When using two subwoofers, it is possible to use a Y-split LFE signal from the processor sub output. It is also possible to connect the sub placed in the left side to the main-out left from the processor (the output is also used to connect an external effect block to the left front speaker). The same can be done for the right side. The advantage here is that you get to keep both the dedicated LFE signal as well as your left and right stereo bass. This gives a 3D bass rendering many will regard as a significant upgrade.

 

3. Dual input allows the subwoofer an extra sensitivity adjustment. Normally, it would be enough to use a mono LFE subwoofer signal from its processor. If you have a processor with very low output so you can use a Y-splitter. By using both inputs with the same mono signal doubles the subwoofer sensitivity. This means that there is now only half the signal strength to drive it to full output.

 

INSTALLING EARTHQUAKE'S TACTILE DEVICES?

There are 3 different ways to transfer the effects from the tactile device to your sofa or chair. Which one you use depends on your needs and capabilities of your furniture.

The first method is to mount the tactile device directly onto your furniture. Here it’s important to remember the installation should be done so the tactile device is mounted in an upright position. This method of installation should be done in one of the supporting parts – often it’s the skeleton of the furniture that is made of the correct material. The tremors from Earthquake’s tactile devices are very powerful, so make sure it is attached securely. In most cases, the screws should be sufficient.
Fitting it in the center of the furniture’s skeleton gives the best result, as it is not possible for the Q10B to be mounted on armrests, etc.

Mounting can also be done by using a bracket, either L-shaped or S-shaped for the Quake 10.0B (Earthquake’s own PB-1 bracket can be modified for use in Earthquake’s Mini Quake(link here) as well). The bracket can be easily placed under one leg on the furniture.

Remember to install the rubber feet on the furniture legs and decoupling directly below the bracket. It will ensure the furniture remains stable and prevents the bracket from rattling against the floor.

It is also possible to mount the bracket itself on the furniture when it’s not possible to install the tactile device directly, due to lack of space – the two providing a suitable alternative.
Using Earthquake’s PB-1  S-shaped bracket, the impact from the Q10B will more than double – therefore, it can be very advantageous to use the PB-1 rather than the supplied L-shaped bracket.

The last option to attach Earthquake’s tactile devices would be by building a platform on which furniture is installed. A single Quake 10.0B can be used for 3 cinema chairs, where it will give the best effect by using one platform. A platform is also useful if you are not able or do not want to install the tactile device directly on the furniture.

Below is a drawing of how Earthquake recommends a platform should look. We recommend using Earthquakes PB-1 S-shaped brackets, but mounting directly on the platform is of course also an option.

 

TACTILE FAQ?

Tactile FAQ

Q: Even though the Q10B states it has an impedance of 8 Ohm , why does mine show a different value?

A: Impedance does not mean resistance. Impedance is the term used for resistance that varies with frequency. In other words impedance is not a fixed value. The stated 8 Ohm impedance is a targeted average that it will stay around during the majority of its operating range, both with regards to frequency and amplitude.

When you measure it with a meter you are measuring the coils DC resistance. As soon as you apply an actual signal to the device the coil starts moving, thus generating EMF and using energy. This movement brings the impedance up from the static DC resistance of the coil itself.

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Q: My tactile transducer does not perform as expected ?

A: There are two types of exiters/bass shakers. There is the piston based tactile transducer like we make. And there are the coil based vibrators. The Piston based types are ideal at high power low frequency output and can really move things physically, however they are not able to work at higher frequencies due to the weight of the moving mass. The coil based vibrators can make a lot of buzzing at higher frequencies, but cant really shake anything at lower frequencies due to limited power and moving mass.

The MQB1 should not be crossed over higher than 80hz. Its linear operating field is up to 50, it will operate fine up to 80 but from 50 and up it starts going out of phase with the signal. The signal is faster than the device. If you are setting it at 120 then a lot of energy is being dissipated in the device since it can not be turned into movement effectively.

