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All audible reflections add something to the direct sound. Which reflexes add something positive and which do not and how.
- Thread starter Neuro
- Start date
In general side ("lateral") reflections have a positive impression. Others do not so you are free to absorb them if it is needed (e.g. room is too live without it).
@Neuro wrote: "All audible reflections add something to the direct sound. Which reflexes add something positive and which do not and how."
Excellent question!
Before attempting to respond, I should let you know that my thinking on the subject of in-room reflections does not follow the current generally accepted wisdom. For instance, strong early sidewall reflections are generally considered to be desirable, as they widen the "apparent source width" and tend to extend the soundstage laterally beyond the speakers. But in my opinon strong early sidewall reflections are more detrimental than beneficial. This steers me towards somewhat unorthodox conclusions about "where the goal posts are" for the in-room reflections.
First, from psychoacoustics researcher David Griesinger, whose work is more focused on large venues but some of which is applicable to home audio, we get the idea that the early reflections have downsides:
"The earlier a reflection arrives the more it contributes to masking the direct sound."
"When presence is lacking the earliest reflections are the most responsible."
"Transients are not corrupted by reflections if the room is large enough [i.e. if the early-reflection-free time interval is long enough] - and 10 milliseconds of reflections free time is enough." [Sound travels about 13.5 inches per millisecond, so 10 milliseconds corresponds to the time it takes for sound to travel about 11 feet.]
Psychoacoustic researcher Earl Geddes' relevant ideas, with a focus on home audio:
"The earlier and the greater in level the first room reflections are, the worse they are. This aspect of sound perception is controversial. Some believe that all reflections are good because they increase the listener's feeling of space – they increase the spaciousness of the sound. While it is certainly true that all reflections add to spaciousness, the very early ones (< 10 ms.) do so at the sake of imaging and coloration... The first reflections in small rooms must be thought of as a serious problem that causes coloration and image blurring. These reflections must be considered in the [loudspeaker] design and should be also be considered in the room as well."
Now back to Griesinger:
"Envelopment is perceived when the ear and brain can detect TWO separate streams:
A foreground stream of direct sound.
And a background stream of reverberation.
Both streams must be present if sound is perceived as enveloping."
"Presence depends in the ability of the ear and brain to detect the direct sound as separate from the reflections."
So here is my interpretation and distillation of the desired sequence of events in the listening room:
1. First-arrival sound, followed by
2. A relatively reflection-free time interval of ballpark 10 milliseconds (more is better but may not be practical); followed by
3. A lot of spectrally-correct reflections arriving from many directions.
The above-mentioned relatively reflection-free time interval is necessary for the ear/brain system to separate the first-arrival sound from the reflection stream, which is desirable both for "presence" and "envelopment". In my experience those later-arriving reflections also enhance timbre and richness, and they are the "carriers" of the ambience cues (in particular the reverberation tails) on the recording.
All of this is of course assuming the reflections are "spectrally correct", which is in part a loudspeaker radiation pattern issue, and in part a caution against the overuse of absorption in the playback room.
In my opinion.
Excellent question!
Before attempting to respond, I should let you know that my thinking on the subject of in-room reflections does not follow the current generally accepted wisdom. For instance, strong early sidewall reflections are generally considered to be desirable, as they widen the "apparent source width" and tend to extend the soundstage laterally beyond the speakers. But in my opinon strong early sidewall reflections are more detrimental than beneficial. This steers me towards somewhat unorthodox conclusions about "where the goal posts are" for the in-room reflections.
First, from psychoacoustics researcher David Griesinger, whose work is more focused on large venues but some of which is applicable to home audio, we get the idea that the early reflections have downsides:
"The earlier a reflection arrives the more it contributes to masking the direct sound."
"When presence is lacking the earliest reflections are the most responsible."
"Transients are not corrupted by reflections if the room is large enough [i.e. if the early-reflection-free time interval is long enough] - and 10 milliseconds of reflections free time is enough." [Sound travels about 13.5 inches per millisecond, so 10 milliseconds corresponds to the time it takes for sound to travel about 11 feet.]
Psychoacoustic researcher Earl Geddes' relevant ideas, with a focus on home audio:
"The earlier and the greater in level the first room reflections are, the worse they are. This aspect of sound perception is controversial. Some believe that all reflections are good because they increase the listener's feeling of space – they increase the spaciousness of the sound. While it is certainly true that all reflections add to spaciousness, the very early ones (< 10 ms.) do so at the sake of imaging and coloration... The first reflections in small rooms must be thought of as a serious problem that causes coloration and image blurring. These reflections must be considered in the [loudspeaker] design and should be also be considered in the room as well."
