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#1
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Room/Speaker interface
The vast majority of speakers are front firing, bipoles, or dipoles. For
these there seems to be general agreement that correct placement and also room treatments are extremely important to maximize sound quality. I am wondering about some other types of speakers, Some speakers are designed to be placed against the wall ; e.g.- Roy Allison designs, the Burwen Silent loudspeaker, the AR LST, or even high end inwall speakers. Placement is certain. Do these speakers avoid the need for room treatment? If not, are their needs different. Another type is the omnidirectional speaker, like the Shahinians. What are the placement and room treatmenat issues for these speakers? ( the Shahinian example is problematic, as some of his designs are much more omnidirectional than the others) I am asking because I really don't want to do the speaker placement and acoustic treatment solutions in my living room, and hope that a different style of speaker would be able to avoid the placement and treatment issues. Wylie Williams |
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#2
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Room/Speaker interface
A diagonal set up will minimize the problems, and probably work well if you
have carpet, curtains and furniture. KE "Wylie Williams" wrote in message news:uO0Za.102283$Ho3.13424@sccrnsc03... The vast majority of speakers are front firing, bipoles, or dipoles. For these there seems to be general agreement that correct placement and also room treatments are extremely important to maximize sound quality. I am wondering about some other types of speakers, Some speakers are designed to be placed against the wall ; e.g.- Roy Allison designs, the Burwen Silent loudspeaker, the AR LST, or even high end inwall speakers. Placement is certain. Do these speakers avoid the need for room treatment? If not, are their needs different. Another type is the omnidirectional speaker, like the Shahinians. What are the placement and room treatmenat issues for these speakers? ( the Shahinian example is problematic, as some of his designs are much more omnidirectional than the others) I am asking because I really don't want to do the speaker placement and acoustic treatment solutions in my living room, and hope that a different style of speaker would be able to avoid the placement and treatment issues. Wylie Williams |
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#3
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Room/Speaker interface
About my room - it is open floor plan with 8 ft ceiling - 17.5' x 20', with
a 6' wide opening in one wall , a 10 ft wide opening in another, and a 4 ft door opening in the next, and a fireplace in the 4th wall. Due to need to pass through the room the furniture and audio area is 11.5 ft x 17 ft. The most comfortable living arrangement has me 16 feet away from the speakers, which are 6 ft apart. To separate them further means putting on the other side of the 4 ft door way. In other words it can be a listening room that can't be used as a living room, or it can be a living room that is a poor listening room. My hope was to discover if no speakers would work without room treatment. But I do have some very large and ugly absorption and diffraction products left over from my store for experimentation. I suppose I'll test my wife's tolerance one more time and do some experimenting. Wylie Williams "Uptown Audio" wrote in message news:rblZa.110855$uu5.15258@sccrnsc04... Different designs have different placement recommendations as you have noticed, but they do not address room treatment which is a separate issue. Of course it is interelated as are most things acoustic which is what makes dealing with some problems effectively quite difficult. The real nuts and bolts of it is that you really won't know if or what room treatment will be needed until you place the speakers. I know that is not what you wanted to hear, but all you can do is speculate until you actually set things up and listen (or measure depending upon how you derive enjoyment from your gear ;-)). There are computer programs available that "model" the acoustics of a static environment within certain predetermined rules. Since you don't seem to want a lot of "hassle factor" added-in, then it is really as simple as getting what would couple best with your room set-up by the design choice and by where your placement options are. That choice will be limited by your budget and by the cosmetics if that comes in to play as well. Once you have decided on the speakers, then room treatment may be desired to make them a "more perfect" mate with the room. You don't say if there are "placement or room treatment issues" presently or what speakers you are presently using, so it is hard to say if a different style would be of any benefit at all. You could always just fill us in on what the room dims are, the speakers that you use and if there are any glaring issue with the situation presently. Then we could take turns either trying to help you choose a new set or relating how much of an idiot you are for making your present choices depending upon our individual demeanors! - Bill www.uptownaudio.com Roanoke VA (540) 343-1250 "Wylie Williams" wrote in message news:uO0Za.102283$Ho3.13424@sccrnsc03... The vast majority of speakers are front firing, bipoles, or dipoles. For these there seems to be general agreement that correct placement and also room treatments are extremely important to maximize sound quality. I am wondering about some other types of speakers, Some speakers are designed to be placed against the wall ; e.g.