The focus of a tuned system begins with the listening room itself. Each building material and finish used for the wall, ceiling and floor as well as the furnishings, offer a unique audio signature. I opted for an active room, much like the body of a guitar or cello. By shaping the sound, I've extended the width of the soundstage well beyond the physical location of the speakers and the placement of individual instruments and voices creates a soundstage that reflects the recording environment and dimension for width, height and depth.
This has been my objective for Audio from the the early 70's. The source components play an important role but not for the same reasons as before. Now an inexpensive Samsung P241 DVD player and a Jungson 88C integrated amp have replaced the big $$$ pieces. In a tuned room, the smaller the component footprint, ie.,less metal and plastic (often inexpensive) and the more direct the signal path, beginning with the electrical source to even removing the wire ties within a chassis have opened up the sound and allow a more tuneable system. Tuning the room and all the components within has become the goal.
I occasionaly miss the emotional connection I had with alot of great components and speakers over the years. It was an aesthetic appeal, like a great looking car that cemented the ego connection. But like those cool cars - I wouldn't trade the comfort and gas mileage for everyday driving anymore than I would go back to designer audio.
These are cherry veneer over soft pulp. Less than seven pair were sourced from this Canadian Mill while these were from Michael Green's personal collection. The tweeters have been fully modified with a few
Custom Speaker Platforms Honduran Mahogany
Each Platform is made from Honduran Mahogany with an instrument grade finish. Two maple tuning rods and nuts are spaced approximately 12" from the front and back. The wooden feet are adjustable as well.
Each shelf can be changed for species (Sitka, Cherry, Walnut, Basswood, Pine) Height adjustments are done with turned wooden rods and wooden nuts.
Michael Green Audio Pressure Zone Controllers
I have 2 positioned behind the component rack and 2 behind the the listening chair.
Voce Divina Contrabbasso
These are positioned directly behind the component stand and 3' behind the listening chair. They are finished in a Textured Semi-Gloss Black on the whole speaker cabinet. They are semi-isobarically loaded, slot-vented, 10 custom woofers. I use them passively in-line with the Chameleons and find them perfectly balanced. The impedance load with two Contrabbasso's in addition to the main speakers are actually more linear and easier to drive than the main speakers alone. The visceral texture of the bass notes are amazing down to 18-Hertz.
The perspective from the photo was right on. Nearfield at its best! It was a remarkably holographic sound although one non audiophile listener was candid enough to say it was weird hearing some instruments coming from behind. It would be a little disorienting to be seated in the middle of the band on some tracks. I will be posting a current system soon. This one is over 3 years old as of 2013. Still the most memorable sound for the least dollars of all my systems.
Nearfield listening was the only way to go with this system. I've since moved and built a dedicated room using a more traditional approach. Not Better. Just more traditional because the tuned room is very difficult to keep 'in tune'. Nearfield offers startling imaging and soundstage depth and width. It's as if the source was the room itself rather than localised with the speakers. Great Experience. There was about 1/3 of the room behind the listening position and 1/3 from the speakers to the front wall.
Hope to have the new room posted soon. In the meantime i'm blogging as thirdcoastaudio.org or thirdcoastaudiosociety.com
Thanks very much for your kind words on my system. Do you get a more open soundstage in your system by having the speakers close to your listening seat? Also, have you found the depth to improve by having your speakers so far out into the room? Just curious.
Thanks for the kind words on my system! I'm in awe over yours right now. Wow! Stupid question but, by sitting so close to the speakers as you are and facing the drivers straight ahead, does the soundstage sound more spacious? You have a lot of room behind the speaker plane. Is there more depth this way as opposed to placing you and the speakers further forward?
Thanks very much for your comments - Just spending a few minutes with MG is enough to know how passionate he is with this approach to Audio. It's truly unique and when done well - it's like none other in terms of richness and tonality.
In September of 2005, while on vacation in Las Vegas, I had arranged to meet Michael Green at his place in the Las Vegas Towers. I enjoyed an evening listening to all three of his systems. The one system was very much like yours.
I sat in that room and could not get over the richness and sound stage that this room/system was. I did gain much appreciation for the tuning of rooms and what the yield can be. I bet your room sounds great. Enjoy!!
Bravo the weeding analogy. Thanks for your post. That was exactly my experience with other room treatments. I would eliminate a particularly annoying characteristic of the room and end up with unintended consequences that took additional dimension away from the sonics. Treat 1 negative issue and remove 2 positives. It was not addition by subtraction but subtraction compounded. That was the source of great frustration. My experience before focusing on the dynamics of the room were: Change the speaker - then the source - then the component - then the room treatment - then the speaker . . . and on and on in a maddening cycle. I kept equipment sellers happy by staying on that treadmill.
I find room acoustics very interesting and undoubtedly the least focused on aspect of hi fi but the one with the most profound influence.
Concert Halls don't happen by accident and neither should your room.
'Tuning a room' is, I suggest, saying that you are controlling standing waves and their surface resonances in a musically appealing manner - which is exactly what traditional room tx's aim to do but in a much cruder way: I liken the traditional front wall/first reflection absorption + bass traps + rear wall diffusion to weeding with a shovel - you may get the weeds out but you generally so alot of damage on the way.
You give texture to you music by what you listen to it in.
Anyone who thinks otherwise hasn't heard a well 'tuned' space.
Thanks Bob Yes all corner wall and freestanding products are Michael Green acoustics. The platforms, component stand and items not in view but located behind the listening chair were done by woodworkers, not MGA.
If you look closely you'll see some dark spots on the ceiling. Those are acoustic foam remnants that were used on the ceilings and corners and side walls, along with bass traps. I've tried several of the traditional acoustic products.
I'm pleased with the results - because i'm in it for the sound first and the music second. My son-in-law is a professional musician and will play various stringed intruments in the room as a referance. I can hear and feel the body of the guitar resonate and that's what I'm after - I like involving more of my senses which happens with live instruments. It has taken me from a 60% experience to at times 80% +. Tuning a room is work. Would I recommend going to the Michael Green site to learn more? That's your call. If you want to go on the site and read for hours you may pick up a few nuggets like I did. If you expect Michael Green to get you there gratis...well it won't happen. He's in business to make money as he should. But the site is like a weed garden in my opinion you have to sift thru alot of nonsense to get anywhere. It turns more people off than on. But I've had the pleasure of meeting several former Michael Green devotees and have been able to learn more in a fraction of the time. I would be happy to share further experiences if you would like to Email me directly.
The results for me are worth the effort and expense. I had become disallusioned with audio and it was a last effort to enjoy the hobby. I have no regrets trying this approach. I can say I'm still hanging around because of the tuned room approach.
Are those Michael Green controllers all around the corners and on the ceiling? More info on these please and a link if possible? What is the theory and implementation and effect?
Bob this room is all about tuning in the key of "me". It's an "inter-active" environment with each recording, format, genre providing an opportunity to play with the rooms response and character. I liken it to tuning an engine for performance as much as changing the sound thru tuning the strings. Thanks for your post.
