Speaker Placement Calculator Program

The calculator contains 37 generalized loudspeaker models derived from more than 650 real loudspeakers, which were measured in the labs of the journal Stereoplay. These generalized loudspeakers are described by their dimensions and the Thiele and Small parameters of. Online speaker building calculators by Hi-Fi Speaker Design. Whether you are looking for loudspeakers calculators, crossovers/networks calculators, acoustics calculators, or an introduction to speaker building, you should visit Hi-Fi Speaker Design! We highly recommend this website. Scan-Speak now provides advanced parameters on their driver.

How to Setup Your Studio / Critical Listening Room Speaker and Studio Monitor Placement Secrets PART: 1So you’ve spent all this money on speakers and audio equipment But are you getting the sound you paid for?Your speakers are trying to tell you a richly layered sonic story. But your devious room likes to distort the story and deceive you.To hear the full story, pure and true, you need to set your room up right.This tutorial will show you the easiest way to lay out a listening or control room for high fidelity, critical listening. We’ll also touch on surround sound speaker and subwoofer placement for mixing rooms and home theaters.You can use this room setup guide as a compass as you embark on your quest for sonic clarity.Your World: I’m going to assume you’re using nearfield or midfield studio monitors, or hi-fi speakers, on speaker stands. If your monitors are placed on a desk or console, you need isolation stands to decouple them from the surface.

Don’t skimp on this!The Ideal World: High end recording studio control rooms usually have flush-mounted (or soffit-mounted) monitors that are set into the wall. These are called main monitors, or ‘mains’.

In this guide we will view a flush-mounted main monitoring system as the ideal setup but I don’t expect you to be this hardcore with your setup!The guidelines I’m going to give you are based on best practices for both pro and home recording studio setup. But most of this advice applies whether your room is a mastering studio, hi-fi listening room, project studio or home theater.These rooms may have different goals, but they all yearn for high fidelity sound reproduction.The best hi-fi speakers will only reveal their full glory if you set them up right, in an acoustically treated room. The same is true for the best studio monitors.Step 1: Find Your Listening PositionBefore placing your speakers let’s choose a starting point for your listening, monitoring or mixing position.Start by facing the short wall of your room, so your speakers fire down the length of the room. It’s usually better for the listening position to face the short wall vs the long wall. This tends to give a flatter bass response.Also, this lets you maximize the distance between the rear wall and your ears. If your rear wall is reflective, it should be at least 10 feet from your ears otherwise it needs treatment (more on this later).The 38% “Rule” (by Wes Lachot)First off, this is not a rule, but a guideline created by world class studio designer Wes Lachot.

It’s a theoretical optimum listening position in rectangular rooms, assuming ideal soundproofing and flush or soffit-mounted speakers.Take it with a grain of salt. Like most rules of thumb, it’s based on compromise, but you can use it as a starting point for your room setup (later, you can use acoustic measurements to fine tune everything).Calculate 38% of your room’s length, and put a mark 38% back from the front wall, centered widthwise between the left and right sidewalls. This is the first spot I recommend you try as a listening position.As an alternative, you can place the listening position 38% from the rear wall. But it’s better to be closer to the front wall. Bass peaks and nulls are worse further back due to strong reflections happening at the rear of your room.Absolutely, avoid sitting right against your back wall. That’s the worst position for comb filtering (unless you have the wall behind you ).Also, if you plan to use diffusion on your rear wall, for the scattered sound waves to disperse!If you can’t place the listening position at 38% from your front or back wall, experiment with different positions between 35%-43%. Avoid positions that are known nodal points, like 50% and 25% (nodes for first and second-order axial ).The 38% rule may give you the flattest low frequency response in an ideal world.

But to find YOUR optimal monitoring position I recommend you take frequency response measurements at various locations.You can run these tests on your room using the free software.The dreaded bass null at the center of your roomIn rectangular rooms there is a null at the halfway points between parallel surfaces (front and back wall, parallel sidewalls, floor and ceiling). This causes a nasty dip in the bass response.For the sake of your sound and your sanity, don’t sit at the halfway point of your room, lengthwise. Also, avoid having your ears halfway between the floor and ceiling. These same two rules apply to your speaker positioning.However, for accurate stereo imaging you do need to be halfway between the sidewalls. Left-right symmetry is vital for helping you localize sound sources in the sound stage. The evil null at 50% of your room’s length. This image shows the sound pressure of the first-order length axial mode.

Dark areas are high pressure (loud) regions. Are natural resonances caused by your room’s geometry.Step 2: Speaker / Studio Monitor PlacementIn the quest for a natural sound stage with accurate imaging, you want to control as many variables as you can in your listening environment.Imagine you want to receive a secret message (your media), delivered via two arrows (the stereo acoustic signal), fired at night.