- Roy Allison designs, the Burwen Silent loudspeaker, the AR LST, or even high end inwall speakers. Placement is certain. Do these speakers avoid the need for room treatment? If not, are their needs different. Another type is the omnidirectional speaker, like the Shahinians. What are the placement and room treatmenat issues for these speakers? ( the Shahinian example is problematic, as some of his designs are much more omnidirectional than the others) I am asking because I really don't want to do the speaker placement and acoustic treatment solutions in my living room, and hope that a different style of speaker would be able to avoid the placement and treatment issues. Wylie Williams |
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#4
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Room/Speaker interface
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#6
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Room/Speaker interface
"Nousaine" wrote in message
news:kZi_a.91208$Oz4.22499@rwcrnsc54... "Wylie Williams" wrote: The vast majority of speakers are front firing, bipoles, or dipoles. For these there seems to be general agreement that correct placement and also room treatments are extremely important to maximize sound quality. I am wondering about some other types of speakers, Some speakers are designed to be placed against the wall ; e.g.- Roy Allison designs, the Burwen Silent loudspeaker, the AR LST, or even high end inwall speakers. Placement is certain. Do these speakers avoid the need for room treatment? If not, are their needs different. Another type is the omnidirectional speaker, like the Shahinians. What are the placement and room treatmenat issues for these speakers? ( the Shahinian example is problematic, as some of his designs are much more omnidirectional than the others) I am asking because I really don't want to do the speaker placement and acoustic treatment solutions in my living room, and hope that a different style of speaker would be able to avoid the placement and treatment issues. Wylie Williams Isn't it interesting that Mr Williams references only speakers that are no longer commercially available? Shahinian is in business with a full line. Burhoe is in business with the Silent Speaker. Allison speakers again in production. I agree that people SHOULD take the operating environment into account in the design stage; BUT most of them already do by giving you a speaker that will be 'flat' anechoically. I have been under the impression that typical listening rooms are so different from anechoic chambers that usually great care in speaker placement and room treatment are needed to get the best from a speaker. Thus my question asking if the speakers that are designed to be placed against or on a wall avoid the need for room treatment. There seems to be a lack of environmental 'knowledge' about real conditions in realrooms. True, but surely there are anecdotal reports from owners. Which is why I mentioned the AR LST. Wylie Williams |
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#7
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Room/Speaker interface
(Nousaine) wrote in message news:kZi_a.91208$Oz4.22499@rwcrnsc54...
"Wylie Williams" wrote: The vast majority of speakers are front firing, bipoles, or dipoles. For these there seems to be general agreement that correct placement and also room treatments are extremely important to maximize sound quality. I am wondering about some other types of speakers, Some speakers are designed to be placed against the wall ; e.g.- Roy Allison designs, the Burwen Silent loudspeaker, the AR LST, or even high end inwall speakers. Placement is certain. Do these speakers avoid the need for room treatment? If not, are their needs different. Another type is the omnidirectional speaker, like the Shahinians. What are the placement and room treatmenat issues for these speakers? ( the Shahinian example is problematic, as some of his designs are much more omnidirectional than the others) I am asking because I really don't want to do the speaker placement and acoustic treatment solutions in my living room, and hope that a different style of speaker would be able to avoid the placement and treatment issues. Wylie Williams Isn't it interesting that Mr Williams references only speakers that are nolonger commercially available? I agree that people SHOULD take the operating environment into account in the design stage; BUT most of them already do by giving you a speaker that will be 'flat' anechoically. Actually, commercially available or not, the acoustic behavior of speakers in typical listening rooms should not be all that mysterious. Roy Allison once indicated that the most important thing for a speaker to do (assuming low distortion and a wide enough bandwidth) was to "input" flat power to the listening room. However, "flat anechoically" is not really a cut-and-dried performance goal. For example, anechoic direct-field response (be in on axis or at any number of off-axis angles) is going to vary considerably as you move around a speaker, so trying to get a definitive flat direct-field response in an anechoic chamber is probably impossible. It would change at every microphone position. Even if you could get it zeroed in at one location, that would only work for one ear. The other ear would not