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| [#3805] ETSC & ETRC & ESAC Members (44) 「驚」李SIR 0黎果陣爆唔起！ |
ilovesonatas 正式會員61.xxx.xxx.86 |
2007-04-14 23:47 | |
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| [#3806] ETSC & ETRC & ESAC Members (44) 今日交收,全部mint condition ^__^  |
老友 正式會員 219.xxx.xxx.189 |
2007-04-15 00:50 |
| [#3807] ETSC & ETRC & ESAC Members (44) SPEAKER PLACEMENT AND ROOM COUPLING Few of us, except perhaps the rare species of odd fossils of the pre-historic era, would have questioned the paramount importance of speaker placement nowadays. What is more debatable is where and how the speaker positions are to be determined. I have been a faithful follower of the room-coupling school and I believe that should be the best way out. Room coupling, I am quite positive by now, really goes beyond the deliberations over direct verses reflected sound sources, because the focal point remains relatively constant irrespective of what damping treatments we have on the wall surfaces in any given room. This focal point does not seem to move until the dimension of the room is drastically changed. To achieve effective room coupling, one has to locate the focal spot of the room first. There is a simple yet effective method to find this spot but I shall come back to that a while later. Every room has its own peaks and valleys acoustically. The peaks are resonances and the valleys are just the opposite, the suck-outs as a result of phase cancellation. I used to believe the coupling point is the spot where multiple resonances gravitate since it clocks the highest sound level throughout the audio band. If we look at it the other way round, however, the focal point of the room should more correctly be taken as the spot where phase cancellation is the lowest. When the speakers are placed along this focal spot, phase cancellation would be at its minimal obtainable within the room and the system will then be able to resolve, with the best of fidelity and the least of distortion, the myriads of spatial information contained in the recording. The width and depth, the ambience, the layering and instrument placements etc. will all spring to life. Proper sound staging, no doubt, has much to do with this phase coherency across the audible frequency range. We all know what would happen if one speaker is inverted in phase—there will be no imaging, no soundstage, and even no sense of direction. This is the result of serious phase cancellation. Even if the speakers are properly in phase, however, there would still be a fair amount of cancellation depending on where the speakers are placed. Ideally speaking, the room should be symmetrical in overall shape and the speakers symmetrically placed along the lengths of the rectangle. If one speaker is close to the side wall while the other is in the middle of the room, a rather common sight given the popular L-shape layout of sitting rooms in HK, there exist more chances for cancellation taking place at various frequencies, rendering the imaging blurred, stage collapsed and ambience lost. Once the speakers are coupled to the room, the two merge into one. The room becomes an effective extension of the speakers which in turn would cease to exist visually. Tuning for solid imaging then becomes much easier. Human ears locate the sound source by detecting the time difference of direct sound arriving at the ears. To achieve three dimensional imaging, all we have to do is to cut down secondary reflections from overwhelming the direct sound. While on this subject, I like to point out that I have tried the live-end-dead-end approach and it did not work to my satisfaction. I believe speakers are designed with the average western style living room in mind where upholstery, curtain, carpet and furniture all contribute to an acoustic environment which is neither too dead nor too live, but moderate throughout. This is something worth considering when we set about fabricating our listening area. It is not uncommon to find that the more elaborately contrived the HiFi room is, the less satisfactory it often turns out. Some fellow audiophiles suspect that because of the rather up-front placement of my speakers and because they are dipoles which radiate both ways, the large volume of space behind the speakers is encouraging tremendous amount of diffused reflections to create an artificial depth of field. Not so. Multi-mike mixed down recordings are rendered as they are, with absolutely no depth and instruments do stick with the speakers whereas a good concert hall recording has the