How to Improve Acoustics in a Large Room
Wondering how to improve acoustics in your listening room? Optimising your room acoustics is key to unlocking the full potential of your audio setup. It ensures clear sound, balanced frequencies and minimal distortion. In this article, we'll explain the basics of room acoustics, including what a good room is and isn't, and provide plenty of tips for what you can do to dramatically improve the sound of your listening room without breaking the bank.
When it comes to audio, one often overlooked factor is room acoustics. Even the finest Hi-Fi equipment may fall short in a space with poor acoustics. By effectively managing your room's acoustics, you'll be rewarded with clear sound, balanced frequencies, and reduced distortion. Imagine this: you've invested in quality speakers, an amplifier, and premium speaker cables, and you've meticulously set up your audio system in the listening room.
However, you don't feel it sounds as good as it should, so you decide to give your new installation time to run in (which you should always do). But after many hours with your new setup, you're still disappointed with the sound but you just accept that's they way it is... but does it have to be? Tailoring the acoustics to your room's unique characteristics creates an authentic and immersive listening experience.
Room Dimensions & Room Modes
Let's be clear - there are some properties of your listening room that you can't change. No matter the size and shape of your room, some sound frequencies will behave differently than others, ultimately colouring the sound. Any room is, to some degree, a resonant space. This is because sound has a wavelength that varies with frequency, and if that wavelength matches the dimensions of a room, the frequency is amplified, or attenuated, more than adjacent frequencies. This is called a room mode and exists in all rooms at several frequencies.
To illustrate this, blow over the mouth of a bottle and hear the "flute" note that emanates at some point. The bottle resonates at a frequency determined by its dimensions once the air pressure has built up enough energy. Now fill the bottle halfway up with water and hear the note change in frequency. It does this because the dimensions of the resonance chamber in the bottle have changed.
Due to the dimensions of typical home listening rooms, room modes occur in the bass region where they can disturb and colour the sound coming out of your speakers. This can be heard as so-called "one-note bass" where some bass notes are considerably louder than others. So, what can you do about it? Short of moving your speakers into an open field where there are no room modes, you can try to reduce them with bass absorption. Using various types of absorption materials and products to treat the corners of your room (floor/wall, wall/ceiling, wall/wall) as well as the wall and ceiling surfaces, you can improve things to a degree.
Illustration showing room mode nodes and antinodes at various frequencies
Depending on room size and dimensions, certain frequencies in specific parts of the room will be cancelled out (nodes) or amplified (antinodes). This happens in three dimensions, meaning that peaks and dips at a given frequency can be heard, depending on the listener's location relative to the height, width and depth of a room. Unfortunately, many so-called bass traps tend to also dampen mid and high-frequency sounds. For this reason, it's easy to over-treat a room, which will suck the life out of the sound. A more targeted approach is to use narrow-band absorbers, such as so-called Helmholtz resonators - also known as tuned bass traps - which work at specific frequencies. However, you need to know exactly where your room has problematic frequencies, which is normally a job for an expert.
But don't panic, no room is perfect. Remember that you need to feel at home in your room, and a few pieces of soft furniture will start you on the road to a treated room. Also remember that large speakers playing deep bass at high levels will reveal room modes more readily than smaller speakers playing at moderate levels. There is such a thing as too much bass.
Reverberation Time
Room dimensions and room modes are one thing, but surface materials and reflections bring another acoustic factor into play: reverberation time. Imagine listening to Hi-Fi in a giant bathroom with tiled walls or even just having a conversation. You can probably picture what a confusing listening experience that would be, but what exactly is going on in a room like that? The muddled sound you would be hearing would be down to the long reverberation time of the sounds being created in the room.
