Walk-in soundstage


Coupled with his Weiss DAC 204 and T+A DAC 200, Mr. Steve Huff claimed to have experienced the so-called "walk-in soundstage" when using the Lumin U2 as the streaming transporter. This refers to a deeply immersive, three-dimensional stereo image where the listener perceives the musical space as so realistic and spacious that it feels as if one could physically walk into the soundstage.

This level of presentation is notably different from the more common “layered” sound field that many average listeners or reviewers report—where the sound is merely projected in front of the listener with some layering or spatial envelopment.

I'm curious how many of you have also experienced this effect in your own systems and listening spaces. If you're open to sharing, I'd love to hear about the components and setup that helped you achieve it.

  

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This is about the crosstalk cancellation (XTC) algorithm implemented in BACCH. Thanks for sharing. If the XTC-induced tonal distortion during playback with only two loudspeakers is the main factor affecting the perceived 3D sound effect, would reducing crosstalk (XT) be the ultimate solution? If so, one could use two mono amplifiers or a true dual-mono amplifier to greatly reduce crosstalk and enhance stereo imaging.

However, complete elimination of XT is not necessarily beneficial. If the sound reproduction had no crosstalk, as in pure binaural audio fed into headphones without processing, the outcome can be unnaturally wide or even disorienting. Simply put, our ears are accustomed to some crosstalk in real life—sound from the left still reaches the right ear, and vice versa. From this excellent article, I am not sure how Professor Choueiri addresses this aspect in an optimal way.

In addition to the aforementioned electrical XT, there is also acoustic crosstalk to consider. I have already addressed this with speaker separation, toe-in adjustment, room treatment (in process), and reflection control. Beyond that, it seems the use of digital filters such as BACCH will be the route but what else?

I used a form of mechanical crosstalk control in my past acoustic room...

But the between way is Choueiri way because it is proven there is no distortion of timbre with his filters and we recuperate a lot of spatial information loss...

My digital grid of 100 tuned resonators around my speakers and listening position was spectacular:  almost total suppression of the stereo speakers with good recordings...But there is a slight price to pay with some distortion of the tonal timbre...Anyway i was in acoustic heaven...

There is not this price to pay with Choueiri suppression of crosstalk,....

Without a picture, I have hard time in imagining what ’tuned resonators’ are.  Can you post a picture in your system, for example.  Thank you.

I sold my house 3 years ago, abruptly, I had no picture ( it was homemade and if i had pictures you will laugh)  .

Anyway my point is not about my room but about the way Helmlholtz resonators well located and in bundle grid mechanically tuned as we tune a piano can use crosstalk to transmit  spatial information lost in "normal" system/ living-room..

Choueiri, it was my point, dont use crosstalk but suppress it and without distortion which is his main advantage and use head and aural measures to recover the acoustics of the recording in our room...

If you may listen his many articles or youtube interview it is enlightening...

When i discovered his information  i was spell bound...Then yes crosstalk can be used positively but at a price...

I will prefer Choueiri solution  i understand it enough to know it work ...

 

If by “walk in” you simply mean “holographic”, “3D” or surround, I’m there. 

The synergies between the pieces of equipment and the room have to be working just so.  
 

my EQUIPMENT:

Cartridge: Koetsu Leopard, Koetsu Onyx, Koetsu Rosewood Signature, Grado 78

Tonearm: Sumiko MMT

Table: VPI HW MK IV with SAM

Phono Stage: Pro-Ject Tube Box DS2

Preamp: Beard P505

Phase Alignment: BBE282ri sonic maximizer

Subwoofer: Velodyne ULD-15

Amps: Julius Futterman OTL3s, converted to triode by Jon Specter

Crossovers: Mastering Lab

Speakers: Altec Lansing 604C coaxial studio monitors

Semi-anechoic room design and treatment: by architect C.B. Wayne