If you do not feel vibration unless it is set to such high frequencies, the following could be an issue :

1. the signal source does not contain the proper low frequency content to make the transducer work.  You must look at the signal with a spectrum analyzer and verify that it has ample content of sub 50hz content.

2. The object being vibrated is a combination of the following :

a. too heavy
b. too well terminated to ground.
b. is composed of high/low density materials between the shakers attachment point and the surface desired to be vibrated. (kinetic isolation)

BREAKING IN YOUR WOOFER?
Break-in for woofers in general is considered as 20 hours of music program at 1/3 of the maximum RMS rating of the speaker. After that it is considered broken in. Very minor changes will still occur after this up to about 100 hours of use, where after no further changes are measurable. By breaking the speaker in over time like this assures that all parts of the suspension stretches equally which will give you long linear travel and optimum lifespan of the woofer.

Warning: If maximum wattage is exerted to the woofer right out of the box there is a chance that a part of the suspension will overstretch and become damaged.
IN-WALL / IN-CEILING MOUNTING?

IN-WALL / IN-CEILING MOUNTING

If you are not accustomed to the way the dog-ear mounting scheme on these operate it is relatively easy to brake them, however when you first get used to how they need to be handled, then there are almost never any issues.

The round top part is made to easily brake off, when the screw is reversed beyond the fully open setting (the way they come out of the box). This is done so that in case the insulation material or similar is blocking the dog-ears from rotating back in their holder, the top part simply brakes off and the speaker can be removed without ripping , tearing or causing additional damage. The top parts are easily glued back on with standard superglue. Since this only happens when the screw is reversed, it can never happen the first time a speaker is mounted, unless the installer has the drill set for reverse.

The dog-ears themselves are designed to snap if they are torqued down with greater force than what would start to make indentation in medium density drywall. If you are breaking the dog-ears then you are using a combination of too much torque and too much speed when screwing them down. It is best to use a cordless drill with a quick action clutch that has fine step settings. When you are using the correct torque setting you can install these by the hundreds without ever breaking a single one. The reason we include an extra dog-ear with the products is in case the installer has the wrong torque setting on his drill and does not realize this before he has snapped the first one.

Do you have pictures of your install process and the situations where you experienced
issues? Feel free to contact us at support@earthquakesound.dk 

More details about the xj300fr and the technology behind it?

XJ300FR distinguishes itself from traditional power amplifiers by the unique class J power stage with interface velocity controlled output and Look-Ahead technology. This technology enables high power and continuous operation. With its micro form factor and flexible adjustment options XJ300fr can be adapted to almost any amplification task.

Advanced Technology
Xj300fr’s brute force springs from the class J amplifier. The patented Class J technology manifests a quantum leap in amplifier technology. The revolutionary aspect of Class J is its ability to combine a high efficiency of 99% with extraordinary bass control. Class J is an evolution on PWM technology that combines advanced multi-level feedback with an intelligent controller. It modulates the supply voltage and output switching frequency in real time based on the frequency and amplitude content of the input signal. This added level of intelligence to the amplifier offers several obvious advantages such as increased thermal headroom through the amplifier’s optimum energy use, dramatically improved bass response and dynamic power capabilities. This results in a harder audible impact that adds a drive to the sound normally experienced only at live concerts.

Crossover, Phase-shift and Volume
XJ300fr is equipped with variable electronic crossover which is infinitely adjustable from 40Hz to 175 Hz. The optimal setting depends on the connected subwoofer or tactile device. Xj300 also has a continuously variable phase adjustment function, where phase can be changed between 0 and 180 degrees.
The phase setting is optimally set by playing a 50Hz test tone and then rotating the phase adjustment knob until the maximum sound level is achieved at the listening position.
Volume adjustment makes it possible to gain match the subwoofer or the tactile unit with the rest of the system. It also allows the XJ300 to be used without a pre-regulated line signal.

