bassace

Thank you to your reply for ideas on my thread, and yes, your room is truly inspiring me to try some of your ideas. If I were within striking distance of your abode I could easily become a fixture! Thanks again for leading me to 10 pages of useful info! []

Wuzzer - none! I'm just attempting to glean some wisdom that doesn't require a huge grasp of math and physics! No glaring problems, just looking for a bit of nominal optimization (as my post stated). Thanks for your concern in replying. Chris - thanks for your help and links. I may end up doing some inexpensive absorption placements and see if I have any wow moments of enlightenment breakthrough! [] My ceiling is 8 feet high with a six-inch pitch across the short side (15 feet long) to facilitate rain run-off on the roof (my father built the room as an add-on in the early 60's). Thanks again for your objective stuff.

I have a rectangular room that's 15X24, with a small extruding closet in the left rear (as facing the system when listening, behind my left shoulder for reference), and a couch about halfway back. No real architectural amonalies, just four windows and three doors. No really obvious acoustic concerns, just looking for some nominal optimization (just kinda fantastic is all I'm striving for!) Horns are in the corners on the short wall (I will try the long wall set-up some day for fun). What and where should the treatments be and where should they go based on my room dimensions? (No brainer solution: first reflection points/mirror trick, well noted, I haven't even begun experimenting with Owens-Corning and building frames, still gathering first-hand experiences with Khorn/similar room combos). Currently I use an area rug and lots of diffraction, as the room is a recording studio as well as a listening room and vintage gear storage area where the music gear and audio shelving line the walls. I do lots of inline recording, not much micing, so from that perspective my room acoustics are not deceptive or troublesome. Pics? No camera! I can't listen to it, so it's virtually useless, except maybe in cases like this! [] Thanks for responses from mostly similar working arrangements.

I started with KG2's, progressed to Forte I's, and now own Klipschorns. I have heard a succession of sound, a house sound if you will, that for some reason just appeals to me. The low distortion, high sensitivity, combined with the physics employed (no size, no bass) are the earmarks of what I enjoy about Heritage Klipsch 2-channel listening. I do vinyl as well as all bitrates and formats of digital, and it all simply flows smoohly from the bit (or alternately from the groove) to the air via transducer. It's a pleasure to hear and enjoy music that isn't impossible to attain. When I explained to Richard Vandersteen that I listened to Klipsch speakers, he noticeably turned up his nose and suggested to me that musicians "fill in the blanks" when listening to music for enjoyment. There are no blanks to be filled in with Klipschorns, as far as I'm concerned, and if I had stopped at the lowly KG2 I'd have been well satisfied.