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.
I’ve often wondered about this. I live on the 30th floor and my ears pop every day as I go up and down the elevator. So I’ve naturally wondered whether a denser medium at lower altitudes gives at the least better efficiency. But I’ve noticed nothing really.
What is noticeable is humidity. And the mechanisms by which it affects sound are probably threefold:
The air itself as the medium.
The psychoactive effect on an uncomfortable listener.
The physical effect on the speaker cabinets and cones.
The latter is probably the largest. The temp and humidity ranges in Tokyo between a bone dry 15% humidity winter and hot humid >90% summer are extreme. I’ve seen cheap paper cones wrinkle and the veneer on speakers blister with such changes. I suspect very much that some speaker designs are highly susceptible to changes.
I use powered dehumidifiers to prevent indoor from rising above 60%.
The MAXiiMUS derives its energy from the permanent flow of electrons from nature. This flow of electrons is caused by the difference in potential between the ionosphere and the earth. The strong Tachyon field in the accumulators inside the MAXiiMUS act as an antenna which derives electrons from this potential difference and injects them directly into the circuit. This process enhances the efficiency of the electricity, which in turn leads to less power consumption.
So the MAXiiMUS improves the efficiency of your electricity. Due to this, your audio/video equipment will sound much better, shortly after it was switched on. Dynamics, attack and resolution will improve significantly.
Although the P40 range of 35 m seems to be more than adequate for the average home, the M100 works much better for audio applications.
We have to rely on deuterium oxide and carbon 14 oxide to raise the air density down here. Living below sea level reduces the earth’s gravitation pull, so it’s easy to feel a bit light headed at times.
Can’t comment on the Maximus, neither on the Ionostat, invented by Pierre Joannet. The ionostat goal is to purify the air and improve sound quality.
Was more tested during 80’s and 90’s by some audiophiles. Not heard of it since.
I have found when listening at loudish volumes opening the rooms door makes a difference for the better. Also late at night with very low volumes closing the doors help.
I personally prefer to listen more when there is a slight chill in the air. Cold air in the lungs seems to have a better effect of getting the blood oxygenated and flowing to the little threads to the inner ear and brain networks to pick out more details. Also shivers and hairs standing on end are somewhat an easier effect.
Certainly from experience at all day outdoor festivals in the past, I could pick up ambient acoustic differences throughout the morning, day and evening.