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Room Treatment - Stillpoints Aperture
In the February, 2015 issue of Stereophile Michael Fremer has a short review of the Stillpoints Aperture room treatment panels. The Apertures were designed by the acoustician who invented Sonex panels. Fremer attributes "a truly dramatic and positive change in the sound" by using the Apertures. In contrast, he attributes only a "modest" improvement in using RPG's Skylines. Unfortunately there is no mention of how or why they work nor how to best use them.
I plan on in trying to improve my room acoustics this year, but have little direct experience in doing so or in the use of room improvement products. I am hoping that those of you that have experience with the Apertures or the use of similar products will share your thoughts. Thanks, Mike |
#2
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Okay, I'll start. For a year now I have experimented with the number and placement of Stillpoints' Aperture panels to optimize playback acoustics. For context, my 17'x22'x9' room is not real big but I feel fortunate to have it dedicated for audio. All walls and the ceiling use double drywall with Green Glue between the drywall panels.
Acoustic treatments are often indecorous but the Apertures are nicely attractive for their function. Visibly, the Aperture is a 22"x22" finished wood frame surrounding a cloth panel. I chose oak for the frame to go with the room's trim, with cream color cloth to keep things neutral. Stillpoints can imprint digitized images of your choice on the cloth panel using a dye sublimation(?) process. I mention the aesthetics of the panels because the Aperture's look and size allows its placement where other products may not be accommodating to wifely requirements for living rooms and other more publicly visible listening spaces in one's home. Likewise important is the high effectiveness of the Aperture for its size: it combines a diffuser, absorber, and resonator in a small package. I heard the difference made by each panel I brought in the room and though it took a bit of time to work out their best placement, each time I moved a panel the difference was obvious. Experimenting is easy. Panels can sit on the floor and be stacked. They come with 3M Command Strips (removable-without-damage Velcro-like thingies) for temporary placement on a wall. Once position is known, the panel can mount to the wall using the included aluminum Z-Hangers. I tried different numbers and arrangements of panels on the wall behind my speakers. Each side wall reflection point needed only one as two over-damped the upper-mids and highs. Stillpoints suggested two or three stacked behind each speaker and/or stacked in the middle. I tried those positions and many others before arriving at a final placement. They are not for the ceiling. The room tuning capped off with three Apertures on the wall behind the listening position. Soundstage depth had already increased considerably with the speaker wall set-up. The three rear panels caused the soundstage to pull toward the listening spot while retaining its depth. I don't know the Aperture's effectiveness cut-off point into the lowest frequencies. They are not bass traps if your room needs that sort of help. Mine did not, but improvements in one part of the frequency range can yield audible benefit in another and I sensed some general improvement in the lower bass. I use one panel on the floor behind my speakers. Its precise placement makes something of a tradeoff between bass tightness versus weight. With the Apertures in my room I heard improvements in frequency balance, image clarity and placement, soundstage depth, detail clarity, tonality, low frequency articulation, and a general sense of presence and verisimilitude. Fremer's quoted comments reflect my own. The Apertures brought a genuinely real and impressive improvement both to my audio room's acoustics and my enjoyment of music from my stereo. I appreciate having them each time I listen. Last edited by tima; 03-04-2017 at 06:05 AM. Reason: fix picture |