Reverb is the "tail" of the sound in a room. It's the sound of multiple echoes blending, making them virtually indistinguishable from each other. It's what happens when sound bounces off multiple surfaces at different distances from the listener. Sometimes, however, you'll hear a more clearly defined echo. This often happens between hard, parallel surfaces like bare walls (we'll come back to echoes later). Reverberation time is the time it takes the reverb to fade to a level where it's no longer noticeable. In the field of professional acoustics, reverberation time is often measured as RT60.
What is RT60?
Professional acousticians often measure reverberation time as RT60, which is the time it takes a sound to decay by 60 dB. This is a very useful metric when designing professional listening rooms, such as recording studio control rooms and concert halls. However, measuring RT60 in a room correctly requires specialist equipment and skills. Acousticians are highly skilled professionals, which means hiring one can be costly.
Instead of worrying whether your listening room has the right RT60, think of RT60 as a loose guide to making your room sound "good enough". A well-treated room has a relatively short reverberation time, though the ideal RT60 depends on room size and what you listen to.
Small rooms should have a short reverberation time, meaning that RT60 should be somewhere between 0.1 seconds and 0.3 seconds - larger rooms could reach 0.5 seconds. This is because larger rooms don't become saturated with sound energy as quickly as smaller rooms. Put simply, there's room for more sound in a larger room, which is also why large speakers work better in larger rooms. A longer reverberation time can work well for classical music, as it more closely emulates the lively acoustics of a large concert hall.
By the same token, techno music tends to sound best in a club packed with people, so if that's your thing, the reverberation time of your room should be lower. A home cinema will also benefit from a short RT60. Again, this makes sense when you think of the average modern movie theatre, which has an acoustically damped environment.
TIP: To optimise your room for as many audio styles as possible, aim for a compromise RT60 of around 0.3 seconds.
A poor listening experience can often be caused by an overly long reverberation time, where the sound waves bounce around long enough and loudly enough to make music sound diffuse and smeared. Rhythmic instruments become overpowering, bass sounds become boomy and horns or distorted guitars become unbearable. You're not just hearing the sound itself, but also a multitude of echoes of it. If the music you listen to is even slightly busy in terms of rhythm, number of instruments or speed of the notes being played, no single sound will have time to fade away before another comes out of the loudspeaker. Sound is energy, and in a room with a long reverberation time, all that energy barely has time to dissipate - the music just keeps adding more. Similar sounds and notes will reinforce each other, and the room itself will start to resonate. This is of course a worst-case scenario but, even if your listening room isn't this bad, there's likely still room for improvement.
Does your listening room have poor acoustics?
There are several ways to find out if your room needs improving. The quickest way is, paradoxically, to use your eyes rather than your ears. For instance, which materials do you have on the walls, floor and ceiling? Different materials respond differently to sound. Smooth concrete or ceramic tiles, for example, absorb absolutely no sound and reflect everything.
Hint: if your room is built like a bathroom, it probably sounds like one.
Is your room filled with furniture, books and rugs, or have you taken a minimalist approach to your living space? Any object will reflect and/or absorb sound, and that goes for everything from plush couches to plants and bookshelves (preferably filled with books).
Now it's time to use your ears: is it easy to have a conversation in your listening room? Can you easily discern what people are saying, even when several people are talking at once?
If not, this is often a problem in small-to-medium rooms with poor acoustics, as the abundance of early reflections can make speech unintelligible. Read on for more information about early reflections.
Here's an easy way to gauge the reverberation time in your room: Simply clap your hands or speak loudly near every speaker in your system. If you hear a strong reverb or echo in that position, then the sound from your speakers will reflect in the same way, which is a sign that you should optimise your room acoustics. Unless you have a very large room, you'll be hearing quite short echoes, also known as flutter echoes, which make a handclap sound like a ruler vibrating over the edge of a table - a somewhat metallic or robotic effect. Flutter echoes often appear between bare, parallel surfaces, like walls or floors and ceilings.