Yeah I like weird analogies.Your speakers are archers shooting the two halves of the message to you (preferably aiming near you, not directly at your brain). They don’t know where you are without guidance, so they shoot blindly into the night (those dangerous fools).And your room it’s the ominous weather: the wind and the rain. Thanks for this guide.“For the sake of your sound and your sanity, don’t sit at the halfway point of your room, lengthwise”.So, basically I shouldn’t place my desk and my monitors in the center of the longest side of my room? Yet it should be symmetricalthis means I should only use the shorter sides?Unfortunately where I am I must use the longest side.

Being in a corner isn’t good, being in the middle neither? Is it that terrible that I place them approximately in the middle? Or is it better to move myself a little to the side (the room is 20 sq/m, so I don’t really have to corner myself)?. Huge fan of your articles. I’m finally sealing the deal on some room treatment and had a few quick questions!I’m going to be building 6’x2’x2″ panels made from Owens Corning 603. I was hoping to get by and use these as my two main bass traps (behind monitors in the corner) and then two for my first reflections (on either side of me).Do you have any suggestions for using panels vs.

Bass traps?Also wanted to know, since I can’t quite get it to reach the very top of my 9ft ceilings, what can I do to easily bridge the gap of 3ft?Appreciate the help!. Glad you like the articles. If you’re using basic Owens Corning 703 panels as bass traps, see the quarter wavelength rule section of my bass trap placement guide:You’ll want to use thicker panels, mount them with an air gap, or both. Rather than using 2″ thick panels at your first reflection points, I suggest 4″+ thick panels mounted with an air gap.Why don’t you build two 4′ tall panels for each corner instead of 6′ tall panels? That way you can span 8′ vertically (with the panels vertically centered so there is 6″ gap above and below).Also, it looks like your chair is near the center of the room. I would move your entire listening triangle forward, so your studio monitors are up against the front wall and your mix position is closer to 38% of the room’s average length. That would reduce problems caused by the bass null at the center of your room, rear wall comb filtering and front wall speaker boundary interference.

3 birds with one stone. If you straddle a corner with an X foot widepanel, you have a an air gap that varies from 0 to X/√2 = X/1.414. So if your panel is 2 feet wide, the maximum size of the air gap = 2’/1.414 = 1.4′. That corresponds to a quarter wavelength frequency of 1/4(1125/gap) = 199 Hz.Assume the acoustic panel is 6″ thick, then the longest quarter wavelength for this absorber is closer to 2 feet, which corresponds to a frequency of 140 Hz. This is the lowest frequency where the corner absorber will have maximum efficiency. It will still provide some absorption at lower frequencies, but efficiency gets worse and worse as we drop below 140 Hz.If instead you have a 4 foot wide panel straddling the wall, the maximum size of the air gap is 4’/1.414 = 2.8′. That corresponds to a quarter wavelength frequency of 99 Hz.

Assume the panel is 6″ thick and the lowest quarter wavelength frequency drops closer to 80 Hz.The second choice absorbs to much lower frequencies, but takes up much more space.I usually recommend broadband absorption for the ceiling cloud. It does not have to go all the way to the front wall, but the type of angled cloud you’re describing is designed to double as a bass absorber by straddling the front wall-ceiling corner.The most important thing is that the cloud covers your first reflection points. In the future I’ll have a detailed guide on how to find your first reflection points.

In the meantime, you can see acoustic treatment recommenations for your first reflection points here:. This info is really great! Thanks.I’m creating a room that will be a good mastering room. But I also compose and record (live room) in there. The front portion of the room is putting accent to the mastering needs while the back portion, will have instruments (Mostly synths and electronic instruments)If I may, I have a question:Situation – My room is not ideal in many ways, although it is a great room (8.4 feet high and 23×16 feet wooden floor). It’s got windows, a back corner door (no possible bass trapping there) and it isn’t entirely symmetrical (Outch!) it’s got an angle about 32 degrees that cuts the front corner for approx 5′ on the front right side to the right wall.

And on the left part of the facing wall, there is a patio door from half the left front wall portion, all the way to the left sidewall.Room dimension = 23′ x 16′ (on the 16′ front wall, left side is a patio door. Right side has a 35% angle in its last 5 feet approx, cutting in to the right wall)Solution #1:I am in the process of making a full wall coverage with a 4inch (2″roxul rockboard 80 + 2″Safe n Sound DIY panels) placed 4 inches from the front wall and doing this in a way that the panels in front of the patio door could be mobile (not always in a mastering situation, so sometimes light will be the thing!) and my thought is to recreate the same angled wall as on the right side, with these acoustic panelsThis will create a visual symmetric situation and probably eliminate part of the problem. But whatever goes through those acoustic panels, will reflect differently since the left side, in back of the panels, is a corner (approx a little over 2′ deep) and with a patio door, while the right side is a real full wall, 4″air space in back of the panels.Solution #2This is a though one also.

