Yes I have many times. I prefer it.
It can also mean the difference of actually enjoying a live band in a small space.
I like the quietness when I walk into a well treated room. I know something good is in store.
Here's a semi related article, just something to read.
McIntosh Anechoic Chamber
It can also mean the difference of actually enjoying a live band in a small space.
I like the quietness when I walk into a well treated room. I know something good is in store.
Here's a semi related article, just something to read.
McIntosh Anechoic Chamber
Wow , lots of Irony there frankie ...........
I take it you don't listen in a real room then..
Note that anechoic treatments may not be the same as an anechoic chamber, depends on the degree to which those treatments are used.
I guess I'm all wet but the last thing I would strive for would be an anechoic listening environment as I have said I have listened to music in such an environment, to each their own I guess.
I'm also not a fan of Imax, but I do like stereo sound..
If you don't use omni-directional radiators a surprising number of room issues just go away except in the bottom octaves.. (unfortunately)
A lot of clues in that one kevin ... cheers ...
Wow.... You had to explain that ...
....... 
At Bell Labs (I think that's where it was) they had an experimental system with 11 or more record/playback channels. It was designed to be played back in an almost anechoic listing room. The speakers would provide all the reflection and reverberation clues.
Different types of recording are more appropriate in different types of rooms.
With two channel spaced mic stereo recordingss (think Siegfried Linkwitz) a very live reflective room is good.
For modern 5.1 or 7.1 desecrate channel home theater playback, you would want a rather dead room.
Different types of recording are more appropriate in different types of rooms.
With two channel spaced mic stereo recordingss (think Siegfried Linkwitz) a very live reflective room is good.
For modern 5.1 or 7.1 desecrate channel home theater playback, you would want a rather dead room.
Glo Bug, I think you are confusing things a bit. Anechoic really means no reflections at all. None. Impossible to achieve in practice for the entire audio band, but many of the big chambers get close enough. An anechoic chamber is not a listening room, it's a tool.
Well treated rooms, large or small, contain a mix of absorption, reflection and diffraction. Yes, the do tend to be quite and deader than normal rooms (and pleasant to be in), but they are not "Anechoic." A room that is completely, totally dead (anechoic) is no fun as a listening space.
Music isn't recorded, mixed or mastered in anechoic conditions, so normally isn't intended for playback under those conditions. Ditto cinemas. Check the THX specs, you'll see what I mean.
Well treated rooms, large or small, contain a mix of absorption, reflection and diffraction. Yes, the do tend to be quite and deader than normal rooms (and pleasant to be in), but they are not "Anechoic." A room that is completely, totally dead (anechoic) is no fun as a listening space.
Music isn't recorded, mixed or mastered in anechoic conditions, so normally isn't intended for playback under those conditions. Ditto cinemas. Check the THX specs, you'll see what I mean.
"Pleasent" is subjective.
I fully understand there is a threshold where a room is deemed an "anechoic chamber".
That being said, a properly made damper would ideally be anechoic, and would be called an anechoic panel. Acoustic Foam: HushFoam Pricing
To what degree people use this is a matter of taste, or what their better half will tolerate. Perhaps even a lack of understanding about whats really going on.
"Music isn't recorded, mixed or mastered in anechoic conditions, so normally isn't intended for playback under those conditions."
Well, your half right. The most accurate reproduction of music would be in an anechoic chamber, devoid of modes and other outside influences, a benchmark if you will, or"infinite". The true meaning of a black background.
Sound engineers cannot predict all the environments that a recording will be played in, and somehow make advanced corrections to somehow make it sound the same in all these different "boxes" or rooms.
There is a reason why speaker companies don't measure speakers in an empty 12' x 14' bedroom. It' impossible to get a clean reproduction of the test signal.
So consider this next time you design your next speaker if you actually want to achieve the measured factory specs.
All smaller or residential sized rooms have harmonic resonances in the audio band. Different frequency for different shaped and sized room.
So your options for having a "flat" responding room is to have significant dampening or move your gear to a concert hall where the fundamental resonance is a lower, inaudible frequency.
Same as with the inside of your typical speaker box. If you stick your head in the woofer hole and hum, from a low to high note you will quickly hear the resonant frequency of the box, you will hear the standing waves.
So that is the basic reason for dampening the interior of the speaker box, among other tricks, to minimize or eliminated these audible peaks.
Picture your room as the "other half" of the speaker box.
I fully understand there is a threshold where a room is deemed an "anechoic chamber".
That being said, a properly made damper would ideally be anechoic, and would be called an anechoic panel. Acoustic Foam: HushFoam Pricing
To what degree people use this is a matter of taste, or what their better half will tolerate. Perhaps even a lack of understanding about whats really going on.
"Music isn't recorded, mixed or mastered in anechoic conditions, so normally isn't intended for playback under those conditions."
