![]() ![]() I find that most of my clients are transitioning from the audiophile "dead" sound to a much more musical experience. You can listen to a system that has 90% of the music missing or have a system that is full of dynamic range and musical involvement and a stage that goes why past the walls and never points at the speakers placement. In our factory we never put the listener in both, our dead room and our tuned room (which was more live) and had them choose the dead room, ever. They are built to vibrate to create notes and harmonic structures. There's a reason why musical instruments are built to vibrate. ![]() It's an embarrassment for the client to spend all that money to only find that what they ended up with was frequencies and not music reproduction. Also if you dampen the room to the point where you are only hearing what's coming off of the cone that's exactly what the music will sound like, "a cone" and the body of the musical notes will not be fully developed.įor many years I have had to go in and rebuild rooms that were extremely over built. Keep in mind sound is vibration, and if the room is not able to reproduce vibrations your not going to hear them. My one listening room is 9 X 9 and easily goes into the twenties no problem. At the end of the day harder rooms with over damped materials in them leave lots of music on the cutting room floor. I don't like the sound of hard rooms, never did. And if all reflections were able to be removed, the response would be exactly as flat as if the walls did not exist at all." When the reflections are reduced by applying bass traps, the frequency response within the room improves. Therefore, it is reflections that cause acoustic interference, standing waves, and resonances, and those are what reduce the level of low frequencies that are produced in a room. With each increase in wall density, reflections will cause cancellations within the room at ever-lower frequencies as the walls become massive enough to reflect the waves. Now, make the walls progressively heavier using thick paper, then thin wood, then thicker wood, then sheet rock, and finally brick or cement. The low frequencies are still present in this "room" because the thin paper is transparent at low frequencies and they pass right through. Now wall in a small area, say 10x10x10 feet, using very thin paper, and measure the response again. In this case the measured frequency response outdoors will be exactly as flat as the loudspeaker. ![]() Here's a good way to look at the issue: Imagine you set up a high quality loudspeaker outdoors, play some low frequency tones, and then measure the frequency response five feet in front of the speaker. As proof, any low frequency can be produced outdoors - and of course there are no room modes outdoors! However, modes are not necessary for a wave to exist. ![]() A popular argument is that low frequencies need the presence of a room mode that's low enough to "support" a given frequency. All that is needed to allow low frequency waves to sound properly and with a uniform frequency response is to remove or at least reduce the reflections. When low frequencies are attenuated in a room, the cause is always canceling reflections. That is, when a sound wave strikes a wall some of its energy may be reflected, some may be absorbed, and some may pass through to the outside. Sound waves generated within a room either pass through the room boundaries, bounce off them, or are absorbed. What defines the dimensions of a room are the wall spacing and floor-to-ceiling height. While it is true that low frequencies have very long wavelengths - for example, a 30 Hz wave is nearly 38 feet long - there is no physical reason such long waves cannot exist within a room that is much smaller than that. "There is a common myth that small rooms cannot reproduce low frequencies because they are not large enough for the waves to "develop" properly. I found complete answer thanks to Ethan Winer. ![]()
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