TITAN THEIA - ADDITIONAL DRIVER INFORMATION?

TITAN THEIA – ADDITIONAL DRIVER INFORMATION

 

TWR1 Wideband Tweeter

The dual TW1’s are phase tuned to work uniformly with each other. It has traditionally been difficult to get separate tweeters to work seamlessly together, this is overcome by synchronous development of the drivers. Their dispersion and energy constant is synchronized so they appear transparent as one unit.

The TW1 tweeter is based on a silk dome diaphragm resulting in precise, soft and fatigue-free  reproduction. The silk dome is Accumax coated which retains the excellent audio properties of pure silk while eliminating the mechanical break-up inherent in pure silk at higher frequencies.
TW1 has a very powerful motor system based on a rare earth neodynium magnet. This construction ensures a uniform and stable response and tonality regardless of frequency and volume. A special elongated version of Earthquakes Vortex cooling unit effectively removes heat from the tweeter motor system thus safeguarding against compression.

XLT_Logo_final_large.jpgMR4-XLT Ballistic Kevlar wideband woofers

The M4-XLT bass-midrange is a 4-inch XLT (Extra-long-throw) driver with a ballistic grade Kevlar Cone. This ensures a perfect and seamless transition from the TW1 wideband tweeters and a solid hand-off to the LFE generating SLAPS driver. Kevlar was invented by the Dupont Corporation in the early 60s and has been used in loudspeakers for many years because it is light, rigid and anechoic. These advantages come with their own set of challenges, Kevlar is expensive and difficult to integrate which is why you often see a low-grade Kevlar (low-thread-count) used in loudspeakers.

By using a low-grade Kevlar most of its special properties are lost. Titan Theia uses the highest ballistic grade Kevlar. The cones are lightweight and extremely rigid guaranteeing pistonic behavior far beyond their crossover point. Kevlar is an aramid fiber and is very sensitive to moisture and absorbs moisture if not specially processed. The Kevlar cone constructed by Earthquake undergoes a special epoxy evaporation process making the Kevlar invariant to moisture.

The great throw potential of the M4-XLT is obtained by using high Santoprene edge suspension, the special Earthquake Super Spider centering unit, and a voice coil with a winding height of nearly 2 cm.

Several unique benefits arise by the use of the XLT (extra long-throw) design. Since only a portion the large throw potential is typically used, the unit can be designed so that the suspension compliance is unchanged within the unit’s nominal travel. It overcomes CMS compression found in traditional drive units.  The Unit’s suspension is so compliant that it easily moves if you blow on it.

The high voice coil winding height combined with an oversized strontium-cobalt magnet system provides a strong electromotive interaction which keeps the unit in an iron grip. Since the device can move more than required, the travel will never be hampered by the suspension. This means that it is always the electrical impulse that controls the cone. It ensures that the distortion caused by  mechanical self-braking will never arise.

This gives the engaging and infectious dynamic sound you can experience during live music.

Slaps_largeSLAPS technology is a key player in translating high electrical power into dominating LFE. SLAPS is a patented system that dramatically increases subwoofer efficiency and capability for ultra low frequency reproduction.

SLAPS stands for Symmetrically Loaded Audio Passive System. As the name indicates, SLAPS is built symmetrically which distinguishes it from traditional passive devices. SLAPS integrates identical components in its suspension and design ensuring the unit is moving identically in both directions. The revolutionary efficiency and performance are the result of the pneumatic coupling between SLAPS and the active driver SLAPS overcomes the limitations known from conventional closed and ported designs that prevent radical excursion and deep response. The unique design allows the active driver compression-free movement resulting in deep, dynamic and hard-hitting bass.

TITAN HESTIA - ADDITIONAL DRIVER INFORMATION?

 

TWR1 Wideband Tweeter

The dual TWR1’s are phase tuned to work uniformly with each other. It has traditionally been difficult to get separate tweeters to work seamlessly together, this is overcome by synchronous development of the drivers. Their dispersion and energy constant is synchronized so they appear transparent as one unit.