get the same direct-field perfection. On the other hand, the basic starting point might be to opt for flat power input, and the designer could then build upon that foundation with his assorted performance embellishments - embellishments that give his speakers a degree of character that sets them apart from the competition. Now "flat power input" cannot take into account such things as room-generated standing waves. A speaker may be flat as hell in the bass range in terms of actual anechoic output, but room standing waves will radically impact that flatness, and impact it differently at different listening positions. The only way to deal with this is with careful room design, perhaps a small amount of electrical equalization (which, unfortunately, would only work well at the preferred listening position), and a listening position that minimizes standing-wave extremes. On the other hand, speaker design can take into account things like boundary-related power cancellations and inter-speaker cancellations in the low and middle bass. Such cancellations, rather than being listening-position dependent, are dependent upon the location of the speaker in relation to large boundary surfaces and to other speakers handling the same bass frequencies. The suckout cancellations those speaker/boundary reflections generate will impact flat power input to the room (usually from the middle bass on up) and the ones that exist between a spaced pair of speakers will behave similarly (although usually at frequencies somewhat below the middle-bass range). In order to have a speaker (or speakers) generate that flat power it has to have a "stabilized" relationship with those boundaries, which was the key to how Allison designed his earlier models to be positioned in a very specific relationship with room floor/wall surfaces. Regarding inter-speaker (or rather inter-woofer) cancellations, the solution appears to be to use a subwoofer and place it in such a way that any cancellations it would generate would be above its operating range (in this case, the most logical position is a corner), while any that the satellite speakers working with the sub would generate would be below their operating ranges. This would allow for those satellites to be optimally positioned for good imaging, soundstaging, etc. A combination of those solutions should insure "flat power input" to the listening room. Another approach is to build speakers with controlled directivity, and have them generate a much stronger direct-field signal at the listening position than what you would have with very wide-dispersing speakers like what Allison produced. Dunlavy comes to mind in this area, and the only drawback to his design is that for optimal imaging and soundstaging (the primary reason for such designs) the listener should occupy a solid, sweet-spot position. The result can be sensational, and if the system is designed properly (and the Dunlavy models I have reviewed seem to be that way) and the listener sits where he should the direct-field signal can be very flat, indeed. Note that the bass-suckout problem will still exist, but that can be resolved by making use of a properly placed subwoofer. My current main system has adopted the Allison approach (with subwoofer assistance, too), and a revamped listening room I am building in another part of my house will make use of the Dunlavy approach, again with subwoofer assistance. Pretty much the best of both worlds in two different listening rooms. There seems to be a lack of environmental 'knowledge' about real conditions in realrooms. Allison has published several papers on this topic in both popular and technical publications: "The Best Place for Your Speakers? Your Computer Knows," Audio, August, 1994. "The Delicate Question of Speaker Placement," Stereo Review, August, 1975 "The Influence of Room Boundaries on Loudspeaker Power Output," JAES, June, 1974. "Loudspeakers and Real Rooms," "Room For Improvement," and "Marking the Boundaries," in Hi-Fi News and Record Review, December, 1989, February, 1990, and April, 1990. (Three-part series.) "The Sound Field in Home Listening Rooms," JAES, July-August, 1972. "The Sound Field in Home Listening Rooms, Part 2," JAES Jan-Feb, 1975. Howard Ferstler |
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#8
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Room/Speaker interface
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#9
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Room/Speaker interface
"Wylie Williams" wrote:
"Nousaine" wrote in message news:kZi_a.91208$Oz4.22499@rwcrnsc54... "Wylie Williams" wrote: The vast majority of speakers are front firing, bipoles, or dipoles. For these there seems to be general agreement that correct placement and also room treatments are extremely important to maximize sound quality. I am wondering about some other types of speakers, Some speakers are designed to be placed against the wall ; e.g.