Here's "Stonehenge's" front wall with the new 2'x4' Monster in place.
I've done only one audition since installing it and listening with the flipped-to-horizontal 1'x4' Monster above it at the wall-ceiling intersection...to Leonard Bernstein conducting the New York Philharmonic in the fourth and fifth movements of Bela Bartok's
Concerto for Orchestra (rip of a Sony "Royal Edition" SBM'd CD). But it's already obvious that treating the wall-ceiling intersection makes a noticeable improvement in the perception of bass definition, ensemble coherence, the sense of instruments "working the room" they're performing in, and the rendering of intra-soundstage space. One other benefit: The listening "sweet spot" has broadened considerably.
This completes "Stonehenge's" physical configuration.
The only downside: Mrs. took one look and informed me that (1) I'm getting rutabagas for dinner and (2) I'm on probation for an indeterminate period. Oh, the sacrifices we make in the pursuit of audio excellence.