Well, your half right. The most accurate reproduction of music would be in an anechoic chamber, devoid of modes and other outside influences, a benchmark if you will, or"infinite". The true meaning of a black background.
Sound engineers cannot predict all the environments that a recording will be played in, and somehow make advanced corrections to somehow make it sound the same in all these different "boxes" or rooms.
There is a reason why speaker companies don't measure speakers in an empty 12' x 14' bedroom. It' impossible to get a clean reproduction of the test signal.
So consider this next time you design your next speaker if you actually want to achieve the measured factory specs.
All smaller or residential sized rooms have harmonic resonances in the audio band. Different frequency for different shaped and sized room.
So your options for having a "flat" responding room is to have significant dampening or move your gear to a concert hall where the fundamental resonance is a lower, inaudible frequency.
Same as with the inside of your typical speaker box. If you stick your head in the woofer hole and hum, from a low to high note you will quickly hear the resonant frequency of the box, you will hear the standing waves.
So that is the basic reason for dampening the interior of the speaker box, among other tricks, to minimize or eliminated these audible peaks.
Picture your room as the "other half" of the speaker box.
Sorry GloBug, you are just plain wrong. I did try.
It seems that you lack real experience in this regard. All you are stating here is some theory - wherever it came from. It doesn't matter what you think is right, try to find out what standard practice and terms are. There is a huge body of research in area. You might want to check out "The Master Handbook of Acoustics" by F. Alton Everest. Reading some THX and Dolby papers might also help you understand the matter better.
GloBug said:
It seems that you lack real experience in this regard. All you are stating here is some theory - wherever it came from. It doesn't matter what you think is right, try to find out what standard practice and terms are. There is a huge body of research in area. You might want to check out "The Master Handbook of Acoustics" by F. Alton Everest. Reading some THX and Dolby papers might also help you understand the matter better.
Great book. Don't agree with everything in it, but no question I understood more when I was done than when I started. Tip o' the hat to jlsem who gave me a copy.
Sorry GloBug, you are just plain wrong. I did try.
Try to be more specific about what I am "wrong" about rather then, quoting something as subjective and broad as a book. Rather you should pull a quote from the book that contradicts any of the known properties I stated earlier.
Weather or not someone chooses to manipulate or take advantage of room modes to make up for some system shortfall or enhance a certain frequency, well that's up to them.
Seriously, are there people out there who enjoy the echo of drywall?
Is there any of you that have mastered the art of playing HiFi in a sewer pipe?
Let's take a poll.
(-1 point if you can only place the speakers in one location, that's lame, where ya going to put the couch?)
There is nothing to be gained by trying to colour the sound with reverberations that are NOT in the original recording.
As I stated earlier "to taste", or practical.
I'll see if I can find your book to hear the authors opinion.
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Seriously Pano, I open the book, to a random page and the first thing I read is..
"Many practical acoustic problems are invariably associated with structures such as buildings and rooms, and vehicles such airplanes and automobiles. These can generally be classified as problems in physics. These acoustical problems can be very complex in a physical sense; for example, a sound field might be comprised of thousands of reflected components..."
Chapter 3, page 33
Slapped with your own limp glove.
"Many practical acoustic problems are invariably associated with structures such as buildings and rooms, and vehicles such airplanes and automobiles. These can generally be classified as problems in physics. These acoustical problems can be very complex in a physical sense; for example, a sound field might be comprised of thousands of reflected components..."
Chapter 3, page 33
Slapped with your own limp glove.
Not at all. You simply don't understand what you are reading. Or you are trying a bit too hard to live up to your new sig line.
You may want to look back in the thread a little. Never have I stated that reflections are benign or don't need to be controlled. Just that you don't really understand the difference between good acoustics and no acoustics (anechoic). Keep reading, you'll get there.
You may want to look back in the thread a little. Never have I stated that reflections are benign or don't need to be controlled. Just that you don't really understand the difference between good acoustics and no acoustics (anechoic). Keep reading, you'll get there.
Good acoustics is no acoustics, from a reproduction point of view.
Heck most instruments and singers are recorded in isolated anechoic type controlled environments, that's something else you mentioned that makes no sense.
Take a peek in any decent recording studio, you won't see bare walls in the tank or the booth. (Recording and Reproduction rooms)
Your not supposed to put the foam in your ears.
It's not hard to grasp this simple concept.
When you watch TV, do you like shine flashlights in your eyes?
Heck most instruments and singers are recorded in isolated anechoic type controlled environments, that's something else you mentioned that makes no sense.
Take a peek in any decent recording studio, you won't see bare walls in the tank or the booth. (Recording and Reproduction rooms)
Your not supposed to put the foam in your ears.
It's not hard to grasp this simple concept.
When you watch TV, do you like shine flashlights in your eyes?
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