@noble100
re low fruit
yeah.
Sorry.
@Elizabeth
thinking back on the instances I've seen Maggies on display or Stats for that matter I don't recall seeing much of anything placed between them and the front wall like I so often see with more conventional box speakers.
the idea of diffusion behind the speakers and or at first reflection points was info Albert Von S told me about a long time ago.
Albert treated a performing arts center in my area and he discussed his approach in so doing and how that outline works in numerous situations and applications with only the scale changing.
it was an enlightening talk, though Albert did almost all of the talking. a rule of thumb he left me with was shoot for a 50/50 room treatment, absorption and diffusion as needed. .
albertt said you could kill two birds with one stone by hanging 'carpet or rug runners' using standoffs from walls or dropping them from the ceiling and spacing them evenly or to suit along the side walls. kind of like skinny tapestries in what ever color or scheme imaginable. these would act as both diffusion and absorption being quite effecvtive.
I've since found I like to have the area surrounding the main speakers more lively and will use only diffusion around them. from the first point of reflection to the wall behind the LP when or where needed or desired,
as ˆ'm sure you know, all sorts of materials attack or address various parts of the bandwidth. its easy to find out which things affect what with little trouble.
In my room I ran floor to ceiling drapes a few inches off the front wall. these are fairly lightweight material and on the wall behind my LP a similar run of draperies yet these are far more heavy guage cloth.
initially I wanted Bonsai trees, ficus or similar plants strewn across the area and in the corners, but couldn't find appropriate types or sizes which seemed right so I went with materials instead.
even lattice work covered with color matched cloths could help keep the air and life in the presentation without killing the highs or mids much if at all.
naturally any and all of these notions depend on what and or how much gets used in this pspot or that place.
one can make wire frames from coat hangers in this shape or some other and adorn it with ????, then move it about to address ????.
making 'mobiles' and hanging them from the ceiling here or there might just do the trick at times.
it cost so little. only time and imagination seem to be the bar for DIY acoustical remedies.
@Inna
do the tiny wires connecting the cartridge to the outputs influence the sound much?
then its either attack isolation methods or deal with the only variables left on the TT. ICs, and or Carts.
are Stylus' interchangable?
some free ideas that I use on any number of devices is different kinds of woods as footers.
a fella sent me several sorts a long time ago. mahogany, Teak, Co Co bola, Zebra wood, Ebony, etc. all in the same sizes. an inch and a half or so in overall dimensions.
each one of these 'flavors' or types has its own contribution to the tennor of the audio's voice.
local hobby shops usually have discards of various wood types you caan get for free, then just slice em up to suit, arriving at the same overall dimensions.
Myrtle and Apple have long since been used under components, so should other sorts of wood as they all seem to have their own peculiar contributions.
the only rule of thumb I've realized is the denser the wood, the harder is the leadign edges of the notes. it tends to draw attention to what seems to be an increase in dynamics.
i think it has more to do with the inherent frequencies or resonances of the wood than anything else. its an interesting dynamic to explore and costs virtually nothing to do so.
