Walk-in soundstage

When i read such thread i measure how much most people had no clue about acoustics concepts and parameters...

A walk in soundstage is a way to describe the balance ratio between  ASW/LEV parameters if we learn how to control them...

 I created it  in my first acoustical dedicated room with my "mechanical room equalizer " a grid of 100 Helmholtz resonators mechanically tunable but we need a recording very well done to achieve complete "walk in" like the Weil four penny opera with with Lotte Lenya for example... No room/ speakers controls replace recording trade-off limits and possibilities...A bad recording stay bad even in controlled environment...

 I could not create it in my near field  actual location for many reasons linked to the speakers  design limitations and the impossibility to use my grid of resonators in my specific location.. My resonators work on "timbre" perception  but not in the same way  on spatial qualities,bunched together in a very small room and not distributed in a larger room

Neither with  my headphone, even if they give me "out of the head speaker like impressions" i enjoy a lot ... The K340 save my life when i lost my room...

Gave me 7,000 bucks and i will buy the  " dac " or best said the acoustic set of filters tailored for your hearings created by Edgar Choueiri in a battling of the eye...

No need to create a tuned 100 Helmholtz resonators precisely located around my room and listening position... Which task i cannot do no more because i dont have the room for it now nor  i want to go redoing this tuning by ears arduous task again on many months ...

@lanx0003 

I think ESL 63 has similar trait to 57, correct? 

Yes and mainly NO!

Both are electrostatic, so have no box around them to resonate.  The almost-as-light-as-air diaphragms have no overshoot unlike massive conventional drivers. Both are meant to be full range speakers.

But the original ESL (now known as the 57 because 1957 was when it was released) was not conceived for stereo.  It dealt with the problem of flat panels by curving them slightly about a horizontal axis.  It is a three-way design with three panels per speaker and crossovers and compared with modern speakers lies on its side.

The ESL 63 was conceived in 1963, after stereo records became commercially available, but the 63 was not released until 1981.  One of the objectives was to reduce the treble beaminess of the ESL 57 and another was to ensure a long service life - not easy with ultra-light diaphragms charged to over 5,000-Volts in a narrow gap between stators which carry the audio signal transformed to high voltages.  Peter Walker named the 63 "FRED" for full-range electrostatic dipole.  With minor modifications, it and its successors are still in production.

Note that these have no conventional crossovers - another source of distortion removed.  Overly high stator voltages are eliminated by attenuating signal voltages above 40-Volts.  To reduce the possibility of sparking which can burn holes in the diaphragm, an ionization detector could shut the speaker down by in effect making it look like a short circuit to the amplifier.

Alastair Robertson-Aikman, the founder of SME, tried various modification to the ESL-63 including stacking them.  Quad themselves introduced models with 50% more panel area to extend the low bass.

In the last few weeks, Quad has introduced two models with an -X suffix.  One of the things they seem to have done is to add insulation to the stators, and to remove the ionization detector in order to get a bit more volume.

My only real criticism of these speakers is that they don’t play loudly enough in big rooms, especially with the dynamics available from high resolution sources.  One way to boost their apparent output is to pair them with subwoofers.

Although they are big panels, the concentric stator design means they can also be used as near-field monitors which is an easy way to effectively crank-up the apparent volume.

A second criticism is the life of the panels, especially when they were produced in China.  The story is that Peter Walker specified glue with a 10 year minimum service life and the glue maker took him too literally

Swapping, mixing and matching high fidelity components and cables is a long cherished audiophile activity which undoubtedly has produced countless hours of audio enjoyment.

The drawback to this process is the amount of time and expense that it consumes. Today with digital signal processing (DSP) you can tune and optimize your system real time.

First start by combining excellent speakers, modern power amplifiers with a digital source which will leverage Dirac or other DSP System / Room correction algorithms.

Once you have your speakers positioned, the next  step is to optimize your system using tools like REW and Dirac Live room correction. Now you can make adjustments,  listen to the results and measure the results rapidly. It’s enlightening to be able to make adjustments to your system and measure them in real time. About Deer Creek Audio

Here are some examples of Dirac Live correction 

@deer_creek_audio  Thank you for the DSP/RC recommendation. I had been experimenting with Wiim RC/PEQ to boost the missing low end, but since the arrival of the two sub-$1k DACs, the bass has really come alive.  I want to get an external mic. to get more accurate SPL measurement for my room though.

@richardbrand  Thank you for letting me know about the various improvements Quad has made to enhance the performance of the ESL, such as increased volume and improved bass. Has there been any discussion regarding the treble roll-off above 10 kHz (as seen in the ESL 2805)? I’ve never seen a roll-off quite like that.