I have recently moved my system (see my profile) from a small listening room (3.0m x 3.3m x 2.3m) to our living room (5.0m x 4.8m x 2.8m). Rearranging the usage of rooms allowed this move and the retention of domestic harmony.
Prior to the move I invested some time researching room acoustics, equipment positioning and room treatment. I was therefore able to plan a theoretical layout for the system and speakers allowing for optimal SQ, minimising adverse room effects and maintaining the use of the room as a living space.
I did have some concerns over the almost square shape of the new listening room as, using Amroc, I calculated that I could expect a low frequency standing wave around 32Hz, and consequently standing waves doubling (at 64Hz, 128Hzā¦). As my speakers are rated down to 30 Hz, I expected some issues here. I wanted to do everything I could to reduce the effect standing waves would have on SQ by optimising speaker and listening positioning to avoid the need for bespoke room treatment. Massive bass traps could not work physically and aesthetically in our living room.
I therefore made some attempt to position the speakers so that the first reflection points had some absorption at these points (thick curtains, and rugs etc.). I also positioned the speakers far enough away from the front and side walls to allow for at least that golden 1.7m difference between the listener/tweeter distance and the listener/first reflection/tweeter distance. This was something I simply couldnāt achieve in the small listening room.
The kit and listening seating were then moved to the theoretical ideal positions, taking the opportunity to clean the system, Fraim and contacts. Balls polished (Fraim balls I hasten to add), I was ready for a first listen.
At this point I left the speakers unspiked to allow for easy repositioning. The aim now was to initially optimise the listening position to reduce the effects of any low frequency standing waves and obtain the right balance between bass, mids and high frequencies. Fortunately my listening chair is on rollers so I could slide backwards and forwards towards the speakers, while listening to some bass-heavy tracks. The 38% ideal (distance of listener to back wall as a % of room depth) was not possible as I was too close to the speakers). A 25% position into the room from the back wall seemed the best compromise in this room.
At the first listen, I was amazed at the huge improvement in SQ this bigger room gave, and I will describe this later. But, although the bass was more extended, I was hearing that standing wave(s) which sounded like a monotone deep bass note that sat over the rest of the bass when the music went that deep. I moved the listening chair to a point where this was least apparent, but it was not removed.
Once the seating position was optimised, I then turned my attention to speaker positioning to obtain the best soundstage without compromising the balance achieved by the seating position optimisation. I found a poison for the speakers that maintained the 8:5 ratio of distance from speaker (tweeter) to side wall (8) : distance from tweeter to front wall (5).
Listening with the chair and the speakers in these positions reduced the effect of the standing wave(s), but hadnāt eliminated them, but the speakers were still unspiked. Spiking and levelling the speakers made a significant difference and almost removed the standing wave effect. The bass firmed up and that annoying deep reverberation was almost entirely removed.
I discovered the ultimate bass test tracks are the title track Voyage of The Cosmic Hippo by Bella Fleck & The Flecktones and the Nenad Vasilic track Just Squeeze Me from the Bass Room album. If your system can handle these tracks keeping the bass defined and deep with no overhang, you have done a great job of setting your system (and room) up. I am stunned by the presentation of these and other bass-heavy tracks. I am getting another octave or two of wonderful music.
So what has the room move given me in terms of SQ? An extended and controlled bass, much more detail and a wonderful soundstage that now extends to the sides and behind the speakers. But these are hifi traits. When I listen to close miked vocals for example, voices seem more natural with greater depth of tone and more detailed intonation and inflexion. Instruments and vocals just sound more natural with a greater capacity to convey meaning and emotion.
The move to a bigger room, despite a lot of work, has been a triumph. I would never have believed what impact room size, set up and a little (non bespoke) room treatment could have on SQ. As I was listening to the inevitable test tracks during set up, I was listening more to the music and less to the sounds, always a good sign. I also never got bored listening to the test tracks time and time again. This is because the music just got better and better as I dialled into the optimum positioning. Simply more insight into the music we love and are yet to discover. And surely this is what we are all looking for.
The best bit of all is that this wonderful upgrade cost me absolutely nothing other than some research time and some elbow grease.
