Who ever has the smallest sweet spot wins that competition...
Smallest sweet spot puts limitations on audience size....
Adding distance to the listening position relaxes this, the beamwidth is larger with distance.
@oltos, He's right.
I don't believe we were, there's a point that was missed.. if you stand in the corner and walk out, the walls get further apart as well.
Recall, the idea being put forward was reflection involvement on a sliding scale 😉
Recall, the idea being put forward was reflection involvement on a sliding scale 😉
as In; you understand what I am saying (as that part doesn't need to be explained cause you know what I am saying)...
Not that I don't want to hear what you have to to teach!
So in other words, its not just a matter of moving back from the speakers, in order to widen the sweet spot? Because this is changing the distance between the listener and the rear walls? I'm confused... and again, when I said "doesn't need to be explained" I meant, that you, already know, what I am talking about... It is I who is trying to figure out what you are talking about.
What about CD sweet spot?
What is it about this that changes and makes a difference?
A Dynamic tweeter
A Constant Directivity horn
A couple of tractrix Horns.
"Beaming narrows the listening sweet spot—off-axis listeners hear less high-frequency detail, impacting soundstage width" - AI derived.
This shows 2 horns placed in corners with a 90 degree wide pattern, at 45 degree angles.
The pattern widens as the listener backs up, but it is already as wide as the room is, and the listener cannot get outside the sweet spot as the sweet spot is as big as the room is.
A couple of tractrix Horns.
"Beaming narrows the listening sweet spot—off-axis listeners hear less high-frequency detail, impacting soundstage width" - AI derived.
The pattern widens as the listener backs up, but it is already as wide as the room is, and the listener cannot get outside the sweet spot as the sweet spot is as big as the room is.
I was confused at that point to why you disagree about sweet spot size versus listening distance is all...
Recalling what Camplo and Weltersys said about sound stage existing only in the recording, but please interpret whatever the Reddit poster is describing about his Radian 951Be/AH425 combo atop his dual 12" woofers from this statement:
Soundstage is ridiculously huge. Incredibly 3D it sometimes sounds like it’s coming from behind you. Surreal.
What might be the design or build factors about his active two way speakers and/or room acoustics which however often present the sound this way?
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Sweet spot and soundstage are not the same. Sweet spot is the range of listening positions in your room where you can get the speakers to image. Soundstage is the perception of that image in your mind.
The horn's 90 degree pattern of direct sound remains the same at any distance, the distance from the horn's center axis to the room walls are different left and right of the speaker's center axis.
The patterns of reflected sound are different at every location, though are symmetrical down the room's center line at a given height.
Your definition of "sweet spot" obviously is not considering the optimal sound stage presentation near the apex of an equilateral triangle between the speakers and listening position, nor the effect of the direct to reflected ratio of sound.
"Ridiculously huge" (or other cartoon like) presentations can result from the interaction of speaker polar patterns, frequency response, room reflections, individual head related transfer functions and the recording.
Art
Is it? IIRC, Camplo and Weltersys said that sound stage, if exists at all, does so only in the recorded event. But I never claimed any definition for sweet spot.
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I'm not sure we're on the same page. Sweet spot and soundstage size can be different at the same time because they are different things with one being in front of you and the other being underneath you 😉
The pattern widens as the listener backs up, but it is already as wide as the room is, and the listener cannot get outside the sweet spot as the sweet spot is as big as the room is.
There you go again!! And I never posted that quote of Camplo's, nor even attempted to define sweet spot.
Well, all that seems apparent is that you're not on the same page as Camplo and Weltersys regarding sound stage, at least as they had defined it during my dialogues with them.
No, AllenB's definition makes sense to me, and though as you did, numerous here have also said that the optimal point of that sweet spot is close to that equilateral triangle's apex.
As for the direct/reflected sound ratio, if the (single) listener is positioned close to that apex then would not he get more direct sound from a higher directivity horn, like the AH425, and more reflected sound from a lower directivity horn, like the B&C M90 or NicoB's horns?