Hey Jesco. Thanks for the response to my previous comment. Let's continue the discussion as I have some clarifications. First, I agree with you about setting priorities - solid advice. Sound stage / stereo field / proper phantom centre is a must for sure. I just haven’t found it especially challenging to get that right in most rooms. Especially considering perception of stereo field is primarily in the mid and high frequencies, which are easily controlled with absorption. It’s the low frequency response that is the most difficult to get right, and in our community of music producers the vast majority of them struggle to mix their low end due to this issue. You said that the bounce off your front wall can be easily solved with treatment. I agree partially, you *can* solve the front wall SBIR issue with treatment, but not easily IMO. Depends on your definition of “easily”. The further you move the monitor from the wall, the deeper the frequencies that will be most affected by the interference. Unless you’re going to move the monitor a full 4 meters from the wall (totally impractical for most control rooms) to get below 20 hz, then you’ll have a problematic dip in the audible range. Lower frequencies are more difficult to treat with typical porous absorption due to the depth of treatment necessary. I say “more difficult” because the depth of treatment necessary starts to eat into your interior room volume, especially when you start using low density pink fluffy fiberglass. Many home studio owners will not want to add the depth of absorption necessary to address this issue. Even though it is possible, it’s not often practical or desirable. Regarding the terms minimum phase and non-minimum phase. You’ve said that it is not correct that moving a monitor away from the front wall boundary creates a non-minimum phase effect. You said as well that we’re not talking about minimum phase at all. I'd suggest referring to Recording Studio Design 4th Edition by Philip Newell, page 821 - glossary of terms. “Non-minimum phase responses are those where amplitude correction, alone, cannot correct any phase disturbances. The far-field response of a loudspeaker in a reflective room is an example of a non-minimum phase effect. Here, there is a delay between the superimposition of the boundary reflexions on the overall response. The low-frequency response boost given rise to by the flush mounting of a loudspeaker in a wall is an example of a minimum phase response change.” By those definitions we are talking about minimum phase and non-minimum phase. By pushing a speaker closer and closer to the front wall, you’re reducing the time delay in the reflected signal to the point where - when the monitor is physically in the wall as in flush mounting - there is no delay at all. At this point, you can easily shelve the drive signal to compensate for baffle step and your low end response is dramatically improved. If you can’t do a flush mount installation, then moving the monitors as close to the wall as possible will reduce the LF interference by getting the phase as close as possible to the drive signal. On this, I refer to Arqen: arqen.com/acoustics-101/speaker-placement-boundary-interference/. And Genelec: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-5qzGbmCADjE.html.
In 10 years building studios of my life, I hate SBIR with all my heart. lol. The flattest control rooms I built all start with flushmounted main monitors. I can get +- 2 dB or +- 3dB at 20-100 Hz quite easily and the sound is absolutely awesome with articulate & full bass. For the standmounted monitors, I only succeed once (lucky factor, I guess) with very heavily treated front wall. Today, If I have to use standmounted monitors as client request, I will try to convince them to half-flush the monitors (place the monitor as close as possible to front hard surface, then build an acoustic wall around them to "flushmount" those monitors into giant absorber). That is the only way for me to fight SBIR effectively in that situation. Sorry for my bad English. And yeah, I really respect Philip Newell and implement a lot of his methods into my works.
I used to have 3 21" 4:3 Screens in the past, but since those are getting phased out I tried 2 27" 16:9 screens side by side, but that gave me neck issues, because you never look straight on. Now I'm using a single 4K 43" TV as my monitor and I'm loving it. All the space in the world to place windows. (I do still miss my 21" 4:3's because they gave me a very useful layout with Mix on one screen, Edit on the second and Plug-ins and other crap on the third)
Could you please put all the Knowledge Bombs in a playlist for us. Then we could listen to them one after the other. I find them really useful at the moment as I treat my new studio. 😎
Great Video! In my opinion Sonarworks makes some Phase issues in the frequency. I bought the kh750 from neumann and measure with the MA1 System from Neumann. It was a big difference between Sonarworks and MA1. Now i build a new studiodesk and place my kh120 on heavy wood build speaker stands and place my speaker nearly to the wall in front of me. I hope it will help a little bit with the dip’s. My room is very small, but with the acoustics treatment it sounds great. A have some points where i can do some Treatments but these are some steps that i will do at last, because i have some other priorities on my list 😅.
25:00 you can correct the time related effect of the room but it cost 5000$ (Trinnov) but It cant do everything and can't replace even a bit of treatment as you teached us and from. a pure logic/scientific view.
Not necessarily true what you said about 4k, I use a 4k monitor but scale it down to roughly QHD resolution for that exact reason you named. This way I can watch content in 4k (which is great) and also have normal sized interfaces (which is great). Thanks a lot Jesco love ur content!
Love all your videos and resources! I'm wondering if porous absorption can help with a room mode at 35Hz if I have enough thick panels with air gap? I've done your bass hunter technique and put up a good amount of treatment, tried changing the location of the sub yet the boost at 35Hz still prevails. Moving my listening position further toward the center of my room helps but renders my room useless for anything besides mixing. I'm wondering if I need to be considering compound baffle absorbers or something similar to handle that low end. I like the idea of handling the low end without eating up too much room space (wish my room was larger). Thanks again for all that you do.
Hi jesco, I have 3 double window with 10cm gap. I only use 2 of them, would it make any difference fill in that gap with low density material? (Pink fluffy stuff 😵💫) Any experience with that?
