I have absorbtion on early reflection points. I highly doubt the remaining reflection from those will have an influence on overall sound.
As an experiment, compare what you measure at your listening position with an anechoic measurement of your speakers. If they are not the same, then the off axis sound your speakers are producing
must be contributing something to what you hear.
that makes no sense. there is ambience in the recordings. and it's bigger, and more important, cleaner than the ambience in you room. you hear a mix of two ambiences with the worse one beeing dominant. also you add phase issues and distorsion:
https://ethanwiner.com/early_reflections.htm
Toole has been brought up, here's a quote from his book:
"A few people took the position that "Toole" is in favor of side wall reflections... treatment of those contentious side-wall areas is optional: absorb, diffuse, reflect - the choice is left to the designer, with, one would hope, input from the customer."
But in contrast, Ethan's stand is that the listening room reflections are bad, full stop. Based on that link, the argument appears to be centered on comb filtering. I have trouble buying into that because 1) any reflective room will have comb filtering, even the best sounding performing spaces have comb filtering, and it's the same delayed energy that causes the comb filtering that also makes those spaces sound good. Furthermore, even stereo speakers produce comb filtering effects, and stereo sounds quite lovely. And 2) there's a fair amount of research based on listening test that suggests that delayed sound/comb filtering isn't necessarily a bad thing. For example, David Clark, Helmut Haas, Sean Olive, and Floyd Toole have all produce research based on listening tests that suggest that room reflections can be non-harmful and even be beneficial.
In Clark's experiment, he compared adding delay to the signal to adding an actual reflection, and even though both scenarios measured about the same, the delay was jugged to sound very bad, and the reflection to have a minimal to moderately pleasing effect. In Haas' experiment, simulated reflections were seen to cause shifting of the perceived sound source and even 'a pleasant fullness' to the sound.
To add some to all of that, based on neuroscience, Earl Geddes and David Griesinger have suggested that there is an amplitude/delay envelope that affects what we perceive as "good sound" when it comes to acoustics. In some cases, the reflections have a negative effect, but a positive effect in others. Geddes has even commented that the style of music you listen to also has an effect on how loud room reflections should be.
You have to ask how is the recording affected by the room's ambiance? Reflections will come in from the room earlier, but they will also die out much quicker. Doing a quick informal comparison of an ETC my old living room with Boston Symphony Hall's, after 25ms, the concert hall's reverberant sound has decayed by around 6dB, but my room had decayed by around 20dB. And after about 350ms, my room had reached it's ambient noise level, but Boston Symphony's doesn't reach that point until 1,500ms.
Lest my point be unclear, I'm not saying that you are wrong for adding absorption to your room, it clearly makes your listening experience better, I'm saying that room reflections don't have to be thought of as automatically bad.