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In Reply to: RE: Why Kill Valuable Musical Information/ Dynamics of Sound-Waves at the First-Reflection Point? posted by Dryginger2 on June 21, 2015 at 18:38:24
>> It's interesting how the almost immediate reflection of off-axis sound-waves from these panels on either side causes their arrival at the listening position with insufficient delay to cause 'comb-filtering'. This is proved by the marked increase in the purity of sound and, of course, all the other improvements flow from the additional volume of musical information.
Comb filtering will occur when delayed versions of the sound waves interfere (constructively and destructively) with the original wave.
The wavelengths of audible sound range from about 17 meters (20Hz) to 17mm (20kHz)
Unless I am very much mistaken, the distance between your reflective boards is within that range, so comb filtering will occur, despite the "proof" that you provide.
In fact, the distance from the speakers to the panels I would guess to be say 50cm, meaning that you get comb filtering around about 700Hz which is right in the middle of the midrange.
Follow Ups:
Beautox,
You are absolutely right and I was clearly misled by the remarkable increase in improvement already achieved. Have turned a pair of panels upside down and placed each right next to either side of one speaker on its maple block and that doubled the amplification of its music again. Difficult to tell how that will translate in terms of total sound quality improvement until listening after having doing the job permanently to both speakers. Will report back then. Many thanks for your thoughtful input!
DG
That would tend to make speakers sound impressive, and I suspect that is what is going on.
regards,
reub
Reuben,
Obviously the Vienna Acoustic Mozart Grands in question are 'coil' rather than 'horn' speakers with which you entitled your response. The principle adjective that I would use to describe music with complete musical information and dynamics is 'engaging' of which we never tire rather than 'impressive' which quickly loses its allure to stylized tedium and ultimately fatigue. It's the three dimensionality, energy and small sound details that take us to the recording event in my view and using (rather than discarding) the extra musical information + dynamics from off-axis sound-waves provides a critical edge in capturing this realism. The logic of fast-reflection over absorption is compelling and hearing the revealing sound improvement settles the matter...
DG
Maybe you just like your midrange comb-filtered?
Beautox,
Regrettably the music with panels in immediate proximity to the speakers does not sound as natural to my ears as when they are mounted on rounds at treble the reflecting distance. Despite the expense of now putting them back the way they were, am grateful to have tested this variant.
Certainly do have a preference for the quality improvements from using all the musical information and dynamics available from the speakers at what sounds to me to be such a marginal loss of tone from frequency cancellation that I cannot audibly detect it when making a direct comparison. However do accept it must be present on some level for the technical reasons that you have provided. We are fortunate to have the benefit of your technical expertise.
DG
Beautox,
At a reflection distance of 4" I suspect the sacrifice in tone will shrink close to inaudible as the improvements in sound quality attributable to including ~40% more musical information and dynamics expand even further. Perfect tone with much diminished content will be perfect for television/ poor recordings while enhanced content and stronger dynamics will be best to reveal good recordings at very little tonal cost. Will see. Am grateful to you for your advice.
DG
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