Now back to Griesinger:
"Envelopment is perceived when the ear and brain can detect TWO separate streams:
A foreground stream of direct sound.
And a background stream of reverberation.
Both streams must be present if sound is perceived as enveloping."
"Presence depends in the ability of the ear and brain to detect the direct sound as separate from the reflections."
So here is my interpretation and distillation of the desired sequence of events in the listening room:
1. First-arrival sound, followed by
2. A relatively reflection-free time interval of ballpark 10 milliseconds (more is better but may not be practical); followed by
3. A lot of spectrally-correct reflections arriving from many directions.
The above-mentioned relatively reflection-free time interval is necessary for the ear/brain system to separate the first-arrival sound from the reflection stream, which is desirable both for "presence" and "envelopment". In my experience those later-arriving reflections also enhance timbre and richness, and they are the "carriers" of the ambience cues (in particular the reverberation tails) on the recording.
All of this is of course assuming the reflections are "spectrally correct", which is in part a loudspeaker radiation pattern issue, and in part a caution against the overuse of absorption in the playback room.
In my opinion.
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- Thread Starter
- #4
There is some sort of consensus that lateral reflexes are most important. But not all lateral reflexes.
The precedent effect is an active neurophysiological process which probably takes place in the brainstem. Only sufficiently prominent or transient sounds activate the precedence effect. No other regions of the brain have time to react within 1 ms.
Neuropsychologically, only the direct sound is perceived and the reflected sound is experienced as something else - unclear what, how and where. This probably occurs in the same areas of the brainstem where the localization takes place.
In the frequency domain, the lateral reflections must not deviate too much from the frequency curve of the direct sound. 1000 - 5000 Hz seems to be the most important frequency range. If the frequency deviation is too large, the lateral reflex is perceived as another separated sound.
In the frequency domain, the perceived loudness of the lateral reflexes must not be too strong. The attenuation should be below 6 - 12 dB depending on the characteristics of the sound source.
In the time domain, the lateral reflex must not be too early or too late. Too late reflex produces a separate echo.
If the lateral reflex comes too soon, a negative effect is created on the direct sound.
Lateral reflections above the optimal time limit before the echo boundary create negative effects. According to Giesinger, a blurred direct sound is obtained.
Early reflections are the reflections of the sound arriving at your ears shortly (less than 15 ms) after the direct sound. Early reflections color the audio and move the locations of sound images in your mix. For this reason, early reflections should be kept low. This section shows all significant room reflections in the acoustically sensitive midrange frequencies (1-8 kHz). Direct sound is scaled to 0 dB level. You can immediately see the level of reflections relative to the direct sound. Reflections higher than -15 dB are shown in the tables. https://assets.ctfassets.net/4zjnzn...E_Report_2022-04-29_stereo_with_subwoofer.pdf
Lateral reflexes should thus arrive after 15 ms, which is difficult to obtain in ordinary listening rooms with box speakers.
More measurements in the time domain should take place to handle pathologically aberrant peaks. Griesinger has measured in the time dimension for years.
These facts above place completely new demands on optimal listening rooms and dispersion patterns in loudspeakers.
These facts can partly explain why dipole speakers to some extent have less coloration of the sound despite a certain blurring of the sound.
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tuga
Major Contributor
I've posted this before but it is very relevant to the topic.
A couple of snippets from "Acoustics Of Small Rooms" by Kleiner & Tichy:
Spaciousness and diffusivity
Localization of externalized single sound field components was shown to be fairly straightforward but dependent on many factors. Localization of sound field components that have identical sound levels at the ears will depend on further factors such as phase difference.
When sounds are correlated, such as a monophonic signal that is presented binaurally, the auditory event occurs inside the head, inside head localization (IHL). If the sounds at the ears are fully uncorrelated, such as two separate noise signals that are presented binaurally, there will be two auditory events, one at each ear.
