In order to work well in both small rooms and big rooms, here are some of the things that imo help:
1. A well-controlled, uniform radiation pattern. The well-controlled part allows you to aim the pattern to avoid early sidewall reflections (which helps the room seem bigger than it really is); and the uniform part because whatever role the reverberant energy ends up playing, we want it to support (rather than detract from) good timbre. Imo the reverberant field is more important than the first-arrival sound in most rooms, and I can explain why if you'd like.
2. A fairly high degree of adjustability in the bass region. The kind of bass tuning that works well in a large room with modest boundary reinforcement can be overwhelming in a small room with strong boundary reinforcement. The port location is less important than how the box is positioned and tuned; Audio Note speakers, for instance, are rear-ported and tuned to go in the corners. Imo there are valid arguments for rear porting that are especially applicable to small rooms, assuming it's done right.
3. Some adjustability in the high treble region. Short wavelengths are the most easily absorbed, and the amount of absorption varies quite a bit from one room to another, so it's nice to be able to dial that in a bit.
4. You already have efficiency on your list, but I wanted to add that good efficiency generally helps at both ends of the loudness spectrum: You tend to get better liveliness at low levels (useful in a small room), and you can enjoy the crescendos in a big room. In all rooms, high efficiency (and/or, to a lesser extent, high thermal power handling) correlates well with good dynamic contrast, and dynamic contrast is used by musicians to convey emotion.
Nice amp, by the way.
Duke
dealer/manufacturer/yes I got a dog in the fight
1. A well-controlled, uniform radiation pattern. The well-controlled part allows you to aim the pattern to avoid early sidewall reflections (which helps the room seem bigger than it really is); and the uniform part because whatever role the reverberant energy ends up playing, we want it to support (rather than detract from) good timbre. Imo the reverberant field is more important than the first-arrival sound in most rooms, and I can explain why if you'd like.
2. A fairly high degree of adjustability in the bass region. The kind of bass tuning that works well in a large room with modest boundary reinforcement can be overwhelming in a small room with strong boundary reinforcement. The port location is less important than how the box is positioned and tuned; Audio Note speakers, for instance, are rear-ported and tuned to go in the corners. Imo there are valid arguments for rear porting that are especially applicable to small rooms, assuming it's done right.
3. Some adjustability in the high treble region. Short wavelengths are the most easily absorbed, and the amount of absorption varies quite a bit from one room to another, so it's nice to be able to dial that in a bit.
4. You already have efficiency on your list, but I wanted to add that good efficiency generally helps at both ends of the loudness spectrum: You tend to get better liveliness at low levels (useful in a small room), and you can enjoy the crescendos in a big room. In all rooms, high efficiency (and/or, to a lesser extent, high thermal power handling) correlates well with good dynamic contrast, and dynamic contrast is used by musicians to convey emotion.
Nice amp, by the way.
Duke
dealer/manufacturer/yes I got a dog in the fight