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Good Vibrations
So, you’ve got a monitor... what do you do with it? Acoustic oracle, White Mark’s David Bell,
talks to Audio Media magazine about the basics of speaker placement, rooms, and stands.
A
udio Media: It’s common knowledge that
you can’t consider speaker performance
without considering the room. Could
you start us off with some basics?
David Bell: A room and a set of speakers
should always be considered as a unit.
Both influence what you hear, and the
interaction between both influences what you
hear almost as much as the choice of either.
So, if you to have a production space
with free-standing speakers and you put
the speakers largely where they need to be,
and symmetrically in the room, the room
will interact with the speakers in a number
of ways. It will itself have modes which will
cause bass colouration, and the positioning of
the speakers will alter the interaction of the
speaker with the boundaries. By that I mean
it will reflect off the walls and you’ll have
‘coherent interference’. This will cause notch
filtering, and is principally noted in the lower
mid and the upper bass, which is really where
the character of voices is stored.
Even free-standing speakers ought to be
set up by someone who knows what they’re
doing. You will get interaction between the
walls, the ceiling, the floor, the speaker, and
you. You need to optimise that. You can do this
by listening to stuff that you know well, and
adjusting the speaker position – moving it six
inches will make a huge difference.
As a fundamental thing, it’s a good idea not
to have it the same distance from the floor, the
ceiling, and both walls so that the interactive
effects of those boundaries are not lying on top
of each other, and therefore smeared a bit.
A second thing is that the speaker is
trying to give you a full bandwidth of output
out of its speaker cones. It should be borne in
mind that as frequency goes down, as much
will come out of the back of the speaker
as comes out the front. The tweeter fires
higher frequencies forwards in a cone – it’s
directional. It becomes less directional as
the frequency its carrying goes down to a
wavelength comparable to its diameter
and larger.
The same is true of the midrange and the
bass, but the bass tends to be much more
360-degrees radiating, because basically
the box vibrates.
On A Sure Footing
AM: What advice do you have on stands?
DB: You need to mount it on something
solid, so that the mounting you’ve got
doesn’t absorb frequencies specific to the
mounting... This is particularly true where
you’ve got a nice bit of furniture, and you’ve
got a computer keyboard and a little mixer,
and you stand the speakers on a little
bookshelf shelf at the top of it. At least put
a paving slab on top – something heavy that
the speaker can run against.
There’s an awful lot of rubbish talked about
high end, really expensive, rubbed-againstthe-thighs-of-virgins
magnesium-alloy...
What you want is a sodding great heavy thing
to stand your speakers on – and it’s no good
putting it on a wonderful speaker stand,
wonderfully linked up to a diaphragmatic
wooden floor, because that’s just the same.
Although if your speaker stand is full of
lead, it’s then going to be quite heavy, so the
resonant frequency of the floor membrane it’s
standing on is going to be much lower.
AM: Is there any sense in de-coupling
speakers – by using foam products,
for example?
DB: You have to be careful. If you get a
piece of foam and stand a speaker on it,
the frequency at which it is de-coupled –
the resonant frequency of that compressed,
sprung system – is proportional to some
interesting constants, times one over the
deflection. The further you deflect it,
the lower the frequency it works at.
We try to get our floors to deflect about
4 GOOD VIBRATIONS
6-8mm, and that gives you between 8-14Hz
resonant frequency. So anything from double
that up – from 20Hz up – is then de-coupled…
But if you’ve got, say, 2mm of deflection, your
resonant frequency would be higher, and
would only clear once you’re well into the
audible range. Thus, you’ve got a problem at
the bottom end – it’s getting absorbed by stuff
that’s not very well de-coupled.
This is why proper mounts are better than
bits of plastic. They manufacture them so that
if you put a certain weight on it, you will get
8mm of deflection, and it’s known to be within
the elastic limit of the squashy stuff, so that it
will work properly at that frequency.
Up The Ante
AM: What about moving on to bigger rooms,
bigger speakers, and bigger budgets?
DB: You can start designing the room to try
and increase the effectiveness of the roomspeaker
combination. One of the things
you can do is to minimise the effect of bass
reflection by soffit mounting the speakers –
building them into the wall. This is done not
just by sticking a piece of wall fabric under
the speakers, but by building them into a
substantial wall in a big, heavy box. We then
pack the front wall – we use mineral wool,
though other people do others things.
The bass end becomes more efficient
because it’s all going forwards. If you correctly
soffit mount a speaker, you’ve got the early
bass reflections under control. And then if
you carefully design the distance between you
and the walls, you can further improve those
early bass reflections.
Architectural Considerations
We now need to look at the room itself. Cubic
rooms are a bad plan. Everyone’s heard of the
various imperfect ratios of height to length
to width. These all work in different ways,
and to different standards; and different
ratios have different devotees. But effectively