| December 2001 | |
FIXING THE WEAKEST LINK: THE LISTENING ROOM Tony Maresch |
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| In my opinion, the weakest link in most serious high-end systems is the room. Some of what makes a good room is science, and some art. I had read and studied much on the subject and since it was time to buy a new house for the growing family, I decided to make the most of the opportunity. I wanted a house with an unfinished basement that I would build into a dedicated listening room. When we found the right house, I spent half an hour walking around the basement, measuring and calculating possible room dimensions, and studying ceiling/floor joists. The vendor looked puzzled, and after explaining all the trouble I was taking was for a particular stereo placement, she was convinced I was certifiably mad! Since I built my system around a pair of large Infinity IRS Beta speakers, which have four 12 inch woofers per channel and can reproduce low frequencies down to about 15 Hz, I wanted to carefully calculate my room dimensions and their relationships with each other. Standing waves occur when a frequency does not have enough length to complete its cycle and doubles back on itself increasing in amplitude. A 20 Hz note for example is about 27 ½ feet long. These interactions occur between opposite walls, as well as the floor and ceiling. If a room is not big enough (i.e. virtually all real world listening rooms), standing waves can create frequency response irregularities. We can't eliminate them, but we can control or tame them if we build or find a room with well-proportioned dimensions. Since every room dimension will create a standing wave, the art of building a better listening room lies in having your three dimensions (length, width and height) working with each other to balance your room's frequency response. If you divide 550 by a room dimension (in feet) you will get the standing wave frequency for that length. It is best to avoid dimensions that are equal to each other (i.e. 8x8x8 room would have three identical 68.75 Hz. standing waves re enforcing each other). Dimensions that are double one another (i.e. 8x8x16) are not quite as bad but should also be avoided if possible. On moving day,
and before we even unpacked, I was in my new listening room
measuring again. The room would be 16.5 ft wide, 7 ft tall and
40 feet long with an 11x11 extension at the end farthest from
the stereo. Although the width and depth are a little closer
than ideal, I persevered as they were the largest dimensions
within the room to give me as realistic a soundstage as
possible (the standing wave frequency for 40 the foot length
is 13.75 Hz, and was too low to be a concern relating to the
width and depth). Moreover, the ceiling height was lower than
ideal, but there are other solutions to ameliorate the early
reflection this produces - more of the solutions later. One
positive side effect of the layout was a space where I could
create an LP/CD storage room -- heaven seemed very close as my as my ultimate audiophile lair was taking shape.
As I needed to
wire for my current and future hi-fi needs, I ran 6 dedicated
15 amp lines for the stereo with 3 runs of 20 amp 'armored
12x3' (3 x 12 gauge conductors plus a ground with metal
shielding, the ground being attached only at the fuse box).
Heavier gauge and shielded wire can reduce AC problems as well
as improve the dynamics of your system. My last dedicated
listening room only had four lines, not enough for my needs.
For the most serious audiophiles, I recommend you draw up a
list of all the separates you dream of owning and make sure to
add two more dedicated outlets than required for that system.