An interesting effect can be heard when presenting a monophonic wide bandwidth noise signal in stereo (over loudspeakers or headphones) if the stereo signals are out of phase. The noise frequency components below 2 kHz are then perceived as spatially diffuse—having spaciousness— whereas those for higher frequencies are perceived as located between the loudspeakers (or for headphones, IHL occurs). The time difference in the low-frequency components provides phase cues that are ambiguous thus providing apparent sound field diffuseness, whereas the high-frequency sounds are analyzed by their envelopes and those will be identical at the two ears causing a located auditory event.
Similarly, when a wideband noise signal is provided over headphones to a listener and one of the headphones is fed with the signal delayed by a millisecond or more, the sound is perceived as diffuse.
What constitutes a diffuse sound field is thus different in the physical and psychoacoustic domains. In the latter, a diffuse sound field is that that provides non-locatedness of sounds or, alternatively phrased, that provides a sound that is located over all spatial angles (or rather upper hemisphere in a concert hall that has sound-absorptive seating).
In physics on the other hand, a diffuse sound field is defined as a sound field where all angles of sound incidence have equal probability, where the sound from each spatial angle is out of phase, and where the energy density is the same everywhere.
Obviously, the two ideas of what constitutes diffuseness are different in the two sciences. A physically diffuse sound field will also be psychologically diffuse but not necessarily the reverse. From the viewpoint of listening, it is of course the psychoacoustic properties that are of importance, not the sound field properties.
Auditory source width and image precision
As we listen to sounds, the apparent width of the auditory event, often called the auditory source width (ASW), will depend on many issues. To those listening to stereo or multichannel recordings of sound, it is quite clear that the width of the array of phantom sources treated by the recording or playback is determined by not only the layout of the loudspeaker setup in the listening room and the directional properties of the loudspeakers but also on the listening room itself. The more reflections arriving from the sides of the listening room, the wider will the ASW be. However, the ASW will be frequency dependent above 0.5 kHz and a 2 kHz sound arriving at ±45° relative the frontal direction will produce maximum ASW [38,39]. This is to be expected since the masking by direct sound is the smallest for this angle of incidence of early arriving reflections [16]. The ASW also depends on the low-frequency content of the signal, more low-frequency energy increases ASW [38,40,41]. Psychoacoustic testing shows that the spatial aspects of the early reflections are primarily determined by the reflection spectrum above 2 kHz [33].
Reliable data for sound reproduction in small rooms are difficult to find. A single omnidirectional loudspeaker judiciously placed close to the corner of a room may well create as large an auditory image as a conventional stereo loudspeaker setup placed out in the room as discussed in Chapters 9 and 11.
Using digital signal processing, the ASW can be made to extend far outside the bounds set by the stereo baseline. Sound field cancelation techniques
Symmetry
Early reflected sound will confuse hearing and make the stereo stage and its phantom sources appear incorrectly located or even blurred. As explained in Chapter 8 the listener’s placement of the phantom sources is dependent particularly on the transient nature of the sound that comes from the loudspeakers so it will be affected by the early reflected sound from the room surfaces. The early reflected sound will also affect the global auditory source width for an orchestra for example and may make it extend considerably beyond the baseline between the loudspeakers.
In asymmetric rooms where the walls on the left and right of the listener have different acoustic properties, the stereo stage may become biased towards the wall that reflects the most. The curve in Figure 8.23 shows the dependency more clearly for different levels of unbalance as applied to the center phantom source in a stereo loudspeaker system. The intensity will then be higher at that ear and the sound stage distorted. This distortion is usually compensated by changing the balance in amplification between the stereo channels.
At low frequencies in the modal region, symmetry may not be desirable since someone sitting in the middle of the room may be on or close to modal node lines. One way of avoiding such node lines is to make the room asymmetric in the low-frequency region.
This can be achieved by having an asymmetric rigid shell surrounding the inner room which is symmetric for mid- and high frequencies by suitably reflective side walls, ceiling, and floor. The inner room must be open acoustically to the outer shell at low frequencies, for example through ventilation vents, and similar large openings, for example at corners. In this way, one can have the desired listening position sound field symmetry for mid- and high frequencies while at the same time have asymmetric conditions in the modal frequency range. Bass traps to control the damping—and thus the reverberation times—of these modes can be placed between the outer and inner shell. It is important to remember though that noise transmission to the surrounding spaces will then be dependent on the sound isolation of the outer shell that must be physically substantial.
