Cinematic Systems is not trying to stir the pot, he's basically trying to ( reasonably politely ) comment on the design of Mike's room and the selection of gear. The fact that Mike has been dealing with Jtinn as both a dealer and consultant for the selection of gear obviously brings him into the equation. Jtinn's dismissal of Cinematic's comments and observations is directly related to trying to protect his own reputation as he tries to cast aspersions on Cinematic's reputation. Since i have nothing to gain by discrediting either point of view ( i am not a dealer as the two of them are ), here's my take on the situation. As is usual, this is simply my point of view and i try to remain as honest and impartial as i know how.
The size of the room will affect nodes, low frequency extension and spl capacity. Whether or not the speaker can effectively pressurize the room has to do with surface area that it has to offer ( size and excursion capacity of the drivers ) and the "loss ratio" of the room itself as frequency varies. It is possible to have a "rigid" ( non-lossy ) room at higher frequencies, but have it act like a sponge at very low frequencies. This would introduce a non-linear frequency response into what one hears, even though the system itself may be quite "flat" outside of room contributions.
Even though the physical size of the room may support the longer wavelengths that are created at lower frequencies without creating as many nodal related problems, the construction material itself may end up absorbing those low frequencies if they aren't rigidly anchored. The air-borne low frequencies are absorbed and converted into vibration within the construction material itself, which acts as a thermal loss. This reduces both the linearity of the room itself and the spl capacity that the room can sustain at lower frequencies.
If one was running a relatively "linear" system i.e. one that measured relatively flat, it would sound "weak", "thin" or "lacking in extension" in such a room. The end result is that one would need to create a non-linear sound system i.e. bass heavy in order to compensate for the non-linear absorption losses within the room itself. The end result would be a relatively flat presentation in this room, but in any other room, the added bass would be noticeable to one degree or another. That would depend on just how lossy the second room was at low frequencies.
The same things can occur in the mid and treble region with listening areas that are over-damped i.e. the need for a "hotter" sound to compensate for all of the high frequency losses within the room itself.
Obviously, this is a very tricky area and most rooms aren't actually "done" when the initial construction is finished. That's because reality often doesn't follow theory to a "T", so additional work is required in order for form to follow function with a closer relationship. Sean
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The size of the room will affect nodes, low frequency extension and spl capacity. Whether or not the speaker can effectively pressurize the room has to do with surface area that it has to offer ( size and excursion capacity of the drivers ) and the "loss ratio" of the room itself as frequency varies. It is possible to have a "rigid" ( non-lossy ) room at higher frequencies, but have it act like a sponge at very low frequencies. This would introduce a non-linear frequency response into what one hears, even though the system itself may be quite "flat" outside of room contributions.
Even though the physical size of the room may support the longer wavelengths that are created at lower frequencies without creating as many nodal related problems, the construction material itself may end up absorbing those low frequencies if they aren't rigidly anchored. The air-borne low frequencies are absorbed and converted into vibration within the construction material itself, which acts as a thermal loss. This reduces both the linearity of the room itself and the spl capacity that the room can sustain at lower frequencies.
If one was running a relatively "linear" system i.e. one that measured relatively flat, it would sound "weak", "thin" or "lacking in extension" in such a room. The end result is that one would need to create a non-linear sound system i.e. bass heavy in order to compensate for the non-linear absorption losses within the room itself. The end result would be a relatively flat presentation in this room, but in any other room, the added bass would be noticeable to one degree or another. That would depend on just how lossy the second room was at low frequencies.
The same things can occur in the mid and treble region with listening areas that are over-damped i.e. the need for a "hotter" sound to compensate for all of the high frequency losses within the room itself.
Obviously, this is a very tricky area and most rooms aren't actually "done" when the initial construction is finished. That's because reality often doesn't follow theory to a "T", so additional work is required in order for form to follow function with a closer relationship. Sean
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