Surely we all have an ion meter in our listening rooms and move the kit to the area of least negative ions before listening? This will take care of humidity effects on the electronics. The damping effect of humidity and air pressure on mechanical vibration of sound waves is a step too far perhaps.
I feel a Naim branded HVAC unit coming on?
How about a NVAC 5xs and then a NVAC2 with optional power supply.
Then the NVAC 555. With its own extra special PSU.
And later on a statement HVAC with a no compromise ability to Dehumidify / rehumidify and temperature control ones local atmosphere.
If you can’t stand to listen to your system when it rains don’t ever consider moving to the UK!
More hot air about tweaking
I find it easier and just as effective to use a flux capacitor. These are no longer available except by special arrangement.
There was a thread last year called humidity and sonics, in which I wrote this:
Does this means we will all need to live at the same height above sea level as the Naim factory is, to get the best sound?
Why do you think I buy all-English hi-fi? It’s nothing to do with my politics, it’s because I want something that’s been tuned to sound best on a rainy afternoon.
No not really, as the NVAC 555 will compensate for this. Allowing to to live where you do. Naim will add/subtract humidity, temperature and pressure. As if you were living in Salisbury.
Regarding air pressure, it, too, affects the speed of sound, though the percentage change is pretty small. However what is very significant indeed is whether the interal and external air pressure of your ears is balanced. This can and does make a huge difference to sound - very obvious if you suffer severe congestion due to a cold and clear it blowing your nose. More commonly you can often you can hear difference as you yawn, equalising pressure, and unless you do so regularly external air pressure changes can gradually build up the internal/external ear pressure differential (positive or negative).
The difference in hearing caused by physiological effects such as this is one of the very likely explanations of the changes in sound quality some people observe from day to day, otherwise sometimes ascribed to believed phenomena like burning in (even of things that just don’t burn in), or their system sometimes inexplicably being sub-par.
The next time I listen to ‘Rainy Night in Georgia’ I shall be thinking of @334578, who won’t be listening on a rainy night in Georgia…
Here you are talking about the effect of air pressure on the human body, not the effect of air pressure on the transmission of sound waves. It is doubtful that the room can ever be equalised to an air pressure that is different to the surrounding environment without considerable expense. A diving chamber in the listening room perhaps?
Now that is a cunning plan Hungry (Baldric) Halibut!
I am glad folks have seen the humor in my response.!!
I, of course was “takin a piss” as some may say. I just like to enjoy my music, rain or shine, cold or warm.
@anon4489532 - it is usually Brussel sprouts or pinto beans for me and a veggie burger for the Mrs if we want to pressurize a room for best sound quality😂
That might be the only “Night The lights went out in Georgia. (Thanks for the ballads Bobby Russell and Vickie Lawrence).
My system gets much more time when it’s 100 degrees F outside.
100 degrees F?
Sorry again, would get no use at all in the UK!
This is all complete madness, Id rather worry about getting the earth spurs watered in dry periods.
Indeed I was - because that is where there will be the biggest audible effect: if air pressure goes up or down even a tiny amount, and you don’t equalise the rear of your eardrum, it will affect how you hear. I think it would take a very much larger change in air pressure to be audible purely as a consequence of it being at a different pressure.
To all intents and purposes pressure does not affect the speed of sound, therefore frequency of resonances, comb filtering, and altering tuning of speakers, and perceived timing and distance arising from different times of arrival at ears are unaffected.
In answer to your question, to maintain constant pressure you would need it gas sealed and either have a means with very rigid walls and no exchange of air, and devoid of life to avoid change in air density With changing gas composition (not good as a listening room!), or Gas sealed but with a very, very precise air pressure regulator and gas exchanger to keep the air composition precisely the same despite respiration of occupants etc. In realistic terms, a non-starter, and only likely in research labs, space stations or self-contained undersea stations.
Aside from the effect of pressure differential on the ears, of far greater significance than either air pressure or humidity is temperature, which has a more significant affect on soeed of sound - but is easy to control within quite a tight range, at least in UK except during heatwaves unless you feel aircon is justified.
I’ve worked in spaces that were held at overpressure compared to the surroundings. The air quality and temperature was also controlled. I never noticed any difference in the sound of anything as I entered or left these spaces (even when you could clearly feel the change in temperature or humidity) - not that I would expect to have done!
…anyway, the feasibility of doing anything about atmospheric pressure and humidity in your listening room approaches zero. The pressure on either side of your ‘eardrums’ equalises rapidly anyway, unless your eustacian tubes are ‘blocked’. Better to not worry about these parameters…otherwise you are just not going to enjoy your music.