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The "magic" listening level


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The more I evaluate amp performance in near-field systems, the more I am convinced that every recording has a "magic" listening level (different for every recording I've tried) which I define as the level at which, with eyes closed, the immersion in the music becomes total.  Everything seems to disappear, including the room boundaries, speakers, equipment, etc., leaving only a large soundstage of which I am a part, and with every instrument and performer being very clearly located in space (assuming, of course, that the recording isn't total crap).  Generally, the level is quite low, rarely exceeding 70-72 db at the listening position; and most often the level is in the mid to upper 60 db range.  I have not been able to duplicate this in large room systems which, of necessity, usually have to be played louder.  At those higher levels there is no immersion, but rather just a big wall of sound.  Just wondering if others have experienced this.  Thoughts and comments appreciated!

Maynard    

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I'm right there with you Maynard. I'm set up near field out o necessity more than any initial interest in exploring, but I've found it to be most exciting. I average around 70-80db for most recordings and tend to crank rock tunes up to around 85-90db.

 

Midrange horn faces are right at 8ft apart and 7.5ish from my head.

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How many feet away do you consider near-field??? Or how far away is no longer near-field???

I should have defined that!  I'm using a 6 foot equilateral triangle, although I've been playing around with moving the listening position a foot closer and getting even more involvement.  That may become permanent.  Good point though- I don't really know where the cutoff would be where it no longer is considered near-field.

 

Maynard

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Sounds like your having fun, any wall treatments in you room ?

No room treatments at all.  At those levels there seems to be such minimal room interaction that I'm not convinced of the necessity.  But, that's certainly an area for future experimentation!

 

Maynard

 

I only bring this up because of your orig post, and had this pointed out to me some years back.

The way it was put to me was with as good as my system is built, maybe stop tweeking componets and look at the room.

They were 75% correct.

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I don't really listen near-field I am back 11 feet from the Khorns in a triangle of equal lenght, my room is treated and Eq'ed so I have great balance and a huge sound stage. It just doesn't get much better!!! I have noticed on my recordings the difference in sound quality as well as the sweet level for that recording, just kinda depends on the recording itself!!!

Edited by canyonman
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I don't really listen near-field I am back 11 feet from the Khorns in a triangle of equal lenght, my room is treated and Eq'ed so I have great balance and a huge sound stage. It just doesn't get much better!!! I have noticed on my recordings the difference is sound quality as well as the sweet level for that recording, just kinda depends on the recording itself!!!

I would say you ARE qualified to Bi-otch at the music, because you indeed can "Hear" the music :emotion-21:

Edited by minermark
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Experienced it on a few systems for me mood and surroundings play a part of the experience IE... no wife or kids running through hollering etc... I DEFINITELY believe every recording has its sweet spot on the volume knob infact have posted threads about it before..........................

 

for me to actively search out that spot on individual songs gets way to critical and I loose site of the whole reason for listening (ENJOY THE MUSIC) In my journey I have went through this before and I actively try to stay clear of critical listening as it only serves to make me want to make changes to my system (even a lowly headphone system) 

 

I will listen critically in order to set up initially after that I try to steer clear of it and enjoy, and occasionally when everything else is just right I will get that transported  delightful feeling then it always seems like something has to take my attention away. One of the boys or the wife wants something. Its as though they know I am enjoying myself and they must stop that at all cost :D

 

 

 

I love nearfield for the huge 3D soundstage it presents.................the depth always surprises and delights

Edited by joessportster
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I don't really listen near-field I am back 11 feet from the Khorns in a triangle of equal lenght, my room is treated and Eq'ed so I have great balance and a huge sound stage. It just doesn't get much better!!! I have noticed on my recordings the difference is sound quality as well as the sweet level for that recording, just kinda depends on the recording itself!!!

and the older , the better - the peak quality recordings were done between 67 and 79  -  in Germany -England mostly -that time zone was magical in sound reproduction -- the budgets that were spent were 50 times the ratio today  - a record took weeks rather than hours to make  -

 

and with the current gear - it is even better -

 

-SCOTTY - beam me back

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I totally understand treating a room after trying it myself (after hearing ChrisA's system and talking to him).

 

Basic 4" foam made such a difference for me that I've ordered 4 48" soffit bass traps today.

 

A room with certain acoustic characteristics will sound more pleasing at a certain SPL, and also with certain types of music. A well treated room will sound "better" over a wider range of SPLs and with a wider selection of music.

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Being a newbie to tubes and actually learning about how sound fields open up, I can say with my system I have them about 7 feet apart from each other toed in, and about 7.5 feet from my sitting area. I have heard the sweet spot come in and out almost like a plate of glass is being raised in front of me.

 

Maynard, you hit the nail right on the head with your description of what you hear. I now also hear that with my set up. My wife and kids still laugh at me when I go to listen to music, but that's OK. It lets me veg out fo awhile and they don't come in to bother me.

 

Canyonman, I did have my set up with my setting area at about 10 feet and it wasn't doing it for me. It happened when I moved closer. I would move in and out while listening to things and when I hit a spot, I'd mark it. It seems almost all of my music was coming up at the same marking spot, so that's where I moved my seating position.

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I don't really listen near-field I am back 11 feet from the Khorns in a triangle of equal lenght, my room is treated and Eq'ed so I have great balance and a huge sound stage. It just doesn't get much better!!! I have noticed on my recordings the difference is sound quality as well as the sweet level for that recording, just kinda depends on the recording itself!!!

and the older , the better - the peak quality recordings were done between 67 and 79  -  in Germany -England mostly -that time zone was magical in sound reproduction -- the budgets that were spent were 50 times the ratio today  - a record took weeks rather than hours to make  -

 

and with the current gear - it is even better -

 

-SCOTTY - beam me back

 

 

Or maybe 62 - 79.  If you don't mind going MONO for just a moment, I have rarely heard a recording better than the c 1958 Lp "The Westminster Classical Sampler," with various generations of moving coil cartridges.  Naturally, it is not available on any format today.

 

c1974, I had a class @ SFSU (two terms) in which we toured virtually all of the recording studios in the San Francisco area, and heard many of the recordings they were making.  We noticed that when the recordings finally came out they didn't sound near as good, even on pro equipment.  Was it a problem with the Lp cutting and manufacturing process?  Or what? 

Edited by garyrc
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