- Roy Allison designs, the Burwen Silent loudspeaker, the AR LST, or even high end inwall speakers. Placement is certain. Do these speakers avoid the need for room treatment? If not, are their needs different. Another type is the omnidirectional speaker, like the Shahinians. What are the placement and room treatmenat issues for these speakers? ( the Shahinian example is problematic, as some of his designs are much more omnidirectional than the others) I am asking because I really don't want to do the speaker placement and acoustic treatment solutions in my living room, and hope that a different style of speaker would be able to avoid the placement and treatment issues. Wylie Williams Isn't it interesting that Mr Williams references only speakers that are no longer commercially available? Shahinian is in business with a full line. Burhoe is in business with the Silent Speaker. Allison speakers again in production. I apologize; I was unaware of Shahinian still making speakers. It's been a long, long time since I've seen one or knew anyone who has purchased one. The last time I heard about someone trying to buy some Shahinian wouldn't take an order. But that was a while ago. It is true that the brand name Allison appears from time to time but I've never noted an actual appearance of Allison-style speakers actually being built and sold. But that's not the point anyway. Please accept my apology for appearing to make it one. I agree that people SHOULD take the operating environment into account in the design stage; BUT most of them already do by giving you a speaker that will be 'flat' anechoically. I have been under the impression that typical listening rooms are so different from anechoic chambers that usually great care in speaker placement and room treatment are needed to get the best from a speaker. Thus my question asking if the speakers that are designed to be placed against or on a wall avoid the need for room treatment. There is an advantage to knowing that a speaker will radiate into half space in advance. But in-wall speakers have other major disadvantages that generally completely disqualify them as hi-fi. There seems to be a lack of environmental 'knowledge' about real conditions in realrooms. True, but surely there are anecdotal reports from owners. Which is why I mentioned the AR LST. Wylie Williams I didn't make my point very well. What I meant was that other than a 250 room survey of a speaker manufacturers customers with size, layout, ceiling style and speaker layout that to which I had inside access I have NEVER seen any statistics about typical rooms and how they're used. So let's play a game. What do you think the median and mean average room dimensions of 250 North American listening rooms might have been? |
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#11
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Room/Speaker interface
"Nousaine" wrote
....other than a 250 room survey of a speaker manufacturers customers with size, layout, ceiling style and speaker layout that to which I had inside access I have NEVER seen any statistics about typical rooms and how they're used. So let's play a game. What do you think the median and mean average room dimensions of 250 North American listening rooms might have been? I have no idea. I did not ask that question and the answer doesn't interest me. I am curious about speakers intended to be placed against, on, or in a wall. These are not very common so I hoped that the RAHE newsgroup would include some contributors with experience on how they performed. Obviuosly the placement issue is resolved and I windered whether they needed as much attention to room treatment as conventional speakers. I don't expect research; I am content with anecdotal reports. Wylie Williams P.S. - www.allisonacoustics.com New owner, Roy Allison consulting, old speakers updated. Showed at CES 2002 |
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#12
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Room/Speaker interface
Wylie,
Sound waves are sound waves, no matter what they come from. The more directional the sound, the easier it is to treat eventual problems. You have to watch out for direct reflections from side walls, hard floors, tables etc. You should probably not move the speakers much further apart than 6-8 ft, or the centre image will disappear, but you should consider to find a way to sit closer to the speakers than 16 feet away. Move around in the room as the music is playing, and listen for standing waves, especially in the corners. Another good thing is to do a freq. sweep (don't burn your tweeters!!) and listen for items playing along and resonances in the room. Mostly this is a matter of trial and error, small changes in speaker placement can change a lot. Take a look at www.echobusters.com they have some useful hints for room treatment. KE "Wylie Williams" wrote in message news:ElP_a.102941$Oz4.24228@rwcrnsc54... "Nousaine" wrote ....other than a 250 room survey of a speaker manufacturers customers with size, layout, ceiling style and speaker layout that to which I had inside access I have NEVER seen any statistics about typical rooms and how they're used. So let's play a game. What do you think the median and mean average room dimensions of 250 North American listening rooms might have been? I have no idea. I did not ask that question and the answer doesn't interest me. I am curious about speakers intended to be placed against, on, or in a wall. These are not very common so I hoped that the RAHE newsgroup would include some contributors with experience on how they performed. Obviuosly the placement issue is resolved and I windered whether they needed as much attention to room treatment as conventional speakers. I don't expect research; I am content with anecdotal reports. Wylie Williams P.S. - www.allisonacoustics.com New owner, Roy Allison consulting, old speakers updated. Showed at CES 2002 |
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#13
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Room/Speaker interface
(Nousaine) wrote in message ...
