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Jim |
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Jim...actually Serge's pics reminded me that I meant to bring up the half rounds which seem to be just as effective and perhaps less visually intrusive. Is that an option for you to experiment with? At least for the front and backwalls and maybe a few strategically placed on the ceiling. Just a thought.
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#13
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The "basic" configuration pictured and diagrammed in the attachments has actually effected a considerable sonic improvement over what was. What I played with today was to see what a more complete (though by no means comprehensive) implementation of the "attack wall" might accomplish.
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Jim |
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Jim...got it. Sounds like you are getting it done already with your baseline configuration. Did you get ASC's recommendations on where to place or was it trial and error or a bit of both? Just curious. Thx
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The "clamp" is what makes it go. Despite the lack of front corner trapping, that technique effectively clears "mud" out of the presentation.
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Jim |
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The Back Story
Jim, I just loved your full-scale experiment!!! We're all still just boys at heart, aren't we. Instead of making forts with the sofa cushions, we're making attack walls with our TubeTraps. And having just as much fun.
Art Noxon came up with this acoustic design late one night at a trade show. He had been working with Neil Patel, trying to get Neil's latest Avalon speaker to sound good for the big unveiling the next morning. The room they had was a big ballroom in NYC, with floor-to-ceiling windows along one wall, a big reverb chamber of a bar area to the other side, and a huge chandelier hanging up above. No amount of Tubes in corners, Tubes along the walls, etc seemed to make the room or speakers sound any good. The room looked great, but sounded terrible. And we all know how a bad sounding room gets reported at a new product intro: the speaker gets blamed, not the room. Everyone else knocked off to get something to eat, but Art kept working. Finally, out of desperation, he tried "isolating" the speakers from the room. He did something almost exactly like Jim did, isolating the direct sound of the speaker from the early room reflections. It sounded amazing! Then Art started removing Tubes, to see how few it took to make the speakers sound good. By the time Neil came back, Art had one single Tube on the outside edge of each speaker, and two Tubes on the inside edges. Only six Tubes, on large floor standing speakers in a big ballroom! The objection to this design then is the same as now - people want to see the speakers, not see Tubes. To improve the appearance Art found that the Tubes can be staggered at an angle that bends away from the listener, and towards the front of the room. We still like to quiet some of the room's noise. In Jim's case I suggested he keep some of the larger Tubes in the corners. But "clamping" as he says the smaller Tubes to each side of the speaker gives you a sound that is something like headphones in its clarity, but with all the dynamics and soundstage of speakers in a great room. Much fun. Michael Adams Last edited by admin; 02-06-2012 at 07:02 PM. |
#18
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Michael...thanks for sharing
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The Back Story
Apt analogy, Michael. When I showed my wife the photo of what I'd been up to, her amused response was tantamount to "a boy playing in his fort." (And sorry, guys, no big bad wolf's fangs, legal proceedings, or "sale" in the offing.)
After reading your account of what Art did, I snugged a three-foot 11-inch trap up to the inboard 9-incher against each speaker. And achieved most of what I got with the full-frontal "attack," rendering the 40-inch flat screen and tile fireplace behind the SE-3's virtual non-factors in the sonic equation. You're spot on in terms of the clarity, dynamics, and scale of the presentation. Very elegant (and relationship-friendly) solution to a problematic situation.
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Jim |
#20
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Jim,
I'd mount the flat-panel TV, put the turntable on the cabinet, and then finish off covering that fireplace with more tubetraps... should be WAF-acceptable since it will add more symmetry to the room.
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