I thought a great topic might be one where we could post links to sites, books, videos, etc. with helpful info on audio room building and treatments. I promise to soon go back through my reasearch two years ago to share my sources. But right now…
I just received an email from the Audiophile Society. For those of you unfamiliar with it, it’s a unique thing, or at least different than most stuff I’ve seen in the hi-end audio world. You’re probably familiar with the work of David Chesky (Chesky Records, HD Tracks) who is not only gifted in the area of producing some of the greatest audiophile-grade recordings over the past almost 40 years, but he’s also pretty darn good as a composer and performer of jazz and modern classical music. The Audiophile Society seems to almost be a “personal” project of his. To be a member, it’s an extravagent $3 every 3 months to get the benefits. And the best benefit is half-price on downloads, many that aren’t on streaming services. So about $9 to download a great recording at anywhere from CD to DSD quality (take your pick).
The email I received includes the following from Chesky. I wish it were more, but it’s sure a good start for thinking about the role of the room.
Room Treatment: The Most Overlooked Element in High-End Audio
I’ve been to countless hi-fi shows, and time after time, I’m appalled by how many multi-million dollar systems sound disappointing. Why? One reason: bad rooms.
The single most important element in any audio system is the room. If your room isn’t right, there’s no point in setting up a hi-fi rig—no matter how expensive it is. You could have the best gear in the world, but if you put it in a glass room with stone floors, it doesn’t stand a chance. The sound will be harsh, smeared, and fundamentally flawed.
A well-designed room should strike a balance: approximately 50% soft, 50% hard and diffusive surfaces. This allows you to hear what your speakers are actually producing—not the chaotic reflections and artifacts caused by poor acoustics.
Bad rooms smear impulse response and add excess reverberation, which leads to comb filtering and unpredictable tonal coloration. It destroys clarity and imaging.
Personally, I like to set up in a 60-degree triangle and stay in the nearfield to minimize room interference as much as possible. That way, the room is removed from the equation and you’re hearing the source as directly as possible.
We’re currently working on a speaker setup test that will help you optimize this process in your own space. Until then, remember: it’s not about how much your gear costs—it’s about how well it’s set up.
And sadly, many hotel rooms at audio shows are the worst possible environments. Don’t judge a system until you’ve heard it in a properly treated space.
David Chesky
I’m looking forward to their new speaker setup test, whatever that includes.
Here’s something funny, showing how poorly my brain works: not only was there an email about Room treatment from Audiophile Society, lo and behold, I found ANOTHER email on the same day about rooms… until I realized, it was about ROON. Yeah, we’re going to have to be careful in this section - I guess there are things in Roon that can help your room, but…