I also made sure my system benefited from a dedicated ground
adjacent to the outlets. The reduction in AC noise was less
than subtle and by putting the ground so close to the outlets,
it became much less of an antenna, acting as a 'Star ground'
for the entire system. As it is separate from the rest of the
house ground, poorer quality electronics hooked up elsewhere
cannot dump in unwanted noise. I also had an
outdoor antenna with a rotor installed for my tuner, and when
I was not paying attention, the installer grounded the antenna
to the closest copper plumbing. Left unchecked this would
produce an annoying ground loop hum. To rectify the potential
problem, I placed two 75 to 300 Ohm converters back to back
and lifted the ground to the tuner. Since the antenna was
still grounded properly to the main house ground, this ground
lift between the antenna ground and the stereo was not a
violation of code or safety (again, work to be completed by
qualified professionals). Continuing my enthusiasm, I put all
the room's pot lights on four separate switches to allow
control of overall lighting without dimmers (a major cause of
undesirable grain). With the walls
framed and the electrical duties complete, it was time to
start the drywall. I chose 5/8" (or 'fire code') weighing
75 lbs. per sheet. The total order was close to 5000 lbs.! I
hung the drywall with some friends and waited for a drywall
professional to finish the job. The load bearing post needed a
cover, which can be bought at any good hardware store. To
treat it properly I used a few cans of low expansion
insulating foam and filled the covers before I put it up
(visualize a big banana split with lots of whipped cream). It
was during this time that I found an old Home Mechanics
magazine with an excellent article on wainscoting. They made
it look so easy! I decided to install over 140 linear feet of
wainscoting and stain it to match my speakers. I did this
myself and it took months, but with the right tools and
patience it can be very rewarding. The custom LP and CD (and
now DVD/VHS) shelves and cabinets in the software room were
stained to match the wainscoting. The carpet with heavy duty
under pad was installed and to top that off, a nice leather
couch. Finally, the
room was 'tuned' for reflections. Eliminating early
reflections without over damping the room will provide an
increased sense of detail and spaciousness. The easiest way to
calculate the delay of these reflections is to measure the
distance between your speaker and listening position and then,
with a friend and a mirror, locate the reflection points on
the side wall, rear wall, ceiling and floor. Each extra foot
traveled by the reflection compared to the direct sound equals
one millisecond (not exactly, but pretty close and easy to
remember and work with). Therefore, the further your speakers
are from your side and rear walls, the easier it is to tame
some of these early reflections. Later reflections are usually
not so much of a problem, as studies have shown reflections
with delays between 15 and 45ms are pleasing and give an added
sense of spaciousness to the sound. Longer delayed
reflections (50ms. and greater) can give an echo effect
(remember your high school auditorium?) These reflections,
however, are fairly difficult to achieve in a home
environment. I treated the
primary reflections with Sonex absorption sheets --
the carpet seemed ample to tame the floor reflection. I left
the sidewall reflections unchecked. Some may prefer a more
precise soundstage, but for my taste, leaving the side
reflections gave the soundstage a wider presentation. After a
few months of listening I found a few rattling pot light
fixtures (when I was listening at higher volumes) and silenced
them with a little foam insulation. For the inveterate
audiophile, the tweaking never stops! So, how does
the room make my system sound? Fantastic! The detail, speed
and articulation are amazing. My Infinity Beta's really needed
a room this big. The planers (which handle 100 Hz. and up) are
8 ft from the rear wall and 9 feet apart; I sit 11 feet in
front of them. As the large woofer columns can finally
breathe, the soundstage is huge in depth and width. The
woofers are tighter, faster, more articulate, and go deeper
than I thought possible. I am still
fine-tuning my speaker placement and am discovering small but
(for me) significant improvements. As an enthusiastic
audiophile, I can honestly say this was one of the most
powerful upgrades I have made. I encourage you to research
what makes a great listening room by reading the books and
articles listed below. They are highly recommended. |
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| Building
the Hi-Fi House Thomas J. Norton Stereophile
Vol.18 No.1 January, 1995 Space...the Final Frontier J. Gordon Holt Stereophile Vol.17 No.3 March, 1994 Enough Room? Thomas J. Norton Stereophile Vol.14 No.10 October, 1991 The Master Handbook of Acoustics, 3rd Ed., F. Alton Everest, 1994 ASSOCIATED EQUIPMENT Audio Research Reference 1 preamp Audio Research PH-2 phono preamp Audio Research M300 Mk II power amplifiers Sim Audio W10 power amplifiers Infinity IRS Beta loudspeakers Theta Miles CD player used as a transport Theta Gen Va 24/96 DAC SOTA Star Sapphire turntable/SME V tonearm/Benz Micro H2 cartridge McIntosh MR7083 tuner XLO Signature 2.1 balanced interconnects, 1.1 RCA interconnects and 5.1 speaker wire for front end and planars, type 1 interconnect and type 5 speaker wire for woofer connections Kimber Illuminations D-60 digital wire Synergistic AC Master coupler power cords |
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