Brotw wrote: " Seriously, I’d have to play with crossover frequencies for best integration. "
Don’t forget that the phase control on the subs can help with integration. Sometimes overlapping the mains a bit + putting the subs somewhat out-of-phase with the mains gives the best results.
"...thankfully spatial cues are largely provided by the mains."
The spatial aspects are complicated. In a home listening room, there is in effect a competition between the spatial cues on the recording and the contradictory cues of the listening room. At BEST, we have a poverty of recording venue cues - nothing remotely approaching the veritable plethora of cues at a live performance. The magnificent ear/brain system is able to reconstruct a reasonable approximation of the recording venue (whether real or engineered) if cues consistent with the recording venue effectively dominate over the listening room’s signature. So regarding cues consistent with the recording venue, arguably every little bit helps.
The phase quadrature (90 degrees apart) setting with subs placed wide to the left and right of the listening generally contributes cues which support the perception of being in a large acoustic space, which can help tip our perception towards the venue on the recording, or a reasonable approximation thereof, and away from the distracting awareness that we’re really just sitting in a small room pretending.
Duke
Don’t forget that the phase control on the subs can help with integration. Sometimes overlapping the mains a bit + putting the subs somewhat out-of-phase with the mains gives the best results.
"...thankfully spatial cues are largely provided by the mains."
The spatial aspects are complicated. In a home listening room, there is in effect a competition between the spatial cues on the recording and the contradictory cues of the listening room. At BEST, we have a poverty of recording venue cues - nothing remotely approaching the veritable plethora of cues at a live performance. The magnificent ear/brain system is able to reconstruct a reasonable approximation of the recording venue (whether real or engineered) if cues consistent with the recording venue effectively dominate over the listening room’s signature. So regarding cues consistent with the recording venue, arguably every little bit helps.
The phase quadrature (90 degrees apart) setting with subs placed wide to the left and right of the listening generally contributes cues which support the perception of being in a large acoustic space, which can help tip our perception towards the venue on the recording, or a reasonable approximation thereof, and away from the distracting awareness that we’re really just sitting in a small room pretending.
Duke