Assuming that a symmetrical front wall is the most important thing, and back-wall reflections is second. I could then assume that placing myself in direct front of the angled wall section (approx 5′ large), giving me a very symmetrical front room, for at least an equal 12′ on each side, but then getting the whole back-room in an angled situation.Conclusion: Is this a better thing? Getting 100% symmetric front room with a twisted angled back room or is having a symmetric acoustical panel as a front wall (with different back configurations) a better situation?Wow, hope this makes some sense for the visual folks out there!I found these pictures to help a little1-front right (with angled corner)2-front left (with patio door)3-left back wall corner (door)4-Room wallsSorry for the mess but I’m in action in that studio place as of nowThanks Bruno. Hi Bruno,I’m honestly not sure which option is best just by looking at it.

Another option is to put your listening position in the other end of the room, by your stairs.I suggest you first run tests to compare the response of the left and right speakers in each case. Play the same excitation signal through each speaker, one at a time, and capture the response using Room EQ Wizard (free acoustic measurement software). There are many online tutorials showing you how to “shoot your room” using Room EQ Wizard.You want the left and right speakers to produce a similar frequency response and impulse response / energy time curve (ETC) especially in the zero to 40 ms range. Focus mainly on low frequencies (e.g., below 300 Hz), as mid and high frequencies are easier to tame with acoustic treatment.That will help you choose the best setup. Other things to consider are workflow, lighting, etc. I wish I could give a simple answer but that would just be speculating. There are pros and cons to each room setup, so it’s a balancing act of multiple variables.

Best let the measurements tell you how to proceed.Cheers,Tim. Thanks TimI meanwhile have decided to face the patio door direction (bassed on multiple needs and a few sound checks with tones). The back wall was really gathering energy in the corners as one would expect. So I’ve created a large superchunk bass trap in the only available corner and a full monitor wall in the front end (patio door), 4″ from the wall. It is created in a way to make the symmetry as perfect as possible.

Also, I’m taming bass pretty much everywhere I can.With these all set up, I’ve ran some tones and sweeps and the room is already greatly balanced. In the way that my listening position doesn’t have large peaks or dips making it quite right. So far so good.Now, gotta make my corner superchunk bass trap look good! This is whats going on today.Thanks for coming back at me Tim.

This is an excellent article that’s very concise and helpful. Thank you.Been struggling for a while to deal with a problem of video monitor and their interference in the sound path. I need a setup with 3 video monitors, or 2 with another big one some distance away in the front of the room. This presents many problems such as interference from the audio monitors (in the 3 video monitors version) where the video monitors find themselves in the audio path most of the time. In the other version, with a huge video monitor in the front, I wonder what problems would be encountered from the fact that sound absorption in the front of the room would be impossible where the big screen is.

How would would one deal with such a situation?. Hi Moby,Sorry for the delay.

I missed a few comments over the summer and I’m just getting to them now. You should treat your front corners if you can, but mid-high frequency absorption is not necessary on your front wall provided your back wall is well treated.I’m in the process of writing an article on this here:.

It does not yet contain images but it explains more of the details.I also show one application where front wall absorption is useful behind the speakers here:Bass traps would also be useful behind your screen if you have space there. If not, you can just focus on front corner bass trapping. For details see my bass trapping guide here:Cheers,Tim.

Hi Tim, great article. We are trialing a lot of your advise in one of our demo rooms, with some very good success I might add. We are however finding that what is good for studio is not necessarily the best for a surround situation. In a surround situation if you are listening by yourself it may be good to have the main speakers pointing directly at you or just behind your head however this can result in a very small sweet spot. We have found toeing in slightly to a focus point a couple of meters behind your head in the center position gives a wider sweet spot, although not as perfect as the previous option it does result in a better imaging and overall theater experience for more listeners in the room.

This however is very speaker dependent and trial and error is essential. Hi Akshar,The 38% guideline is measured using the room length, relative to how you’re seated (it’s usually best to be seated facing the shorter side).

Width-wise, you want to be sitting half way between the left and right sidewalls.There are many different room ratio choices, so use the second page of the University of Salford’s spreadsheet (best modes for 100 m3 room) to determine which of your choices is best:Ideally your room will fall into a black area.If that’s not possible see their other spreadsheet showing 2nd best room ratios.Cheers,Tim. These articles are by far the most readily understandable yet comprehensive I’ve found on the subject of room set up. I’m in the middle of trying to figure out how to set up my home theatre and have run into a snag.

It’s a small room, 12′ x 10′, with the screen on one short wall and the listening position 2ft from the rear wall opposite. There’s no room to manoeuvre the front speakers or seating. The front speakers have to go on the sides of the screen, about 30cm from the wall behind/to the side. The problem is, on the first reflection point for the right speaker there’s a cupboard built into the wall, but on the opposite side (i.e. The first reflection point for the left speaker) there’s a solid brick wall.