(Howard Ferstler) wrote: ...snips.... There seems to be a lack of environmental 'knowledge' about real conditions in realrooms. Allison has published several papers on this topic in both popular and technical publications: "The Best Place for Your Speakers? Your Computer Knows," Audio, August, 1994. "The Delicate Question of Speaker Placement," Stereo Review, August, 1975 "The Influence of Room Boundaries on Loudspeaker Power Output," JAES, June, 1974. "Loudspeakers and Real Rooms," "Room For Improvement," and "Marking the Boundaries," in Hi-Fi News and Record Review, December, 1989, February, 1990, and April, 1990. (Three-part series.) "The Sound Field in Home Listening Rooms," JAES, July-August, 1972. "The Sound Field in Home Listening Rooms, Part 2," JAES Jan-Feb, 1975. Howard Ferstler Yes Roy has been great. But I was meaning something more along the lines of what is a typical room size, layout and how would one use a given loudspeaker in that situation with verification data. Everybody gives recommendations in the owners manual BUT I never see anything that has verified the recommendations. Subwoofers manufacuturers recommendations are often incredibly far off and it seems obvious that the company has never bothered to actually perform even perfunctory measurements or bias controlled listening tests to confirm them. There are optimum placement requirements for nearly any kind of speaker. Most subs do best in the corner, but if a manufacturer said that the corner is where the sub should go for the very best results they would lose some customers, because they would not be able to use a corner. They would go buy a sub from a company that said that a sub could be placed anywhere, or that somewhere other than a corner was best. The laws of acoustics would remain the same, but some customers would figure that some subs would bypass those laws and work best where they intended to place them. Both subs might perform equally well, but the company with the vague recommendations gets the sale. Satellites are in the same boat. Allison was pretty emphatic in his initial designs and the systems were designed for placement close to wall boundaries, in order to keep mid-bass suckout artifacts under control. (The systems somewhat simulated what you would get with in-wall speakers, at least in terms of boundary interactions.) The result was a number of lost sales, simply because some customers had no such wall space available and wanted to place the speakers further out into the room. The advent of subwoofers has made this out-into-room placement viable, but in the old days this was not the case - and Allison lost sales. He never had a chance to produce a super-duper sub/sat package, that would allow for out-into-room satellite positioning. From a designer's perspective I agree that it's pretty hard to make a good sounding speaker for an acoustic enviroment where you have no control over where it will be placed or any idea of the basic physical aspects of the room. And the result is that the manufacturer is forced to produce user's manuals that are vague as hell about where to locate speakers. The more precise the requirements (as stated in a manual), the better chance that some potential customers will go shopping for speakers that offer up a larger number of placement options, even though the end results will still be the same as what we have with the company who has more rigorous guidelines. Most customers want the rules written vaguely, so they can position the speakers where they look best. Howard Ferstler |
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#14
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Room/Speaker interface
"All Ears" wrote in message
... Take a look at www.echobusters.com they have some useful hints for room treatment. KE hi Ears what do you know about their double busters ? they look interesting. Do you know how they work ? I wonder if they will work with a low angle of incidence? any comments, thought, welcome. Chris. |
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#15
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Room/Speaker interface
"chris" wrote in message
news:QKy%a.131216$cF.34730@rwcrnsc53... "All Ears" wrote in message ... Take a look at www.echobusters.com they have some useful hints for room treatment. KE hi Ears what do you know about their double busters ? they look interesting. Do you know how they work ? I wonder if they will work with a low angle of incidence? any comments, thought, welcome. Chris. Chris, First a quick copy paste from their web page: "The Double Buster serves the dual purpose of both absorption and diffusion. The Double Buster's design is based on that of a bicylindrical diffuser, composed of a center beam down the length of the panel and two bent "wings" of plywood extending rearward from the center beam to the panel's edges. This constitutes a convex surface which diffuses impinging plane waves by reflecting them back into the listening environment in a hemispherical pattern. Externally, the Double Buster is a rectangular, fabric covered panel, similar in appearance to an Echo Buster." I have some in my listening room, and they are very efficient in eliminating resonances in the corners of the room. They do not suck up all the energy in the sound, but seems to distribute it more evenly. Anybody who wants to build a serious system, should start with two simple things. 1. Make sure that the room has a suitable acoustics. 2. Make sure that clean unchoked mains power is available, which normally means a dedicated mains line, since power conditioners often introduces more problems than they solve. KE |
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#16
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Room/Speaker interface
"chris" wrote in message
