My endgame system I think

Now that gives being locked up in a padded room new meaning. You can Lock this audio nut in anytime.

I wonder why you set your speakers at the corner of the room.  I have never seen that done before.  I also wonder why you chose the materials for your walls.  Does this sound anocholic?

Love the Rockports.  They would be my first choice.  

@osprey9 

I will give that a try. Thanks ! 
 

@barts 

Thank you. I was concerned about the room being too dead as well. It would certainly be considered dead compared to a regular room. Being a small room  My designer wanted to take care of first reflections and the pegboard was also strategically added to the room design. My dealer also thought it was over damped but perhaps this is due to their main room having no absorption. Their room sounds good but is a bit bright for me. I’m going to have him back for a listen now that the speakers are broken in. I haven’t listened to an overdamped room before but I find mine performs amazing. Incredible detail instrument separation. I made sure to ask my designer if the Aviors would work in the room and he said absolutely. I’m hoping to get some local audiophiles with more experienced ears than mine to come have a listen and see what they think. 

@larry5729 

Hi Larry. My designer thought the corner set up would be best for the shape of the room and the materials all factored into the design. I don’t believe it sounds anechoic but I’ve never heard one of those rooms before. 

The Rockport/Boulder were both highly praised by Stereophile but JA did point out the minor flaw below. I also noticed that, when listening to Pink Floyd Money (demo https://www.youtube.com/watch?v=Kj1Zced6dEU&t=181s), bass notes introduced from the Rockport right after the string of coins sound was noticeably louder / accentuated than the early mix or studio version from the same loadspeaker I had. This may not be a "flaw" to those who (incl. myself) are fond of wieghtier bass / coloration though.

JA wrote:

But after a while, with recordings of solo piano, I noticed a narrowband coloration. I wasn’t aware of this with my new favorite performance of Rachmaninoff’s Piano Sonata 2, by Evelina Vorontsova (CD, STH Quality Classics 1416092), which was reproduced with weight and power in the bass register; nor was it particularly noticeable with superbly engineered recordings of piano with orchestra, such as Dejan Lazic’s live performance of Rachmaninoff’s Piano Concerto 2, with the London Philharmonic conducted by Kirill Petrenko (DSD64 files, Channel Classics CCS SA26308). But when the writing for piano was more open, as in Haydn’s Piano Sonata 32 in g, Hob.16 No.44, from András Schiff’s Encores After Beethoven (CD, ECM New Series 1950), the more obvious it was that some notes were unnaturally accentuated