What are some good example of baffle design to improve diffraction

Jump to Latest
#361
GDO said:
Normal room? Bad room? Wozat?🙄
Click to expand...

Zvu said:
Normal/bad - untreated with lousy positioning of speakers

Good/not normal, rare - acoustically treated room
Click to expand...

normal=typical

You may not like it but that's how it is.

Even here most diyaudio.com users listen in "untreated rooms with lousy positioning" by some ideal standards.

Some food for thoughts perhaps:
http://www.diyaudio.com/forums/multi-way/121893-spl-targets-speaker-design-10.html#post1498675

Some scientific research, the main topic is different but there is a bit about typical rooms and even also about "critical distance".
 
#362
Pano said:
Yes, tonal balance itself will change what you hear of recorded acoustics.
But then we would have to get into what "swamped" means. If you take it as meaning that you can not hear recorded acoustics because the room completely masks them, then I agree - they are not swamped in a normal room. You'll hear the basic acoustics.

But I can tell you from direct, multiple and varied experience that there is an amazing amount of acoustics in the recording that most people never hear, the room does wipe it out. It doesn't swamp all of it, but it does hide much of it. Better rooms will surprise you will a wealth of acoustic information you just won't hear in a normal "bad" room.
Click to expand...

yes, tonal balance and room noise
 
#364
Typical normal room of the happy families ( upper middle class though...😛), to make normal life and with a stereo in it...

Yeah, i know set ups like this probably suck for the purists...😀

IMG_2193-3c.jpg
 
Last edited:
#365
graaf said:
choose "omni loudspeakers" option and look at the "Eq. Early Reflected Energy rel Direct dB"

in most listening rooms (typical/normal/"bad" rooms) what one hears is the sound of the room excited by the speakers
Click to expand...

Which is precisely why "omni loudspeakers" aren't such a good idea IF one wants to hear the original recording venue acoustics: they make it all but impossible to listen at any distance approaching (let alone shorter than) the critical distance.
 
#366
marco_gea said:
the reverberation time of the original recording venue is almost always longer than that of the listening room. But the realism of the reproduced auditory illusion may still be significantly impaired if the listening room reflections and reverberation are much louder than the reflections and reverberation in the recording.
Click to expand...
I'm trying to imagine what the effect of this might be....Could the effect be that the recording would sound more like it was in my room than the room in which it was recorded? Wouldn't that actually add to the sense of presence and realism?
 
#368
marco_gea said:
... IF one wants to hear the original recording venue acoustics...
Click to expand...

Ha, i don't know if i love or hate ingenuities like this, but i must admit it is tough to fight the myth of Fidelity...:knight:

Is it so hard to understand that what's in the recording is FAKE by its own nature, and the point is no so much what's in the record but simply how good or bad its reproduction sounds in a given room with a given pair of speakers, from an AESTHETICAL point of view, without any valid absolute reference available to compare to ( which the recording in itself obsviously cannot be because it has no sound of its own before being reproducted on a given system in a given room...)?🙄

YouTube
 
Last edited:
#369
Why do people only ever talk about live recordings in these kind of discussions?

i can kind of understand why people who want to pretend they are in a concert venue will want to hear the room a lot more - the brain uses those cues of the surroundings it is in to associate the sound with something 'live' and immediate.

however, if you want to really fool your brain into thingink you are somewhere else completely then you need high directrivity speakers and setup. i mean how does a sound recording of a forest ever sound right in a living room with high dispertion speakers? the room completely spoils the illusion - same with any other live event that is not in a humanly constructed , room like spoace. for me, wide dispersion suits just a very specific set of recorded material.. that yes, may be the mainstay of those who love their sound.

sorry for any typos whilst doing this in a rush on my phone.
 
#371
NATDBERG said:
Why do people only ever talk about live recordings in these kind of discussions?
Click to expand...

The recording of Wagner's Ring by DECCA i posted before has nothing to see with the recreation of a live event, though it boroughs some elements of it deliberately artificially mixed to achieve a cut and paste pick and mix manmade production. Not so different to a Cabaret Voltaire production using only electronic instruments.
 
Last edited:
#372
marco_gea said:
Which is precisely why "omni loudspeakers" aren't such a good idea IF one wants to hear the original recording venue acoustics: they make it all but impossible to listen at any distance approaching (let alone shorter than) the critical distance.
Click to expand...

this isn't a real problem in a typical room with RT60 around 0.5 s

on the contrary - "What happens is that the early reflections of the playback room carry information about the recording room quite well" to quote Dave "Golden Ears" Moulton

OTOH an "omni loudspeaker" doesn't always means the same, some of those "omni loudspeakers" create a sonic mess by design, the room influence is not to blame
 
#374
marco_gea said:
when you reproduce a real stereo recording, the latter already has the reflection and reverberation cues of the original recording venue baked into the recording itself. If you want to get a credible approximation of being "transported" to the original venue, then those reverberation cues of the recording itself must not be swamped by the reflections and reverberation of the listening room. This can only be achieved by listening within the "critical distance", which is often only possible by employing narrow directivity speakers.
Click to expand...
Where can these "real stereo recordings" be found? How do you know only two microphones were used, and that they were approximately one foot apart?
 
You must log in or register to reply here.
Top Bottom