Does the first reflection point actually matter??

The first sidewall reflection point matters in the design of a recording studio control room. Those I have been involved in used angles which direct the reflections away from the normal listening position.

In rooms where that’s not an option, apparently the first sidewall reflections still matter... or at least, what one does at these locations matters. @erik_squires on the subject:

"To my experience, as others here have noted, diffusion at the 1st reflection points are a better idea [than absorption]. They enhance imaging."

One significant difference between diffusion and absorption is, diffusion doesn’t significantly change the spectral balance of the reflected energy, while absorption does. And absorption keeps on having its effect on everything that hits it, not just those first reflections, for better or for worse. Both reduce the amount of early sidewall reflection energy which arrives at the listening location, but diffusion does so more benignly.

Early sidewall reflections have benefits. They DO increase the apparent source width... in other words, they can make the soundstage wider, but some image precision and soundstage depth is lost in the process, along with some clarity. So it’s a tradeoff. If not absorbed, that first sidewall reflection energy lives on to come back as later reflections which convey spaciousness (hall ambience) with no significant downside.

Earl Geddes on the subject of early reflections, which typically include the first sidewall reflections:

"The earlier and the greater in level the first room reflections are, the worse they are. This aspect of sound perception is controversial. Some believe that all reflections are good because they increase the listeners’ feeling of space – they increase the spaciousness of the sound. While it is certainly true that all reflections add to spaciousness, the very early ones (< 10 ms.) do so at the sake of imaging and coloration... the first reflections in small rooms must be thought of as a serious problem that causes coloration and image blurring. These reflections must be considered in the [loudspeaker] design and should be also be considered in the room as well."

Duke

Another confusing controversial thread.  Seems like the only alternative to avoid all this is to buy acoustic measurement software like from Dayton audio and figure out your room. Then treat it accordingly. 

Very good post thanks...

We must NEVER forget that acoustic preparation of a studio recording room has no relation at all with what must be used in a play back audiophile room.... This is not the same thing creating conditions to register something and creating conditions to listen to something.... In the first case the focus in on the instrument that will be recorded, in the second case the focus is about the way the ears/brain recreate the original event....And in these 2 cases the prparation and acoustic organization of the space(room and studio) dont goes under the exact same rules.... Floyd Toole explain that better than i will ever be....

But what is missing in your post is also that there is OTHER options than absorbing, reflecting or diffusing....

These concepts refer to passive treatments perpective...

How about active controls? Using resonance and grid of non electronic but active devices to guide and organize the mixing of direct and reflected waves?
How about putting in place the conditions to made possible "a potential informed wave" for the listening brain...

Most Audio people are slave of their idolized electronic prefered branded components, i am slave now of my room.... :)

Any electronic component ca be easily replaace with an equally good one, the room cannot  and is at the heart of the audiophile experience, not the electronic component.... With dont listen to the electronic components  we listen to the room ...No speakers sound the same in different room....


This is the way i go, with a success so great that there is no more relation between before and after....

Mahgister wrote: " We must NEVER forget that acoustic preparation of a studio recording room has no relation at all with what must be used in a play back audiophile room.... "

Please note that I said "control room", not "live room", the latter being the room where the musicians perform and the actual recording is made.

The goal in the control room are not dissimilar to home audio: To clearly hear what’s on the recording, without any masking or other undesirable signature from the playback room.

Duke

The goal in the control room are not dissimilar to home audio: To clearly hear what’s on the recording, without any masking or other undesirable signature from the playback room.

The room where the recording is made is one room...

The control and mixing room is where the electronic controls of quality are...

But the sound you will listen to is YOUR room, and what you will listen to will never be the ideal standardized generic preparation by mixing and equalization etc of the sound engineer...It will be your specific room...

In a word your brain must learn how to retrieve the cues coming from the recording from the cues coming from your listening room...Your brain dont work like a sound engineer in the mixing room trying to be faithful to the recording only....Your brain need a room....And it will not be the recording room....It will be the room where you live....Your brain will be faithfull to the recording event to the limit of his own actual location: his room experience...

And nobody only listen to what is on the recording hall, or lived event, it is ALWAYS a recreation...

My point is how to make this recreation a stunning experience...

It is ok to have " no masking or any undesirable signature from the play back engineer room" but how will you create ideal listening conditions in your own room?

By using only passive treatment and erasing your room from the sound?

By using active controls and giving to your room an active role?

What is the best?

The best is the cheapest way to create a stunnning audio experience is not upgrading your audio system to a more transparent one at prohibitive cost,but transforming your room in a positive player...The rewarding is astounding and the cost very low....

This is my experiment...This is my point....

Saying that we must listening our stereo system directly to keep the brain calm is saying something that makes no sense at all, except for those who think that electronic engineering is the key audio element ....But is is acoustic the fundamental player...

You can replace any speakers or amplifier or dac, by an equal but different good one, but you cannot replace a room....We live with it and we can transform it tough....

In a word, the role plays by the room treated or not, controlled or not, is absolutely STUNNING, but unbeknownst to most audiophile focus centrered on their favorite electronic component they sometimes taste, it  seems like branded cheese, keeping their brain " calm "outside the " tumult" of their room it seems, directing their attention to the recording.......  :)

This is  my point....