Click an image above to enlarge (before & after acoustic room treatment)

I spent the last five years and beyond concentrating on sourcing the right amplifier and other synergistic components in the hi-fi chain. I knew a time would come when I would need to consider acoustic room treatment!

After a six month break from music gigs, festivals, communicating with promoters, photography and social media (screen detox). I felt I had more time and space to explore life outside the virtual world…

I used this extra time and space exploring my garden, cultivating, nurturing, as well as keeping my listening chair warm. My AMG Viella V12 turntable is my main source, but it was currently in the safe hands of AMG Analog Manufaktur Germany being treated to a tonearm cable rewire. I was also awaiting the renewal of the Gyger II stylus for my Teatro cartridge (stylus renewal by Northwest Analogue). CD’s were currently the order of the day. Thankfully, my Musical Fidelity A3CR CD player (over twenty five years old) has always risen to the occasion and still gives most multi-thousand pound players a considerable run for their money!

Upon delivery of my turntable a few weeks later, I quickly set it to work. I knew run-in times of the new tonearm cables and stylus would be around 60-80 hours, however, the positive results of the above upgrades before the recommended run-in times were obvious from the outset. Greater detail, more open mid-range, deeper bass… BUT, such sonic improvements came at a price. Now with more musical energy being delivered into the room, I was forced to limit my listening sessions to one side of an album (or one album at the most). It felt as though my listening room was now a boxing ring with my mind and body being battered by a prime Mike Tyson, or Claressa Shields. The room was ringing without the need of a physical bell. Listening had now become too fatiguing. Time to manage this extra energy and take a good look at my room!

As with all things ‘hi-fi’ related, there are multiple rules (set in stone or otherwise) expert opinions and a few other bits and pieces in-between regarding acoustic room treatment. Of course, every room is different (even if the shape dimensions & measurements are the same). We all hear music, instrumentation and vocals differently and have individual expectations.

A few Key Characteristics of Dipole Electrostatics

Reduced Side Reflection: Sound waves cancel out at the sides, minimizing side-wall reflections and resulting in high clarity.
Room Interaction: They require specific placement—usually 2 to 3 feet from the back wall—to manage the rear wave reflection properly.
Unique Soundstage: Because they radiate energy in both directions, they often provide a more open, spacious sound, though some designs (like JansZen) can be designed as non-dipoles to simplify room placement.
Note: While many electrostatic speakers are true dipoles, some hybrid designs (such as those from MartinLogan) use a dipolar electrostatic panel for high frequencies paired with a conventional monopolar woofer in a box. - Google AI
‘….Electrostatic panels, which are true dipole speakers, produce a nearly-ideal controlled dispersion radiation pattern. They send very little sound to the sides, thereby minimizing side-wall reflections, whose short arrival times tend to interfere with the perception of the direct sound.’ - MartinLogan

There are various aftermarket software packages available to assist with acoustic room treatment (or correction). My MartinLogan ESL11A speakers have Anthem room Correction (ARC) software built in, which utilises the MartinLogan Perfect Bass Kit (PBK). I experimented with this a few times, but was never happy with what I consider ‘compressed sounding results.’ Perhaps such results were down to my poor knowledge and usage of the software?

If you are looking for technical data such as standing wave - sound wave – frequency response data, best to look elsewhere, or locate the OFF button on your computer or phone now! My ears, mind, body space and musical spirit are the only measuring tools in use on this occasion.

Rear wall (behind speaker) reflections?

To ensure I was not completely on my own with my thoughts, I briefly consulted with experts such as GIK Acoustics before embarking on my DIY approach. GIK’s first advice was to tackle reflections at the rear of the speakers by using acoustic absorption panels on the back walls. This was actually going to be my first plan of attack, as this approach was very successful in my previous ‘smaller’ listening room. Also, I had already lined up a couple of my own jazz photographs ready to print on a pair of bespoke GIK absorption panels. However, before committing to my proposed purchase from GIK (costing almost £700) I was able to experiment with the same acoustic absorption panels that were removed from my previous listening room. Surprisingly, just a few minutes of listening with absorption panels in place, I discovered that the inclusion of these panels to the rear walls completely obliterated emotion in the music. Playback of any type of music via CD or vinyl format was now a completely sterile experience! I also experimented with dispersion panels, but the results were also not to my taste. I continued experimenting with various acoustic panel material, depth & height, but the results remained the same, so I moved on and altered my approach.

Floor acoustic corner bass traps

The DIY approach suits me here (and it suits my pocket). Remember, one size does not fit all in any one, two, three…. situation. I have not documented all experiments here, but hopefully you may pick up a few hints and feel confident enough to experiment yourself?

I continued with DIY build floor acoustic corner bass traps. Again, using recycled acoustic material from my previous listening room. Various thickness, height and positions were tested until completely satisfied.

Ceiling acoustic corner bass traps

No DIY build attempts here (though I did consider it). The precession cuts required for materials to fit perfectly into the ceiling & wall corners (tetrahedron) are beyond my tool box contents and expertise. This pair of ceiling acoustic corner bass traps from UA Acoustics cost £49 and are made from the same acoustic foam material used for my bass traps. Available in a variety of colours and front panel design. I painted the front perforated hardboard plate the same colour as my walls.

Side window alcove area

I never considered my small window alcove to be an issue, but after hours of listening using varied music genres, I surmised this area caused a slight ‘echo’ anomaly. This was easy (and cheap) to rectify using £16.99 BXI Acoustic Absorption Panels (cut to size) stuck to the inner alcove walls.

Other areas of the room (room aesthetics)

Room aesthetics are more important to some than others. If you share your room with others, then you will have to consider their thoughts and feelings regarding the room layout. Thankfully, my listening room is my space, but ‘I’ still need to live and be happy with the finished results aesthetically. Being a minimalist certainly helps! Even wall fixtures such as wall mounted photographs can play a part in the overall sound of any room. There were two jazz themed photographs with acrylic fronts hung under the side window alcove area (mentioned above). Unfortunately these photographs had to be removed as they caused slight sound reflections. At least I was able to relocate one of the photographs further away from the speakers (now placed between the television and turntable) as per photograph above.

The two live plants I have cherished for over twenty years were in place alongside my previously owned Martinlogan Scenario ESL’s, and now alongside my more recent larger MartinLogan ESL11A speakers. I always considered these plants to be natural acoustic diffusers! Further experimentation highlighted both plants were more affective if trimmed to similar low heights and overall girths. Optimal positioning was now closer to the rear Glass infill & wall.

All done (for now)

The above experimentation took several weeks to complete and much greater trial and error than I have documented. My listening sessions are now more enjoyable than ever, without any listening fatigue whatsoever. I hope the above proves helpful… Right, ‘now back to the music!’


Cost

DIY Floor acoustic bass traps = £15
UA Acoustics ceiling corner bass traps = £49
Side window alcove BXI Acoustic Absorption Panels = £16.99
Total = £80.99

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