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tuga last won the day on September 1

tuga had the most liked content!


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About tuga

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    Veteran Wammer

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    Oxfordshire, UK
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  • Digital Source 1
    Mac mini / HQPlayer
  • Digital Source 2
    microRendu / NAA
  • DAC
    RME ADI2 DAC @DSD256
  • Integrated Amp
    Bespoke transistor
  • My Speakers
    Stirling LS3/6
  • Headphones
  • Trade Status
    I am not in the Hi-Fi trade

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  1. Frequencies played in that range (60Hz dip) will sound a lower in level, changing our perception of the timbres of instruments which produce fundamental notes in that range and possibly impacting the music itself.
  2. Which one did you get? I got my booster jab this afternoon, Moderna. Had no side-effects with the AZ, hoping that the same will happen with this one...
  3. Both graphs are frequency response measurements. The horizontal scale spans the whole audible range of frequencies in Hertz (Hz) and goes from sub-bass on the left to high-treble on the right. The vertical scale shows the sound pressure level (SPL) amplitude in Decibels (dB) for a given frequency. The ideal frequency response of a speaker when measured on-axis at 1 metre in anechoic conditions should be a flat line, any deviations from flat will result in the reproduced sound being different from the recorded signal: The graphs from the previous post tell us that the room will affect the frequency reponse of the speaker differently depending on the frequency band: . In this topic you can learn about the perceived effects of changes from flat frequency response across the spectrum:
  4. I don't see how it is better (except for looks), particularly when you are crossing so high into the (upper)midrange driver...
  5. Personally I would have all drivers vertically aligned to reduce acoustic interference and avoid image "wandering". In all of them I would reduce the centre-to-centre distance of mid and tweeter (get the two to touch each other) so you end up having enough room to have the drivers aligned in your 3rd layout. It may make the build more challenging though.
  6. The room affects the response at the listening spot differently below and above its transition frequency which is generally around 200-350Hz depending on room dimensions. In the bass and sub-bass the room modes produce peaks and dips. Typically the position of woofers and listener relative boundaries (floor, walls, ceiling) will move those dips up or down a bit and change their amplitude. There are some rules/equations which will provide a reasonable estimation of the response for a given combined location of speakers and listener (e.g. Linn Optimisation, REW simulator, etc.). From the lower mids up the sound behaves differently and although there is also a bit of acoustic interference in the midrange the problem is mostly down to reflection. The further away you are from the speakers the lower the direct vs. reflected sound ratio becomes (as you sit farther from the speakers you hear less of the recorded ambience/acoustics and more of your room's). The resulting effects have good and bad psychoacoustic characteristics: on the one hand images and soundstage become perceptually wider and the sound more enveloping, but the downsides are loss of image sharpness, some vagueness or loss of clarity and a change in tonal balance (which can be more or less pronounce depending on the speaker in question, how distanced it is from the side walls, room furnishing, symmetry) which will affect the timbres of vocals and instruments. A short wall setup is generally recommended for studio control/mixing/mastering rooms because it produces better results in the bass (which is more difficult to deal with) but these rooms are treated for reflections so the problems above the transition frequency no longer apply. To make matters even more complicated, it looks as though most audiophiles actually enjoy the perceptual effects of high-amplitude early reflections (expansive soundstage and increased envelopment) so ultimately it's a personal call.
  7. How does it sound? Maybe at this point you could try fine tuning by ear. (mark down the current position just in case)
  8. In our small family sitting room there’s little scope for speaker placement optimisation so I am resigned to living with a broad-ish dip in the upper bass somewhat like yours, but I use a bit if EQ to take down the large room-induced peaks; and even though I miss a bit of warmth I’ve gotten rid of the ringing boom and the sound is quite pleasing. For a raw in-room response curve, yours is actually quite reasonable.
  9. REW's simulator is useful but I don't find it particularly precise, so I use it as a starting point and then measure over a number of positions around the suggested optimal location.
  10. I have owned the SB LS3/6s for a few years now, and I really like how they sound (I listen mostly to classical but also to some jazz and alternative rock). I've never listened to the GA LS5/9s but they use an older design tweeter so I would expect LS3/6s to have a "cleaner" treble. Looking at their respective measurements I think that the LS5/9s may produce a "tighter" bass, but their smaller size will result in a more limited low-end extension. The LS3/6s seem flatter on axis than the LS5/9s with their slight bass "hump". Stirling makes an LS5/9-sized model using the LS3/6's main tweeter and woofer, but the cabinet is not built (thin-wall plywood, screwed front and back panels) like the BBC models: http://www.stirlingbroadcast.net/sb_88.html
  11. I think that it looks much better, ready and good for EQ.
  12. Woofer to boundary distance (floor, ceiling, walls), floor bounce cancellation and listening spot will all affect the bass and sub bass region. The middle of the room is a terrible location for a listening spot
  13. A sub is not really suitable for dealing with issues above 100-120Hz
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