This is a great topic. What level should we set as a goal for music and movies. THX, perhaps is the best guideline. An average of 85 db with 20 db. of headroom on either side seems reasonable for spirited listening sessions. Cheaper gear or poorly recorded material will tend to sound louder due to distortion. If this level sounds loud, back off. It is only a rough guide.
I don't follow this guide and a great majority of time, my listening level is around 65 db. and will peak at 85 db or go down to around 45-50 db. on quiet passages. I have no need to mimic a live concert venue the majority of time. At those levels, OSHA has time limits for those levels. Common sense tells you that you should not need to look up time limits and be sensible in our listening. The real question is not how loud you can go but, why you can't achieve it at a safe level.
When you get a chance, your later measurements at a yard distance should have smoother phase and group delay plots, and your spectrogram and waterfall plots (without subwoofer) should show a more intelligible result.
The downward trend of the frequency response (SPL) plot is a bit more tilted, by about -15 dB at 10 kHz relative to 150 Hz. Also, the amount of SPL from 100-200 Hz says that you might hear a more fullness overall. I'd recommend EQing everything from 150 Hz upwards using the one yard measurements, and everything below 150 Hz using the listening position placement of the microphone. The goal should be to get even SPL vs. frequency across more than just the main listening position, i.e., avoiding "head in a vise" room tuning.
I recommend looking at the "excess group delay" plot, generated from the group delay plot by punching the "controls" button, then punch the "generate minimum phase" button, then you can turn on the excess phase plot below the main plot area. This plot is a good indicator of the quality of the measurement--whether or not early reflections are being mixed with the direct sound measurement--and will help you to determine if you need to put down more absorption on the floor between the La Scala and the microphone position, as well at the side walls just next to the Ls Scala midrange/tweeter mouths.
Strong room reflections can also be seen in the impulse response plot at about 0.5 to 5 milliseconds from the main impulse peak. These also show up at higher frequencies in the spectrogram plot. Finding ways to soften or absorbing these strong reflections is a useful endeavor in treating the room acoustically. It's the early reflections that kill the "3-D" imaging potential of the loudspeakers in corners, and just a little absorption in the right places will make a world of difference--on the side walls and on the floor just in front of the Ls Scalas, out to perhaps 2-3 feet from the front face of the loudspeakers.
Does anyone have any opinions on ALK Eliptrac with B&C DE120 tweeters vs a Crites CT-125? Looking to replace the stock tweeters in my '75 La Scala's. I already have the ALK CSW networks installed. Seems to come down to a B&C driver vs Eminence and a slightly different horn design.
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I prefer the Bose Quietcomfort QC20i. I use an aftermarket adapter with my iPhone7. Wired sounds better that Bluetooth, so I deal with the wires. I also prefer in-ear for mobile use. The Bose are nearly as comfortable as the Klipsch x12i, which is quite an achievement considering how different they are in their approach and design.
Well my audio room is painted and all furniture is back and everything is a lot neater
So what is the best way to christen it
Play Pink Floyd at 9pm of course
Tonight I chose
Artist - Pink Floyd
Title - Meddle
This is a brooding album in its sound signature - I like that