Acoustics of Small Rooms
Mendel Kleiner & Jiri Tichy
https://www.amazon.co.uk/Acoustics-Small-Rooms-Mendel-Kleiner/dp/1138072834/
A couple of snippets from "Acoustics Of Small Rooms" by Kleiner & Tichy:
Spaciousness and diffusivity
Localization of externalized single sound field components was shown to be fairly straightforward but dependent on many factors. Localization of sound field components that have identical sound levels at the ears will depend on further factors such as phase difference.
When sounds are correlated, such as a monophonic signal that is presented binaurally, the auditory event occurs inside the head, inside head localization (IHL). If the sounds at the ears are fully uncorrelated, such as two separate noise signals that are presented binaurally, there will be two auditory events, one at each ear.
An interesting effect can be heard when presenting a monophonic wide bandwidth noise signal in stereo (over loudspeakers or headphones) if the stereo signals are out of phase. The noise frequency components below 2 kHz are then perceived as spatially diffuse—having spaciousness— whereas those for higher frequencies are perceived as located between the loudspeakers (or for headphones, IHL occurs). The time difference in the low-frequency components provides phase cues that are ambiguous thus providing apparent sound field diffuseness, whereas the high-frequency sounds are analyzed by their envelopes and those will be identical at the two ears causing a located auditory event.
Similarly, when a wideband noise signal is provided over headphones to a listener and one of the headphones is fed with the signal delayed by a millisecond or more, the sound is perceived as diffuse.
What constitutes a diffuse sound field is thus different in the physical and psychoacoustic domains. In the latter, a diffuse sound field is that that provides non-locatedness of sounds or, alternatively phrased, that provides a sound that is located over all spatial angles (or rather upper hemisphere in a concert hall that has sound-absorptive seating).
In physics on the other hand, a diffuse sound field is defined as a sound field where all angles of sound incidence have equal probability, where the sound from each spatial angle is out of phase, and where the energy density is the same everywhere.
Obviously, the two ideas of what constitutes diffuseness are different in the two sciences. A physically diffuse sound field will also be psychologically diffuse but not necessarily the reverse. From the viewpoint of listening, it is of course the psychoacoustic properties that are of importance, not the sound field properties.
Auditory source width and image precision
As we listen to sounds, the apparent width of the auditory event, often called the auditory source width (ASW), will depend on many issues. To those listening to stereo or multichannel recordings of sound, it is quite clear that the width of the array of phantom sources treated by the recording or playback is determined by not only the layout of the loudspeaker setup in the listening room and the directional properties of the loudspeakers but also on the listening room itself. The more reflections arriving from the sides of the listening room, the wider will the ASW be. However, the ASW will be frequency dependent above 0.5 kHz and a 2 kHz sound arriving at ±45° relative the frontal direction will produce maximum ASW [38,39]. This is to be expected since the masking by direct sound is the smallest for this angle of incidence of early arriving reflections [16]. The ASW also depends on the low-frequency content of the signal, more low-frequency energy increases ASW [38,40,41]. Psychoacoustic testing shows that the spatial aspects of the early reflections are primarily determined by the reflection spectrum above 2 kHz [33].
Reliable data for sound reproduction in small rooms are difficult to find. A single omnidirectional loudspeaker judiciously placed close to the corner of a room may well create as large an auditory image as a conventional stereo loudspeaker setup placed out in the room as discussed in Chapters 9 and 11.
Using digital signal processing, the ASW can be made to extend far outside the bounds set by the stereo baseline. Sound field cancelation techniques
Symmetry
Early reflected sound will confuse hearing and make the stereo stage and its phantom sources appear incorrectly located or even blurred. As explained in Chapter 8 the listener’s placement of the phantom sources is dependent particularly on the transient nature of the sound that comes from the loudspeakers so it will be affected by the early reflected sound from the room surfaces. The early reflected sound will also affect the global auditory source width for an orchestra for example and may make it extend considerably beyond the baseline between the loudspeakers.
In asymmetric rooms where the walls on the left and right of the listener have different acoustic properties, the stereo stage may become biased towards the wall that reflects the most. The curve in Figure 8.23 shows the dependency more clearly for different levels of unbalance as applied to the center phantom source in a stereo loudspeaker system. The intensity will then be higher at that ear and the sound stage distorted. This distortion is usually compensated by changing the balance in amplification between the stereo channels.
At low frequencies in the modal region, symmetry may not be desirable since someone sitting in the middle of the room may be on or close to modal node lines. One way of avoiding such node lines is to make the room asymmetric in the low-frequency region.
