Thank you for a concise and sound video. Rear-ported speakers make extra good sense for floor-standing / tower speakers. Especially if the port is positioned far away from the bass driver - and preferably with the bass driver position high in the cabinet, and the port positioned low, near the floor. This makes it couple better to the room boundary of the floor, AND it also (potentially, if constructed properly) “balances out the bass-waves” to put it in layman terms. Same principle as when placing a subwoofer (or several) far away from the main speakers, f.e. in opposite corners, or even higher up towards the ceiling (depending on the acoustic issues in the room) - but on a much smaller scale of course. But it all helps. In practice (IME) the above sounds in more rooms that not. Maybe it’s also a part of the reason that floor/tower speakers where so popular, and worked so well, for many people, back in the 70s, 80s and 90s, when that type of speakers where common in the homes of regular people (not necessarily audiophiles) who cared about sound-quality. Speakers like Avance, Dali, KEF, etc. Recently, I’ve come to appreciate floor-standers / tower speakers a lot, for the above mentioned merits. - But also “book-shelf” speakers (esp. when wall-mounted (on a hard, solid wall - not a vibrating/resonant thin wall), due to front-facing ports, or being closed boxes). Those two speaker designs make a lot of sense! What CAN annoy me, is the rear-facing ports on my Omega Super 3i monitor speakers - in combination with their narrow baffle and deep cabinets (for their size). It makes them a poor fit (physically and aesthetically) for wall-mounting (on a wall that is hard, bricks and mortar). In summary, front-facing ports for “bookshelf” mid-field monitor type speakers. Rear-facing for floor-standing speakers. Or closed cabinets 😁
My 2 cents comparing the B&W 705 S2s (rear ported) vs. the B&W 805 D4s (front ported). I compared them in the same location switching between the speakers multiple times while playing the same song. Here are my observations: The rear ported 705 S2s produce more room filling sound and may I say stronger bass than the 805 D4s, but the front-back sound stage (particularly vocals) become muddier and I was not sure where the singer was placed; the vocals appear to be coming from behind the line of the speakers and also above the speakers; the right-left soundstage is perfect - no effect of the rear ports on this. The 805 D4s on the other had appear to produce somewhat weaker bass (on drums - particularly the bass/kick drum), but the front-back soundstage (particularly vocals) is very clearly defined and right in front of you as if the singer is standing right in line with the speakers. The right-left sound stage is same as the 705 S2s - in the middle and perfect. I guess it is a choice between perfect soundstage and a slightly weaker bass performance. Not sure which way I am going to go yet.
@NK D You can’t ascribe all that to whether a bass-reflex port is facing backwards or forwards. There are other, internal differences between the two speaker models.
Crap, I hate two way ported noise distortion chuffers, and they don't have tight fast sound with good low frequency roll off of a high quality sealed or infinite baffle designed monitor.
At 1:18 , how thick does that panel need to be? And how far away should you put the speaker from that panel? Treat it like the wall and leave a few inches away from it?
What about putting a center channel like the Klipsch RP-504C into a sideboard? Mine has a 8cm hole in the rear wall for cables, 3cm of space left and right and about 6cm on top of the speaker. I would pull the center out so its front will be further out then the sideboards front.
Could you please do a video comparing the new 5000 series ryzen processors for audio use? It is very hard to find comparative performance information on specifically audio related tasks. Thanks for your awesome videos anyways!
In my case the bass decreases. Close to the front wall vs further away and different listening Position to compensate. Been kickin my speakers around the room for 3hours and it's either clean but very quiet low end (even less than om the balcony close to the wall) or boomy and peaky AF. My room SUCKS! I will try to optimize it with a quick sim in REW yet i think just. Placement won't cut it.
Shoot for a stable, broad bass reproduction when you move around your typical listening positions. The best place will often be there, where the bass isn’t changing too much, if you bend forwards or backwards.
@@Tazmanian_Ninja I wouldn't move much. After some threatment my room will be a lot better though still a bit of work. Soon i will add 2 infrasonic tapped horn subs as an array configuration (one in the front and another in the back and then some DSP magic) and then idk where i will cross to the mains. Maybe 40hz maybe 70hz... Will have to see what works best.
Don’t focus on the QUANTITY of bass, but on the QUALITY. You need EVEN bass response. Therefore you need to evaluate it with music in different keys, and where the basslines wander around - not just root/pedal bass. Fleetwood Mac comes to mind, but there are many others. This will let you evaluate whether some keys, and notes, stand out more than the others (which is what you want to avoid).
@@Tazmanian_Ninja Yoo what's up? I ended up with something that from an room acoustics rule standpoint makes no sense. My setup is now with the speakers on the desk which makes sense for nearfield but the desk is maybe 50cm high. Still playing around with the height. And the desk is in a corner. One speaker in the corner and one like a meter out from the corner. Sounds great now! Now i have a huge hump in the middle of the room though around 40-60hz which the neighbours below me seems to complain about. I guess 2 subs configured as an array will get this under control. Already have the driver's for them. I just gotta build the enclosures. After that is done i will make further room threatment.
I am in a 10.6ft x 11.6ft room......the wall behind my desk/studio speakers is 2 glass doorways. Should I stay away from a rear ported speaker because I can't add the acoustic treatment suggested behind them?
How would I set it up if I wanted to mix with normal stereo speakers instead of studio monitors? I know I know, the mix wont be "flat". But I also can't do any acoustic room treatments that are necessary for studio monitors. Trust me, I tried a pair with front ports even and the sound reflection off the back was ugly. So, how would I set up normal speakers?
There’s no difference to the acoustic treatment requirements of studio monitors vs hifi speakers. I’ve used both, for years, interchangeably, btw. If anything, studio monitors are MORE forgiving, because they tend to be nearfield, aka more direct sound reaching your ears.
How exactly does an acoustic panel "absorb" a null? A null basically is a drop in amplitude of a particular band of frequencies, so isn't more absorption in that band intensifying the problem?
Probably not going to be the best explanation but I'd assume he is referring to SBIR. When a Sound Wave bounces off a wall it combines with the wave coming out of your speaker. If the bounced wave is out of phase it will create a null. Now if we can absorb that wave so it doesn't bounce back out you will technically stop the null from happening.
Do rear ported speakers send more sound to the back wall? My speakers will be on a party wall and want them firing as much sound forward as possible, I Can't seem to find this answer anywhere. Thanks in advance :)
…If you want to lose lots of bass extension. Porting extends bass response, if you plug it, you’ll lose the lowest sub notes in the bottom end and slightly increase the volume of some of the higher bass frequencies just above the port frequency making the speaker less accurate. Sounds like a great idea.
@@ScanProAudioTV yes, bass extension is reduced, but bass will roll of more gradually. A well integrated suv, or subs, will re-enforce that low bass extension with ultimate control over intensity!