ability to project the soundstage well beyond the boundaries of my small room while the speakers, despite their imposing size, simply disappear without a trace. Artificial depth just cannot differentiate as such. All in all, phase coherence does appear to be the key and with this key we stand every good chance to unleash a completely new dimension of audio realism. ***** Here comes the core—the action part of the whole thing, a method that has proven to work wonders for me over the last 30 odd years. Have the speakers placed along the lengths of the room, about ¼ to 1/3 from the back wall, and ¼ the breadth roughly. Then play some vocal music, the hilarious type, the more instruments the better. Now walk slowly to and fro along the mid-line between the speakers, from one end of the room to the other and then back, may be several times to get the mind set (if the speakers are standing low, you may well have to crawl). Somewhere along the aisle, you would hear the sound getting louder and at the same time it rises above your head, filling the ceiling as if you’ve entered a Gothic church. Bingo, that is it, the focal point. Mark this focal point and drag your speakers over the lateral line crossing the spot. You’ve just coupled your speakers to your room. What is left, may be the crucial part yet, is to find the perfect stereo seat. As the name suggests, you’ll have to look for the widest stereo soundstage again along the aisle, between the speakers. If one side of the room does not give you the best definition and soundstage, try the other side. I was the one having my seat moved over to the wrong side of the room to get the best out of my system. Final note, if you are unable to find the focal spot despite trekking up and down diligently the whole afternoon, your room dimension is probably too bad to be a listening room. Try another room if you have one. If not you’ll have to move house. |
limage 正式會員 219.xxx.xxx.148 |
2007-04-15 21:33 |
| [#3808] ETSC & ETRC & ESAC Members (44) 嘩! 幾大就幾大, 襯未刑事化 copy and save 左先.... |
lym 正式會員 219.xxx.xxx.50 |
2007-04-15 21:39 |
| [#3809] ETSC & ETRC & ESAC Members (44) Saved in my PC under the file name of: SPEAKER PLACEMENT AND ROOM COUPLING written by Limage |
jcml 正式會員 218.xxx.xxx.28 |
2007-04-15 21:48 |
| [#3810] ETSC & ETRC & ESAC Members (44) 噢, 完來要前前後後後行來行去搵豬點, 吾怪得呢排 dd 同 ils 除左係床上以外都成日車前倒後啦... :-p |
lym 正式會員 219.xxx.xxx.50 |
2007-04-15 22:03 |
| [#3811] ETSC & ETRC & ESAC Members (44) Ivan師傅終於將秘笈公諸於世，小弟亦是Room-Coupling School的忠實學生，雖然仲上緊beginner course但經已受益不淺，一旦能夠畢業呢一科相信永遠都難以逃脫音響的魔咒：） |
thomson 正式會員 218.xxx.xxx.140 |
2007-04-15 22:12 |
| [#3812] ETSC & ETRC & ESAC Members (44) "相信永遠都難以逃脫音響的魔咒" This is exactly what I like to do: to have our younger generation deeply poisoned ! :-)) |
limage 正式會員 219.xxx.xxx.148 |
2007-04-15 22:18 |
| [#3813] ETSC & ETRC & ESAC Members (44) lym 我暫時小學畢業喇！可以坐定定番聽下0的上榜天碟先。多謝今午dd同老友0黎陋舖印證小喇叭變大喇叭 (Room couple 0左後)同聽下部DIY風爐依高拉灑。其實個礎鴠繰丹陪蚹鵅Add及老友走後又作最後微調，個風爐換上金腳cca後，深闊度更佳，中頻潤澤多一點。呢個礎鴠i以暫時定下來，李 sir 0黎都可以止住咳先！ |
ilovesonatas 正式會員 61.xxx.xxx.86 |
2007-04-15 22:19 |
| [#3814] ETSC & ETRC & ESAC Members (44) 嘩!乜你樹今曰咁熱鬧呀！早知我又浦頭啦... |
長毛 正式會員 218.xxx.xxx.166 |
2007-04-15 23:21 |
| [#3815] ETSC & ETRC & ESAC Members (44) 早響我買知紅酒上來郎郎下... |
lym 正式會員 219.xxx.xxx.50 |
2007-04-15 23:23 |
| [#3816] ETSC & ETRC & ESAC Members (44) SPEAKER PLACEMENT AND ROOM COUPLING _______________________________ 請問有無中文版呀! 禾D英文唔掂既人可以學習得嗎? |
老友 正式會員 218.xxx.xxx.243 |
2007-04-15 23:26 |
| [#3817] ETSC & ETRC & ESAC Members (44) 妖, 你咁大個 merci 秘書, 倒番轉譯比你都得啦... |
lym 正式會員 219.xxx.xxx.50 |
2007-04-15 23:27 |
| [#3818] ETSC & ETRC & ESAC Members (44) 不如又搞番過「扒地」呀！我處走廊夠長夠闊，夠哂位俾十個八個兄弟隊酒爆機o架！ |
ilovesonatas 正式會員 61.xxx.xxx.86 |
2007-04-15 23:30 |
| [#3819] ETSC & ETRC & ESAC Members (44) 不如又搞番過「扒地」呀！我處走廊夠長夠闊，夠哂位俾十個八個兄弟隊酒爆機o架！ ------------------------------- 好 wor! 搵埋 定位 師傅一齊玩 . |
rcwy 正式會員 221.xxx.xxx.253 |
2007-04-15 23:41 |
| [#3820] ETSC & ETRC & ESAC Members (44) 就下周六啦.. |
長毛 正式會員 218.xxx.xxx.166 |
2007-04-15 23:43 |
| [#3821] ETSC & ETRC & ESAC Members (44) 好喎，我好耐無飲紅酒喇！ 講明先，皇帝位祗有一個，要輪聽。 |
ilovesonatas 正式會員 61.xxx.xxx.86 |
2007-04-15 23:52 |
| [#3822] ETSC & ETRC & ESAC Members (44) 請問有無中文版呀! 禾D英文唔掂既人可以學習得嗎? _____________________________________ 其實limage老師o係發X音秅G十多年前已有詳細講述room coupling同礎,最近找出來讀了又讀....^^  |
dd845 正式會員 219.xxx.xxx.114 |
2007-04-15 23:54 |
| [#3823] ETSC & ETRC & ESAC Members (44) 以前讀這篇祕笈不以為意,半信半疑... 最近細讀照做,嘩... 不得了 ^^ |
dd845 正式會員 219.xxx.xxx.114 |
2007-04-15 23:57 |
| [#3824] ETSC & ETRC & ESAC Members (44) 近.... |
長毛 正式會員 218.xxx.xxx.166 |
2007-04-15 23:57 |
