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Topic: Speaker-Room reflections (Read 9889 times) previous topic - next topic
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Speaker-Room reflections

Reply #25 –
Quote from: krabapple on
Hopefully a full JAES article, with peer review.  This was a nice start though.

I would expect more of the same. A "TEF mic" does not feature binaural adaptation. There is something called preference. That might, or might not be, what studiophiles believe with their eyes and "common practice/intuition". 

cheers,

AJ
Loudspeaker manufacturer

Speaker-Room reflections

Reply #26 –
Quote from: ajinfla on
A thread on another forum referenced a somewhat recent paper that I had not seen before: The Practical Effects of Lateral Energy in Critical Listening Environments. The paper seems to be free if one is an AES member (shame if you haven't joined yet  ), at least this month.
Unsurprisingly, it appears much of what studiophiles believe about so called "treatments" is primarily based on their sighted preferences. The largest group of audio pros preferred untreated lateral surfaces, which seems to concur with Tooles findings about playback/listening rooms. Caveats included.

cheers,

AJ


I was setting up my studio using REW and wanting a fairly dead flat control room. I spent a lot of time with REWs real time analyser and white/pink noise moving panels and speakers etc to get the least coloured sound, flattest response and lowest decay times at low frequencies. What was weird was that some panels went in really odd places - not where they "looked" nicest. Some traditional places did help the response such as basstraps in corners with a small air gap, first reflection points etc - but I actually ended up with one kind of slanting over my listening space towards the ceiling - never seen that in an acoustics textbook ! (never read one tbh...). Anyway the point is that every room and setup is different so just sticking to pre described positions doesnt work - I actually ended up with a more accurate room at home than the million dollar facility at work that has terrible room modes eating away at the bass ! A word of advice if you try this - wear earplugs - or by the time you get your room right you will be stone deaf from the white noise and impulse responses !
In response to the research question - it depends on the type of music, how well the engineer knows the room etc etc - but the effect can be massive. A room mode in one studio I used caused a 30 db drop in bass frequencies (cube room) if you sat in the middle - which you were obliged to do. This "bass null" consistently caused people in that room to add far too much bass to their mixes to compensate - especially people who dont know the room . The issue for engineers is not what they prefer to listen too in a control room/studio - its how well their mixes translate to other systems. Unfortunately I cant access the paper ATM so I dont know if some kind of test of  "translation" is included in the tasks.
 

Speaker-Room reflections

Reply #27 –
Quote from: augustine on
I was setting up my studio using REW and wanting a fairly dead flat control room.

A noble goal for a studiophile with an omni mic placed somewhere.

Quote from: augustine on
Unfortunately I cant access the paper ATM so I dont know if some kind of test of  "translation" is included in the tasks.

This might actually be fortunate, as I doubt you would like what they found, which largely concurs with that idiot heretic Toole guy (he frowns upon those pretty "waterfall" thingies too). Perhaps best to just keep enjoying what you know, see, excuse me, hear. If it's all good, you're all set.

cheers,

AJ
Loudspeaker manufacturer