This can be achieved by having an asymmetric rigid shell surrounding the inner room which is symmetric for mid- and high frequencies by suitably reflective side walls, ceiling, and floor. The inner room must be open acoustically to the outer shell at low frequencies, for example through ventilation vents, and similar large openings, for example at corners. In this way, one can have the desired listening position sound field symmetry for mid- and high frequencies while at the same time have asymmetric conditions in the modal frequency range. Bass traps to control the damping—and thus the reverberation times—of these modes can be placed between the outer and inner shell. It is important to remember though that noise transmission to the surrounding spaces will then be dependent on the sound isolation of the outer shell that must be physically substantial.
Acoustics of Small Rooms
Mendel Kleiner & Jiri Tichy
https://www.amazon.co.uk/Acoustics-Small-Rooms-Mendel-Kleiner/dp/1138072834/
- Thread Starter
- #6
Read the book in 2017 when it was published and was very disappointed. The book is written by two acoustics professors where the physics part in small rooms is described at an unusually high mathematical level.
The description of the psychological reactions to physics is not on the same scientific level. Floyd Toole describes the psychological science of how we hear better.
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You have science on one side against empiricism on the other side.
Psychological science does not exist.
The science is the same in Asia or in America.
The psychology is dependent of the civilization like the confucianisme Chinese against the individualism occidental.
Regarding the "how" part of @Neuro's question, here are two videos which might be of interest:
Earl Geddes speaking about early reflections, for the first eight minutes or so: Earl Geddes on Software Assisted Audio System Design - YouTube
David Griesinger on the effects of early reflections in concert halls, stick around for his response to the question about Apparent Source Width at the end: The effects of early reflections on proximity, localization, and loudness - YouTube .
Earl Geddes speaking about early reflections, for the first eight minutes or so: Earl Geddes on Software Assisted Audio System Design - YouTube
David Griesinger on the effects of early reflections in concert halls, stick around for his response to the question about Apparent Source Width at the end: The effects of early reflections on proximity, localization, and loudness - YouTube .
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DanielT
Major Contributor
"Avoid short reflections
Carlsson’s designs go in the exact opposite direction. Reflections are inevitable, but you can control their distribution and when they arrive.
Carlsson found that reflections arriving 1-5 milliseconds after the direct signal are most disturbing. Earlier reflections will be perceived by the ear as being part of the original signal. And if the reflected sound arrives later than 10 milliseconds after the original, the ear can separate it from the original and abstract from it."
Stig Carlsson And The Listening Room
Swedish sound pioneer Stig Carlsson might as well have been from another planet, so different were his ideas at the time. He believed, for example, that listening room should be taken into account!
www.lbtechreviews.com
Edit:
A little OT. By the way, in the link above:
"Another Swedish company has taken up the legacy of Stig Carlsson. On July 14, 2014, the design and technology company Teenage Engineering.."
Who now designs speakers for:
"Jesper Kouthoofd, head of design and founder of Teenage Engineering"
New products and collections
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..so it can be/go..
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It sounds like Carlsson arrived at the same 10 milliseconds target as Geddes and Griesinger, though I'm not sure how he would position his quasi-omni speakers given his finding that "reflections arriving 1-5 milliseconds after the direct signal are most disturbing." Did he advocate placing them fairly far our [edit: "out"] into the room?
Carlsson DID put a lot of effort into making sure the SPECTRAL BALANCE of the reflection field closely tracked that of the direct sound. Imo THIS is an area where there is room for improvement over conventional wide-pattern direct-radiator speakers: Their reflection fields will inevitably have less top-end energy than the direct sound. And imo the resulting spectral discrepancy between the first-arrival energy and the subsequent reflections (which are dominated by the off-axis sound) is not ideal. Presumably a few other designers have arrived at a similar conclusion and have added rear-firing tweeters to fill in that missing top-end energy in the reflection field.
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DanielT
Major Contributor
Nop, Towards the back wall.
Stig Carlsson And The Listening Room
Swedish sound pioneer Stig Carlsson might as well have been from another planet, so different were his ideas at the time. He believed, for example, that listening room should be taken into account!
www.lbtechreviews.com
All Carlsson loudspeakers should be placed on the floor, right up against the back wall. The placement gives a boost in the bass range, but this is factored into the frequency response of the speakers. And because of the short distance to the wall, reflections do not interfere. It makes the wall “disappear” acoustically, and you get the feeling of listening through the wall. The distance to other reflective surfaces, on the other hand, becomes so big that the sound only emerges after the 10 milliseconds when the ear becomes able to distinguish it from the direct sound.
