Hi, Folks!
Conventional “box” loudspeakers also suffer from what’s now referred to as the “Allison Effect”. Back in the mid-1970’s, speaker designer, Roy Allison, uncovered the fact that the distance from the loudspeaker driver to adjacent large surfaces, such as the back wall behind the front facing loudspeaker box, or the side wall adjacent to them, creates pronounced resonances based on the distance (and speed of sound in air) between the driver and the large surfaces. This leads to bass and mid-frequency boost and “suck-out” at frequencies who’s wavelength’s approach this physical distance [1 foot is about 1KHz in wavelength/frequency). There are ways to deal with it, but no matter where standard “box” loudspeakers are setup in a room, this effect will occur to some extent. (Roy eventually designed some superb loudspeakers with angled panels to couple the driver output to adjacent walls or floor, resolving this bass and mid-bass issue; along with developing probably the best wide dispersion tweeters ever designed. Alas, the company is no longer in business, although Roy is still consulting on loudspeaker designs, last I heard, and recovering from some serious health issues.)
Most folks don’t realize that although you may have the most well respected equipment in the biz, including a fabulous set of gear, the room they’re placed in has at least an equivalent impact on the sound you ultimately hear. The room is an integral part of the listening “system” and rivers of ink (and now electrons!) have been spilled discussing how to address this interaction and performance between room and playback equipment. About the only way to overcome some of the shortcomings of producing in any space, is to listen to much live music, on location, and then recreate, as close as you can, a similar sound in multiple listening envirnoments using varying grades of playback equipment. This helps educate your hearing to recognize what’s good and what’s not so good for both production and listening. Ultimately, the best choice is to build a proper production studio. But this is a luxury only very few can afford, and even then, if you don’t have an expert with a long list of successful references, you may still wind up with an unsatisfactory production / listening environment.
Not that this helps a lot, but is may help shed some light on the discussion, and some of the reasons why room interactions are critical to listening spaces.
so does it mean that the solution would be instaling some bass traps,or I should say as many of them as possible(since there’s no way to overdo it)?