#3
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Tima,
Thank you for the detailed and very useful description of your setup process for the Stillpoints Apertures panels in your room. They were being setup at the Constellation room at CES last week by Bruce Jacobs when I was there; but unfortunately I had to leave before getting a chance to compare the before and after effect. What is the MSRP? By the way, congratulations on your room and equipment. It looks amazing; and the Gryphon monos I'm sure are impressive. I've been ogling the Mephistos, but the lack of a US rep has made it very difficult to hear them. Best wishes, |
#4
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Ivan FLORIDA MX136, MC1.2KW(10) MC2KW(2), MCD1100, MS750(2) MVP881, C1000C/P/T, MPC1500, HT-2 SUBS(2) HT3F(2) WS350(2) XRT2K, XCS2K, XR27(2) XCS350(2) JL GOTHAM v2 SUBS(2) SILENZIO MUSIC SERVER, LUMAGEN RADIANCE SCALER, SONY VPH-G90U 4K PROJECTOR, STEWART 120" MOTORIZED SCREEN, CINEMA-TECH SEATING, WW PLATINUM CABLES Reference System: ACCUPHASE A300 AMPS, C3900 PRE-AMP, DP1000 CD/SACD TRANSPORT, DC1000 DIGITAL PROCESSOR, DG-68 DIGITAL EQUALIZER, T1200 FM STEREO TUNER, PS1230 POWER SUPPLY, HRS-SXR CUSTOM RACK w/ M3X SHELVES, TAD REFERENCE ONE MK2 LOUDSPEAKERS, WW PLATINUM CABLES CAPE COD MX150, MC501(2) MC1.2KW(10) MC2301(2) MR88, MVP881, MCD1100, MDA1000, C1000C/P/T, MPC1500, ESOTERIC K-01X 30th ANNIVERSARY (BLACK) SACD/CD PLAYER, G02-X CLOCK, HT3F(2) XRT2K, XCS2K, XR27(2) JL GOTHAM v2 SUBS(2) JL FATHOM F113v2 SUBS(4) SOUND ANCHOR STANDS(2) KALEIDESCAPE STRATO & TERRA SERVERS 80-TB, LUMAGEN RADIANCE SCALER, SONY VPH-G90U 4K PROJECTOR, STEWART 120" SCREEN, SONUS FABER STRADIVARI, SILENZIO MUSIC SERVER, FORTRESS SEATING, WW PLATINUM CABLES Analog Rig: CLEARAUDIO INNOVATION WOOD, UNIVERSAL ARM w/ Da VINCI' CART, 2nd UNIVERSAL ARM w/ GOLDFINGER STATEMENT CART, HRS-MXR REFERENCE RACK-GLOSS BLACK w/ M3X SHELVES, AESTHETIX RHEA SIG PHONO-PRE, BRYSTON BHA-1 HEADPHONE AMP, WW PLATINUM CABLES Reference System: BURMESTER 911MK3 AMP(3), 088 PRE-AMP, 089 CD PLAYER, 100 PHONO PRE-AMP, 948 POWER CONDITIONER, ACCUPHASE DG-68 VOICING EQUALIZER, AVID ACUTUS REFERENCE SP TT, GRAHAM PHANTOM II SUPREME ARM, BENZ MICRO LP-S CART, GRANDIOSO P1X/D1X STACK, G1X RUBIDIUM MASTER CLOCK, N05 NETWORK PLAYER, SILENZIO MUSIC SERVER, HRS-SXR CUSTOM RACK w/ M3X SHELVES, SONUS FABER AIDA SPEAKERS, JL FATHOM F113v2 SUBS(2) SOUND ANCHOR STANDS(2) WW PLATINUM CABLES Library System: GRANDIOSO M1 MONOBLOCK AMPS, C1 LINESTAGE PRE-AMP, K1X CD/SACD PLAYER, G1 MASTER RUBIDIUM CLOCK, E02 PHONO-PRE, SILENZIO MUSIC SERVER, AERIAL ACOUSTICS 20T V2, AERIAL SW12 SUBS(2), CANTON REF K1’s, VPI HRX TT w/ SDS POWER SUPPLY, ORTOFON CADENZA BLACK CART, KLAUDIO RCM, SHUNYATA DENALI 6000/S v2, SHUNYATA OMEGA QR’s, WW PLATINUM CABLES Esoteric/Bryston System: ESOTERIC C02-X PRE-AMP, P-02X TRANSPORT, D02-X DAC, G02-X CLOCK, BRYSTON 28B3 CUBED MONOBLOCK AMPS(4), BRYSTON BHA-1 HEADPHONE AMP, SHUNYATA DENALI 6000/S v2(2) EVEREST 8000 POWER CONDITIONER(2) ALTAIRA CG & SG HUBS, AMR-DP777-SE DAC, SILENZIO MUSIC SERVER, TAD REFERENCE ONE MK2 LOUDSPEAKERS, QUADRASPIRE RACK, WW PLATINUM CABLES Accuphase/Canton System: ACCUPHASE E800 INTEGRATED, DP570 CD/SACD PLAYER, T1200 FM STEREO TUNER, DG-68 VOICING EQUALIZER, PS530 POWER SUPPLY, CANTON REF K3’s, CANTON REF K5’s, SILENZIO MUSIC SERVER, HRS MXR REFERENCE MAHOGHANY RACK w/ M3X2 SHELVES, WW GOLD CABLES |
#5
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Thanks Tima for the very clear and helpful product review. From your comments I conclude that the Apertures combine several room tuning abilities that work together synergistically, thus reducing the number and types of tuning products required and simplifying the process required to improve a room's acoustics.
