First a little background:
I've been building speakers with limited vertical dispersion, but typical (to wide) horizontal dispersion. I accomplish this by using nested line arrays and careful crossover optimization for both on-axis and off-axis response. This typically makes the speakers very tall, but I managed to fit my latest design in a 34" tower cabinet (though I still have to put them on stands to get the ribbon tweeter at ear height... so it's more of a tall bookshelf the way I use it). One of the reasons I chose to make this (somewhat compromised) design was because it would allow for listening to the speaker as intended (vertically), and also horizontally.
By alternately listening to the speaker vertically and on its side, the listener gains an appreciation for the impact of the stronger reflections: When the speaker is vertical, the lateral (sidewall) reflections are much stronger than the floor and ceiling reflections. When the speaker is horizontal, the floor and ceiling reflections are much stronger than the sidewall reflections. What's great about this is that it isolates so many variables because it's the same speaker(s) both times: same drivers, same crossovers, same limits of distortion, same bass extension, etc.
I first performed this comparison (vertical vs horizontal) in stereo, and I found a pretty dramatic change in the soundstage. With stronger sidewall reflections, the soundstage was much wider. My subjective reaction was that the music was more engaging and more authentic this way: less like listening to a pair of speakers and closer to an actual performance. I expected to be able to perceive more detail with the speakers in the vertical position, but I didn't notice a substantial change in this regard. Although I had a strong preference for wide horizontal dispersion, I could understand why someone else might prefer a limited horizontal dispersion, which sounded a little simpler, cleaner, drier: like getting just what's in the recording itself.
I later performed the same test (vertical vs horizontal listening) with a single speaker. The differences were much, much less pronounced. The differences were now so subtle, that I didn't bother trying to identify a preference.
Conclusion:
Mono (single-speaker) listening didn't provide the opportunity to assess (or appreciate) differences that caused dramatic changes in the perception of soundstage when listening in stereo. For me, this casts serious doubt on the claims that single-speaker evaluations are sufficient.
Considerations:
The test was sighted. Only 2 people have performed this exact test. (I believe the results were similar, but the 2nd person can choose whether or not to chime in here since he reads this forum.) Most speakers don't have such drastically different dispersion characteristics (vertical vs horizontal), and even "narrow" dispersion speakers aren't typically as narrow as these speakers are vertically (though that depends a bit on whether you concentrate on the large off-axis angles or the small off-axis angles).
I have attached some reference pictures to show the speakers used for the test, as well as frequency response plots to compare vertical and horizontal dispersion. I have purposely added a small downward tilt to the upper mids and treble that I find to give a more pleasing balance. In my experience, spectrally flat speakers with limited dispersion are often perceived as bright and can cause listening fatigue. Of course, most on this forum would EQ to taste, but I've been lending these speakers out to enthusiasts and non enthusiasts, and I wanted a balance that would be inoffensive even with less-than-perfect recordings. The frequency response plots show on-axis in blue, with horizontal dispersion in red, and vertical dispersion in green. I have included plots for 45 and 90 degree off-axis measurements.
I've been building speakers with limited vertical dispersion, but typical (to wide) horizontal dispersion. I accomplish this by using nested line arrays and careful crossover optimization for both on-axis and off-axis response. This typically makes the speakers very tall, but I managed to fit my latest design in a 34" tower cabinet (though I still have to put them on stands to get the ribbon tweeter at ear height... so it's more of a tall bookshelf the way I use it). One of the reasons I chose to make this (somewhat compromised) design was because it would allow for listening to the speaker as intended (vertically), and also horizontally.
By alternately listening to the speaker vertically and on its side, the listener gains an appreciation for the impact of the stronger reflections: When the speaker is vertical, the lateral (sidewall) reflections are much stronger than the floor and ceiling reflections. When the speaker is horizontal, the floor and ceiling reflections are much stronger than the sidewall reflections. What's great about this is that it isolates so many variables because it's the same speaker(s) both times: same drivers, same crossovers, same limits of distortion, same bass extension, etc.
I first performed this comparison (vertical vs horizontal) in stereo, and I found a pretty dramatic change in the soundstage. With stronger sidewall reflections, the soundstage was much wider. My subjective reaction was that the music was more engaging and more authentic this way: less like listening to a pair of speakers and closer to an actual performance. I expected to be able to perceive more detail with the speakers in the vertical position, but I didn't notice a substantial change in this regard. Although I had a strong preference for wide horizontal dispersion, I could understand why someone else might prefer a limited horizontal dispersion, which sounded a little simpler, cleaner, drier: like getting just what's in the recording itself.
I later performed the same test (vertical vs horizontal listening) with a single speaker. The differences were much, much less pronounced. The differences were now so subtle, that I didn't bother trying to identify a preference.
Conclusion:
Mono (single-speaker) listening didn't provide the opportunity to assess (or appreciate) differences that caused dramatic changes in the perception of soundstage when listening in stereo. For me, this casts serious doubt on the claims that single-speaker evaluations are sufficient.
Considerations:
The test was sighted. Only 2 people have performed this exact test. (I believe the results were similar, but the 2nd person can choose whether or not to chime in here since he reads this forum.) Most speakers don't have such drastically different dispersion characteristics (vertical vs horizontal), and even "narrow" dispersion speakers aren't typically as narrow as these speakers are vertically (though that depends a bit on whether you concentrate on the large off-axis angles or the small off-axis angles).
I have attached some reference pictures to show the speakers used for the test, as well as frequency response plots to compare vertical and horizontal dispersion. I have purposely added a small downward tilt to the upper mids and treble that I find to give a more pleasing balance. In my experience, spectrally flat speakers with limited dispersion are often perceived as bright and can cause listening fatigue. Of course, most on this forum would EQ to taste, but I've been lending these speakers out to enthusiasts and non enthusiasts, and I wanted a balance that would be inoffensive even with less-than-perfect recordings. The frequency response plots show on-axis in blue, with horizontal dispersion in red, and vertical dispersion in green. I have included plots for 45 and 90 degree off-axis measurements.