... "All Ears" wrote in message news:EpA%a.135046$Oz4.26844@rwcrnsc54.. Anybody who wants to build a serious system, should start with two simple things. 1. Make sure that the room has a suitable acoustics. 2. Make sure that clean unchoked mains power is available Yep Im going for item 1. 2 is undercontrol First a quick copy paste from their web page: "The Double Buster serves the dual purpose of both absorption and diffusion. The Double Buster's design is based on that of a bicylindrical diffuser, composed of a center beam down the length of the panel and two bent "wings" of plywood extending rearward from the center beam to the panel's edges. This constitutes a convex surface which diffuses impinging plane waves by reflecting them back into the listening environment in a hemispherical pattern. Externally, the Double Buster is a rectangular, fabric covered panel, similar in appearance to an Echo Buster." I have some in my listening room, and they are very efficient in eliminating resonances in the corners of the room. They do not suck up all the energy in the sound, but seems to distribute it more evenly. But Im confussed, if they are bent sheets of plywood would'nt they just act as a convex reflector and not befave as a typical RPG or QRD diffuser. Unless ive got the wrong end of the stick (if so im sorry) I also thought that they absorb some of the sound as well hence the "double" word. so how does this work ? by the way, How deep is the curve ? Chris Chris, I'm not an expert in how these things really work. You could give Michael Kaufmann @ Echo Busters a call, he is normally more than willing to spend some time on explaining, why, how and where. However I know that the Double Busters do both absorbe and diffuse, there is a layer of foam material in the DB also. KE "chris" wrote in message news:QKy%a.131216$cF.34730@rwcrnsc53... "All Ears" wrote in message ... Take a look at www.echobusters.com they have some useful hints for room treatment. KE hi Ears what do you know about their double busters ? they look interesting. Do you know how they work ? I wonder if they will work with a low angle of incidence? any comments, thought, welcome. Chris. Chris, |
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#17
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Room/Speaker interface
Check out An interesting set of article on in-wall/ceiling speakers
http://www.keithyates.com/articles.htm "Wylie Williams" wrote in message ... About my room - it is open floor plan with 8 ft ceiling - 17.5' x 20', with a 6' wide opening in one wall , a 10 ft wide opening in another, and a 4 ft door opening in the next, and a fireplace in the 4th wall. Due to need to pass through the room the furniture and audio area is 11.5 ft x 17 ft. The most comfortable living arrangement has me 16 feet away from the speakers, which are 6 ft apart. To separate them further means putting on the other side of the 4 ft door way. In other words it can be a listening room that can't be used as a living room, or it can be a living room that is a poor listening room. My hope was to discover if no speakers would work without room treatment. But I do have some very large and ugly absorption and diffraction products left over from my store for experimentation. I suppose I'll test my wife's tolerance one more time and do some experimenting. Wylie Williams "Uptown Audio" wrote in message news:rblZa.110855$uu5.15258@sccrnsc04... Different designs have different placement recommendations as you have noticed, but they do not address room treatment which is a separate issue. Of course it is interelated as are most things acoustic which is what makes dealing with some problems effectively quite difficult. The real nuts and bolts of it is that you really won't know if or what room treatment will be needed until you place the speakers. I know that is not what you wanted to hear, but all you can do is speculate until you actually set things up and listen (or measure depending upon how you derive enjoyment from your gear ;-)). There are computer programs available that "model" the acoustics of a static environment within certain predetermined rules. Since you don't seem to want a lot of "hassle factor" added-in, then it is really as simple as getting what would couple best with your room set-up by the design choice and by where your placement options are. That choice will be limited by your budget and by the cosmetics if that comes in to play as well. Once you have decided on the speakers, then room treatment may be desired to make them a "more perfect" mate with the room. You don't say if there are "placement or room treatment issues" presently or what speakers you are presently using, so it is hard to say if a different style would be of any benefit at all. You could always just fill us in on what the room dims are, the speakers that you use and if there are any glaring issue with the situation presently. Then we could take turns either trying to help you choose a new set or relating how much of an idiot you are for making your present choices depending upon our individual demeanors! - Bill www.uptownaudio.com Roanoke VA (540) 343-1250 "Wylie Williams" wrote in message news:uO0Za.102283$Ho3.13424@sccrnsc03... The vast majority of speakers are front firing, bipoles, or dipoles. For these there seems to be general agreement that correct placement and also room treatments are extremely important to maximize sound quality. I am wondering about some other types of speakers, Some speakers are designed to be placed against the wall ; e.g.- Roy Allison designs, the Burwen Silent loudspeaker, the AR LST, or even high end inwall speakers. Placement is certain. Do these speakers avoid the need for room treatment? If not, are their needs different. Another type is the omnidirectional speaker, like the Shahinians. What are the placement and room treatmenat issues for these speakers? ( the Shahinian example is problematic, as some of his designs are much more omnidirectional than the others) I am asking because I really don't want to do the speaker placement and acoustic treatment solutions in my living room, and hope that a different style of speaker would be able to avoid the placement and treatment issues. Wylie Williams |
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