The TWR1 tweeter is based on a silk dome diaphragm resulting in precise, soft and fatigue-free  reproduction. The silk dome is Accumax coated which retains the excellent audio properties of pure silk while eliminating the mechanical break-up inherent in pure silk at higher frequencies.
TWR1 has a very powerful motor system based on a rare earth neodynium magnet. This construction ensures a uniform and stable response and tonality regardless of frequency and volume.

MR4-XLT Ballistic Kevlar wideband woofers

XLT_Logo_final_large.jpgThe MR4-XLT bass-midrange is a 4-inch XLT (Extra-long-throw) driver with a ballistic grade Kevlar Cone. This ensures a perfect and seamless transition from the TWR1 wideband tweeters.

Kevlar was invented by the Dupont Corporation in the early 60s and has been used in loudspeakers for many years because it is light, rigid and anechoic. These advantages come with their own set of challenges, Kevlar is expensive and difficult to integrate which is why you often see a low-grade Kevlar (low-thread-count) used in loudspeakers. By using a low-grade Kevlar most of its special properties are lost. Titan Theia uses the highest ballistic grade Kevlar. The cones are lightweight and extremely rigid guaranteeing pistonic behavior far beyond their crossover point. Kevlar is an aramid fiber and is very sensitive to moisture and absorbs moisture if not specially processed. The Kevlar cone constructed by Earthquake undergoes a special epoxy evaporation process making the Kevlar invariant to moisture.

The great throw potential of the MR4-XLT is obtained by using high Santoprene edge suspension, the special Earthquake Super Spider centering unit, and a voice coil with a winding height of nearly 1.5 cm.

Several unique benefits arise by the use of the XLT (extra long-throw) design. Since only a portion the large throw potential is typically used, the unit can be designed so that the suspension compliance is unchanged within the unit’s nominal travel. It overcomes CMS compression found in traditional drive units.  The Unit’s suspension is so compliant that it easily moves if you blow on it.

The high voice coil winding height combined with an oversized strontium-cobalt magnet system provides a strong electromotive interaction which keeps the unit in an iron grip. Since the device can move more than required, the travel will never be hampered by the suspension. This means that it is always the electrical impulse that controls the cone. It ensures that the distortion caused by  mechanical self-braking will never arise.

This gives the engaging and infectious dynamic sound you can experience during live music.

EARTHQUAKE PATENTS?

EARTHQUAKE PATENTS

Earthquake Sounds chief ingeneer and president, Joseph Sahyoun has a long line of patents. A great deal of these are implemented i Earthquake Sounds products.

Earthquake Europe are giving you full access to read and download the relevant patents:

Acoustic radiator with at baffle of a diameter at least as large as the opening of the speaker enclosure to which it is mounted:

January 2008
October 2002

Amplifier with dynamic rail control drive circuit.

November 2004

Audio radiator with radiator flexure minimization and voice coil elastic anti-wobble members.

April 2004

Audio speaker damper with electrically conductive paths thereon to carry voice coil signals and a method therefore.

February 2005
January 2004

Audio speaker with wobble free voice coil movement:

April 2008
June 2007
June 2007

March 2007

October 2004
September 2004
September 2004

Electromagnetic motor to create a desiredlow frequency vibration or to cancel an undesired low frequency vibration:

November 2008
September 2006

Exterior surface of a heat sink:

August 1993

Loudspeaker low profile quarter wavelength transmission line and enclosure and method:

October 2007

Low profile audio speaker:

March 2005
January 2004
September 2002

Method and audio speaker with minimization of wobble of the voice coil:

March 2007
December 2004

Passive speaker system:

January 2003
September 2003
October 2002
April 2000

Speaker resistance sensing and power limit setting circuit:

July 1996

Universal audio speaker connection block:

March 2007
October 2004

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