Does the first reflection point actually matter??

Ok i get your point.... Sometimes i am too swift to react.... But you dont get mine....About the difference between passive materials treatment and active controls one.... :)

The scale you just draw is about reflections only, not about the recreation of the music from the sound event by the brain  using the cues from the refective room and from the direct waves .... This scale is refering to passive controls methods not active one....There exist always 2 space in one, the recording space, and the actual room space.... The best method to recreate the event is using information not eliminating them only....That was my point.... Ok i will go silent....



My best to you....

Sorry, Toole, not tool.

Typing too fast. My apologies to the good gentleman.

The first sidewall reflection point matters in the design of a recording studio control room. Those I have been involved in used angles which direct the reflections away from the normal listening position.

In rooms where that’s not an option, apparently the first sidewall reflections still matter... or at least, what one does at these locations matters. @erik_squires on the subject:

"To my experience, as others here have noted, diffusion at the 1st reflection points are a better idea [than absorption]. They enhance imaging."

One significant difference between diffusion and absorption is, diffusion doesn’t significantly change the spectral balance of the reflected energy, while absorption does. And absorption keeps on having its effect on everything that hits it, not just those first reflections, for better or for worse. Both reduce the amount of early sidewall reflection energy which arrives at the listening location, but diffusion does so more benignly.

Early sidewall reflections have benefits. They DO increase the apparent source width... in other words, they can make the soundstage wider, but some image precision and soundstage depth is lost in the process, along with some clarity. So it’s a tradeoff. If not absorbed, that first sidewall reflection energy lives on to come back as later reflections which convey spaciousness (hall ambience) with no significant downside.

Earl Geddes on the subject of early reflections, which typically include the first sidewall reflections:

"The earlier and the greater in level the first room reflections are, the worse they are. This aspect of sound perception is controversial. Some believe that all reflections are good because they increase the listeners’ feeling of space – they increase the spaciousness of the sound. While it is certainly true that all reflections add to spaciousness, the very early ones (< 10 ms.) do so at the sake of imaging and coloration... the first reflections in small rooms must be thought of as a serious problem that causes coloration and image blurring. These reflections must be considered in the [loudspeaker] design and should be also be considered in the room as well."

Duke

Another confusing controversial thread.  Seems like the only alternative to avoid all this is to buy acoustic measurement software like from Dayton audio and figure out your room. Then treat it accordingly. 

Very good post thanks...

We must NEVER forget that acoustic preparation of a studio recording room has no relation at all with what must be used in a play back audiophile room.... This is not the same thing creating conditions to register something and creating conditions to listen to something.... In the first case the focus in on the instrument that will be recorded, in the second case the focus is about the way the ears/brain recreate the original event....And in these 2 cases the prparation and acoustic organization of the space(room and studio) dont goes under the exact same rules.... Floyd Toole explain that better than i will ever be....

But what is missing in your post is also that there is OTHER options than absorbing, reflecting or diffusing....

These concepts refer to passive treatments perpective...

How about active controls? Using resonance and grid of non electronic but active devices to guide and organize the mixing of direct and reflected waves?
How about putting in place the conditions to made possible "a potential informed wave" for the listening brain...

Most Audio people are slave of their idolized electronic prefered branded components, i am slave now of my room.... :)

Any electronic component ca be easily replaace with an equally good one, the room cannot  and is at the heart of the audiophile experience, not the electronic component.... With dont listen to the electronic components  we listen to the room ...No speakers sound the same in different room....


This is the way i go, with a success so great that there is no more relation between before and after....