Is there any way to treat these areas without the sound being uneven? I would have thought that if I put a panel on the cupboard door it’d make a good bass trap, but it would be difficult to replicate that on the other side. Looks like I missed this comment earlier. I recommend you treat both identically. The brick wall will reflect more low frequency energy than the cupboard, but that’s a difficult thing to control for in a measured way.

Focus on what you can easily control — in this case, mid-high frequency reflections. You could in theory balance out the sidewall reflections at low frequencies, but you would have to be scientific about it and it would involve much trial and error guided by measurements. Thanks so much for your series of articles. Super informative and useful!I had some questions about vertical positioning/height of studio monitors. You say to avoid having the tweeters in the vertical center of the room. This leads me to a couple questions:1) How far off from vertical center does one need to be?

Is being 51-52% of the way from floor to ceiling enough, or does one have to hit higher distances?2) Wouldn’t there be issues still if the woofer is in the vertical center, even if the tweeter is above? It makes sense to me (on an intuitive non-scientific level) that both the woofer + tweeter should be off center for an ideal listening environment.3) Similar to the above – why not use the origin of the acoustical axis of the speaker?

(this assumes that the manufacturers have provided the details on such an acoustical axis within the product manual)Unfortunately for me, the ideal positioning for me for my ear levels seems to be right at the vertical center, so I want to make sure I move off center properly. Thanks again for your articles – you clarified a huge number of topics for me!. Glad the articles helped you. Much better to put your tweeters at ear level, and avoid centering your low frequency drivers. It’s easy to use acoustic treatment to tame high frequency behavior, but very difficult to do the same for lows, so we rely heavily on speaker placement to control low frequencies.Without measurements I can’t predict what will work for a given room, but I think 52% is too close to center. Low frequencies have long wavelengths, so as far as they’re concerned, 52% is not much different than 50%.

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Using the calculation on that page, my quarter wavelength cancellation frequency would be 1125/(4.12.5″/12″)=270Hz. Wouldn’t I need acoustic treatment behind the speakers to prevent that reflected frequency from creating a node? Otherwise, I would need to place my speakers about 8′ from the front wall to move the cancellation node below my speakers 3dB low-cutoff. Actually I’m trying to decide between these two room configurations. Would you mind taking a look at my attached image with the 2 layouts?

Which layout would you recommend. If one isn’t significantly better than the other, I’d highly prefer to face the long wall for furniture placement reasons. Those articles helped me alot! Hey, thanks so much for this article. This is very helpful, especially for people like me who are kind of new to mixing and studio speakers in general. I recently decided to take mixing seriously and purchased a set of KRK Rokit 5 monitoring speakers.

It sounded good but couldn’t figure out how to make these studio monitors sound better. I was reading other guides and they were very helpful as well (this helped me decide which studio speakers to get) but this article was what solved my problem. The bass on my monitoring speakers still sounds a bit emphasized but it’s better than before. Your tutorials have been a godsend mate as I’m just about to rebuild my studio. My only issue is that unlike many of the designs here that are purely listening/mixing rooms my studio is a fully working studio within one room using near field monitors. My studio has to house my collections of analogue synthesisers, drum machines, tape delays, organs, etc. A lot of my analogue gear like my compressers, distressors and modular synths are also rack mounted, which by its very nature creates a lot of reflective surfaces.

What would your advice be to maximise the sound quality given the restricted space I have. I’m looking for guidance on setting up a room for a 3-4 pc band that is recording & rehearsing in a 15’Lx15’Wx8′-10’H(ceiling pitched up from the two 8′ sides to a 10′ center line). We are monitoring with 4 speakers: a pair of 2 way 15″ mains, mounted on sub poles attached to a pair of 18″subs from our PA gear. I have carpeted floor and the walls are 85% covered with flat Aurelex 2″ thick foam absorption panels. The only parts not covered are the ceiling, 2 doors, and one window.

There’s also a double door sized opening to an adjacent room. Bass has odd resonance and microphone feedback is an issue due to room size. We’d like to find a way to adjust the acoustics such that we can run the PA vocals loud enough over a full drum kit, bass, keys, and electric guitar, but with significantly less of these problems.

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I have recently move to a new apartment and I’m trying to set up my home recording studio.The room is a rectangle 2.90metres x 3.40metres. Due to windows and doors i can only place my studio desk in the side of 3.40m. I have place my desk and monitor speakers right in the middle. There is the same distance between them and my ears.

The speakers height is also at the same level as my hearing area.There is zero bass sound where i’m siting and right behind me. Everywhere else in the room, especially corners there is full of low frequency response.Any ideas how to fix this?.