....
"When you put speakers in a living room, their sound is greatly affected by their surroundings. Room resonances can emphasise some frequencies dramatically – while attenuating others accordingly. And reflections from the floor, ceiling and walls can affect the stereo image and impulse reproduction.
The traditional solution is to distance the speakers from the back and sides, and lift them off the floor, getting them as far away from reflective surfaces as possible. This, in turn, often causes disapproval from other members of the household and still doesn’t eliminate reflections from the ceiling.
Avoid short reflections
Carlsson’s designs go in the exact opposite direction. Reflections are inevitable, but you can control their distribution and when they arrive.
Carlsson found that reflections arriving 1-5 milliseconds after the direct signal are most disturbing. Earlier reflections will be perceived by the ear as being part of the original signal. And if the reflected sound arrives later than 10 milliseconds after the original, the ear can separate it from the original and abstract from it."
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This discussion makes me think of David Hafler's early (c. 1980) ambience set up, which involved connecting front and surround speakers so as to channel out-of-phase (predominantly reflected) sound from the original recording to the rear speakers. In these early days, I set this up and rather enjoyed it, primarily (in my own mind) because it was simple, it worked, and it added no electronic processing or artificial spatial distortion to the recorded stereo signal.
But here and now, I'm wondering if the out-of-phase signal might also have had a natural delay of >15ms because it was usually composed mostly of the reflections from the recording venue, especially for classical recordings on a stage or in a concert hall. So, in the above case, If the playback venue is too small for >10-15ms delay from locally-reflected sound and might smear the stereo image, then using the recorded ambience information via a Halfler circuit (directed at the listener and not reflected in the playback venue) might naturally work better. (I believe this technology is akin to the original matrix decoding.)
I always noticed a sense of space but an absence of image smearing. I would notice the effect most dramatically when I disconnected it: the stereo image remained stable but the sense of ambient space collapsed.
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tuga
Major Contributor
Franco Serblin came up with an adjustable backpack satellite designed to increased "spaciousness" which allowed a certain degree of customisation of the end result.
It was on demo at dealer nearby a few years ago and regrettably I didn't go for a demo...
https://www.absolutesounds.com/pdf/main/press/_The Sonus Faber_ HFN0211web.pdf
It was on demo at dealer nearby a few years ago and regrettably I didn't go for a demo...
https://www.absolutesounds.com/pdf/main/press/_The Sonus Faber_ HFN0211web.pdf
Nop, Towards the back wall.
Yeah my impression was that the Carlsson speakers were designed to go up against the back wall (or "front" wall, depending on how you label it), like the Larsens are today. (Imo Stereophile did not give the Larsens a fair audition because they positioned them against the SIDE walls, when their frequency response is DELIBERATELY tailored to compensate for the woofer's bounce off of a wall immediately BEHIND the woofer, NOT immediately to its side.)
So perhaps this what Carlsson is saying, bolded insertion mine?
I think the original "Sonus Faber" speaker incorporated a similar system, and the "Aida" also has user-adjustable rear-firing drivers. As you have probably guessed, I think it's a great idea.
DanielT
Major Contributor
"So perhaps this what Carlsson is saying, bolded insertion mine?"
He probably would, but I have too little knowledge to comment on that.
It was probably a bit unfair to Larsen what Sterophile did, measuring his speakers that way.
But you as a designer can talk to one of Stig's apprentices, John Larsen, Peter Steindel or Ingvar Öhman. The speaker pro construction world is still quite small.
Good morning from Sweden!
I recently joined the forum after seeing the amount of great content on here! There also seems to be quite the number of interesting individuals hanging around here :) I have been interested in audio all my life basically but the last 10 years or so I've really started to pursue audio nirvarna...
audiosciencereview.com
dasdoing
Major Contributor
what people are basicly after is a wider soundstage. you will have a second pair of speakers "in the mirror". I don't think it is worth it, IF you have the choice. it is very destructive to the image and you can widen the soundstage by simply widen the triangle.
Now if there is some other kind of magic sauce happening I would like to hear what it is.
Now if there is some other kind of magic sauce happening I would like to hear what it is.
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