Boundary reinforcement issues can be addressed by taking them into account in the design stage. So can coloration due to wrap-around reflection energy (by using directional speakers, like the aforementioned Klipsch). The remaining issue is soundstage depth. One technique which results in good soundstage depth is flush-mounting the speakers. This is often done by high-end recording studios. Precision to 1/8" or better is required, but the result is zero early reflections off that wall, so no corresponding cues are superimposed atop the soundstage on the recording. Note that most "in-wall" speakers have reflective and/or diffractive features which betray the presence of the wall. Another is to design the enclosure to effectively blend into the wall, so that acoustically it’s like a "bump" on the wall. The midrange/tweeter module of the (sadly discontinued) Snell Type A fits this description, and its downward-firing woofer was close enough to the wall and floor to interact benignly with both of them. There is another technique for getting soundstage depth with against-the-wall placement which I use in some of my designs. They work better with some spacing, but still imo better than most without. If anyone is curious I’ll describe. Duke |
Surprised there's been no mention of Larsen, one of the very few specifically (re)designed their models for operation right next to walls. Audio Note also comes to mind as a speaker that favors close to wall/corner positioning. 90% of pics of systems in rooms that I see, I want to pull the speakers further out into the room, often vetoed because of WAF. |
it’s about speakers designed for/actual ’room response accuracy’ rather than ’echo-less chamber accuracy’, you can publish results from this https://en.wikipedia.org/wiki/Anechoic_chamber you cannot publish in-room responses, it’s a gamble how they will sound in your room size/shape/furnishings/surfaces sealed speakers or rear/side/front ports, passive radiators ... speakers specifically designed for any combo of wall/floor/corner boost as others have mentioned. Monster Klipschorns were rear-ported big time, designed and specifically positioned to use the corner as the final part of the ’horn’, clever. They were ’seriously’ toed-in. .................................................. I prefer non-ported speakers designed for away from corners, toed in; tilted back for: time alignment and to project tweeter to seated ear height toe-in and tilt provides non-parallel to floors/ceilings/side walls, avoiding too soon or too strong reflections. I like heavy speakers on 3 wheels, allows pushing into corners to get them out of the way, move out to pre-determined location (marks on floor), then choose specific toe-in for the recording being played. adjust toe-in for wider center when listening with a friend. you cannot do that with speakers designed for specific nearby surface reinforcement, and adjustable toe-in, if possible, will be a curious mix of ______? |
People place their speakers up against the wall mainly because the speakers (several models) were designed to be used that way. Other people do it because their wives demand it as an ultimatum for the continuance of their marriage. It’s called the WAF or Wife Acceptance Factor, which basically means it’s much more important that she be happy than you. |
