From the latest issue of PS Audio’s Copper Magazine, Paul McGowan on soundstaging:
From whence does Sound Stage come?
What drew me back to this hobby after dabbling in High School, was listening to a friend’s system, in a room over his garage filled with over-stuffed furniture, at least seven different amplifiers and twice that many speakers. What was new to me was a room literally filled with sound, and I couldn’t tell where it was coming from. I climbed over the furniture and put my ear to speaker after speaker, but I was never able to locate the source of the sound. It was a wonderful, awe-filled, experience.
Fast forward to the present. I have now built several systems, in different rooms, with different components. Sometimes I get a ‘sound stage’ where the speakers disappear, sometimes I don’t. I have been told that getting the speakers to disappear is all a matter of placement in the room: “Give me your room dimensions; and I’ll tell you where to place your speakers.” But I can tell you, some speakers disappear, and some speakers announce their presence with every note. I have had odd staging where a particular sound appeared un-naturally at the wrong place (like a cymbal hit at my feet); only to have the issue resolved to a more coherent shape with an upgrade to the analog output stage of the DAC. I have had a decent sound stage cast by a particular pair of speakers, only to have it destroyed with the use of a sub-par power amplifier. I’ve heard reviewers and designers talk about how their component offers sound stage depth as well as width (depth seems to be more difficult to achieve). And then there is the old canard about how tube amps present a ‘halo graphic’ sound stage. I can detail the equipment configurations that have I have put together that succeeded or failed at the goal of presenting a great sound stage, but I’m trying to ask a general question, I am not a bot, and I’m not seeking help with a particular configuration, just help on developing a strategy to tackle the issue of sound stage and imaging of instruments within it.
I will say that the best sounding solutions I have developed thus far both involved a Schiit Yggdrasil (now at ‘Less-is-More) into a SS McIntosh C100 (circa 1992) and either a tube Rogue ‘Stereo 100’ or a SS McIntosh MC252 power amp powering either the Warfedale W70E or B&W 801 Matrix speakers. If I substitute different amps, speakers, preamp, or DAC, the pyramid crumbles and I start hearing two speakers again; I lose my ‘sound stage,’ which is really concerning (to me). Anyone with more than two years into this hobby is qualified to address this question. I need some help, I can’t just keep throwing equipment (and money) at this issue. Any ideas?
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Multi channel is a commitment, in labor and gear. I haven’t gone the Atmos route, as my room dimensions simply don’t make sense for height speakers. Yet when done correctly some of my 5.1 recordings add so much presence. For example the Pentatone Brahms Symphony Cycle with Janowski and Pittsburgh the rears add proper ambiance and room reflections and this helps with the perception of front to back spacing. Not all Multichannel recordings are done this sensitively, and merely hitting a button an AVR that converts two channel to multichannel isn’t the same thing |
@bdp24 Thanks for the link. I enjoyed the interview and I agree with Paul about the importance of decent speakers, I wasn’t really hearing a Sound Stage until I acquired the B&W 801s, and I can understand Harry Pearson’s obsession with it; once you hear it, you’ve got to have it. Although I have Paul’s ‘Audiophile’s Guide’ CD and book, and I heard he had done one on ‘Speakers’ I wasn’t aware of the ‘Art of HiFi’ series. Since I now own a decent SACD player, I may secure copies of his ‘Bass’ and ‘Sound Stage’ recordings. Again, thanks for the link. @mahler123 I wish I could hear your system. I’m sure multichannel recordings must sound wonderful, and I acknowledge that DSP alone can’t render it. The fact that I can’t really move the XRTs around upstairs means that I may be forced to implement some sort of ‘surround’ system. I don’t need height for the front (tweeters go from floor to ceiling), but I’m thinking that rear surrounds over the staircase, behind the listening position would be worth the effort, particularly if it could be implemented with Bluetooth speakers. But even then, simply mounting the speakers over the stairs becomes an issue. I’ve already invested so much time and energy insulating the attic space and installing flooring in its cramped quarters, that the thought of spending any more time up there makes me cringe. But as you say, it might be worth it —next year. First, I feel the need to understand what is going on in my room, optimize the lower frequencies, and properly place my speakers. For me, that is ‘next level,’ multichannel surround sound is a level beyond ‘next’ for me. Given your testimony, I will give it my best consideration going forward, especially for the upstairs space and gear. Thank you for your contribution. |
@oldrooney - I achieved "the icing on the cake" by getting excellent cables. Of course speaker position and acoustic treatment are important, but good cables allow the signals to be conveyed as recorded which recreates the venue perfectly. Regards, Steve |
Couldn't have said it better, outside of adding: all drivers in phase and time-aligned. *WELL: I might have said, "...MUCH more closely", rather than, "perfectly". Happy listening! |
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