I fortunately do not seem to have any serious audible bass response issues in my room and am encouraged by the sonic benefits you describe. Also, I'm reading into your comments that sophisticated room measurement, while useful, isn't necessary to optimize the effectiveness of the Apertures. Thanks for taking the time to so thoughtfully share your experience with the Apertures. Also, I love your listening room, it looks great and I'll bet it sounds great too! Mike |
#6
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Hi Tima, as a lover of felines, I was remiss in not commenting on your very handsome feline friend. Mine will sometimes join me when I'm listening to music and always adds to my enjoyment. I hope yours is similarly inclined.
Mike |
#7
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mfoley3 & cmarin, I do appreciate your comments.
Yes, from friends I heard that Bruce's demo is convincing and I'm waiting to catch it myself, maybe at Axpona. I'm thinking Stillpoints dealers support in-home trials and/or money back guarantees so direct trial in one's own room may be possible. For me that is the way I prefer to evaluate gear. I had the good fortune to use six panels initially though (guessing) having three or four could be enough to gain insight. You might follow-up with AA participant 'allvinyl' (JohnT) who is with Stillpoints. It was fun experimenting with the Apertures in different positions and it was easy to gauge their effect, even down to adjustments of less than one foot. That gave me confidence, knowing both they and my ears were working. I had other acoustic treatments in my room and at first spent time integrating the Apertures with those. Only after removing all the non-Aperture panels (excepting some small Michael Green Corner Tunes at ceiling wall junctions) did I really make progress. mfolely3 I agree with your thoughts about room measurement. I've become an advocate for attention to audio infrastructure with priority to room acoustics, clean power and signal delivery, and vibration control/isolation - pretty much in that order but one can start anywhere. The Apertures reinforced belief that only when infrastructure is attended can one truly gauge a component designer's intent. The amps are Lamms (they do look similar to Gryphon gear.) The cat is Finzi; he likes being in the music room. Hoping others with Aperture experience chime in. |
#8
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My dealer has a handful of apertures. They look really good in person, better than I thought they would. Nice to read the positive comments. I may have to borrow some and demo for myself.
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Preamp: McIntosh C1100T/C1100C, McIntosh MX180 Amp: McIntosh MC611 (2), MC601 (3), MI254 Digital: McIntosh D1100, McIntosh MCT450, Meridian 808v6, Aurender N20, Aurender ACS10, Oppo 203 Analog: McIntosh MT10, Hana Umami Red Phono preamp: Simaudio Moon 610LP, 820S Signal cables: WW Gold Eclipse 7 speaker cables; Shunyata Sigma v2 XLR (2); Sigma v1 XLR (2), Transparent Ref XL (MM2) XLR; WW Silver Eclipse 7 (4) Digital cables: Shunyata Omega USB, Omega Ethernet, Sigma Ethernet; WW Platinum 7 Coax, AES/EBU Switch: Innuos PhoenixNet Power: Audioquest Niagara 7000, Audioquest 5000, Audioquest Dragon, Hurricane PC, Shunyata Alpha HC, AQ NRG Edison outlets, (8) 20 amp dedicated lines, 125 amp subpanel Speakers: Wilson Sasha DAW, Dynaudio Contour 30, Dynaudio Contour 25C Subs: REL s/812 (6), REL s/510 (3) Accessories: HRS M3X2 shelf (MT10), Stillpoints Ultra II v2 w/ bases (21), Ultra SS (12), Mini (12), LPi v1 Sound treaments: Artnovion |
#9
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The Aperture benefit is focused and you can hear how different panel positions cash out acoustically. Relatively small positional differences can be audible. Behind each speaker, or in the center between speakers, or both, are good starting spots. Depending on room and speaker size you may want two behind each speaker, but one each is enough for a start. For a first take, just sit them on the floor; they're easily moved. For wall mounting, I'd start directly behind the speaker at tweeter/mid level; slightly toward the inner or outer speaker edges can also be effective. Each room is different so you'll want to experiment for optimizing their effect in yours. After addressing the front wall, you may want to try the first reflection points on each side wall if your room allows it. 3M Command Strips come with each Aperture to allow temporary mounting and experimentation; you may want to buy additional strips to try different positions. Each Aperture also includes a Z-hanger for permanent mounting. Have fun. |
#10
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I am not questioning your findings. Just trying to understand how and why it works at the mentioned places. Have you any info with regards to the freq range they address? |
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