It's important to note that the sound coming from your speakers will sound different depending not only where you place them, but also to a large extent on your listening position. As you move yourself or your speakers around, the distance between your ears and any reflecting surfaces in the room will change, as will the sound. That's why setting up a new pair of speakers often involves moving them around to find a spot where they sound good - that's also why your listening position in the room matters.
Early Reflections
In any enclosed space, such as a listening room, you'll hear sound coming not just directly from the speakers, but also sound reflected from any hard surface in the room. Generally, the closer you sit to your speakers, the more of the direct speaker sound you'll hear. But you'll still hear indirect sound bouncing off the walls, ceiling and even objects in the room. This indirect sound is known as first or early reflections, which, although is a delayed version of the original sound, is almost as loud.
In most listening rooms, the direct sound from the speakers will inevitably be mixed with the indirect sound bouncing off walls, floor and ceiling. A characteristic of indirect sound is that it tends to take a detour towards your ears, which takes slightly longer to arrive than the direct sound from the speakers. When this happens, you experience a phenomenon known as comb filtering, which can be problematic.
Acoustic Phase
When two similar soundwaves are slightly delayed from each other, they're said to be out of phase. This means that as one soundwave is at its peak, the other is at its trough (the lowest point). When this happens, they effectively cancel each other out, creating a dip at certain frequencies. When the peaks of two soundwaves arrive at the same time, they're in phase, resulting in as much as a 6 db rise in amplitude.
These dips at some frequencies and peaks at other frequencies create a very uneven frequency response that, when visualised as a graph, resemble a comb - hence the term comb filtering. Depending on the delay time and amplitude of the indirect sound, comb filtering can cause serious problems in the tonal response and stereo imaging of your setup. If your room is sparsely furnished with hard, parallel surfaces, you have some work to do. In a smaller room with a plush couch, a nice rug and some bookcases, it may be more a matter of rearranging things and adding a plant or two - perhaps even some purpose-built acoustical treatment.
Note that early reflections are not necessarily all bad. Good sound depends on many factors and you may find that you prefer the sound within your room with some early reflections - it's a matter of personal taste.
Placing Your Loudspeakers
While some go to great lengths to design and construct what they feel is the ideal listening room, most people either don't have the time and money to invest in such a project, or simply don't have the freedom to change the look and layout of their room. Often, the room itself limits how much speakers can be repositioned and how much space they can take up. Although loudspeaker placement is outside the scope of this article, it's nevertheless an essential first step towards getting great sound in any room. Placing your speakers in a way that complements the basic dimensions of the room, while considering how the room needs to be used for other purposes, is essential. In simple terms, place the speakers where you expect them to stay and fine-tune the position to make them sound as good as possible. Then, think about how you can improve the acoustics in the room....place the speakers where you expect them to stay and fine-tune the position to make them sound as good as possible. Then, think about how you can improve the acoustics in the room.
Acoustical Treatment
While a listening room with a high reverberation time is problematic, an acoustically dead (RT60 of 0 s) also isn't desirable, as it will sound unnatural and ruin the soundstage. You should aim for somewhere between the two, where reflections add life to the soundstage without causing acoustic issues elsewhere. So, what is acoustical treatment? Any sort of material that will either absorb, reflect or diffuse soundwaves can be considered acoustical treatment. This includes everything from fluffy pillows and couches to bookcases, plants and people. To understand how much these everyday objects matter to the sound of a room, you could try removing all of them and hear the difference... or just take our word for it.
We mentioned that materials either absorb, reflect or diffuse sound. Here's a definition of the three terms:
- Absorption happens when a material is hit by soundwaves, causing them to dissipate some of their energy. This is what happens when you shout into a pillow. Big, heavy, fluffy pieces of furniture often make for excellent absorbents, but you can also place so-called bass traps in corners or hang them on walls, depending ...
- Many modern homes feature open plan layouts and stripped floors and walls. Whilst perhaps being easy on the eye, it is not a combination that is particularly easy on the ears. Sound waves bounce off hard surfaces. Consequently, when you furnish a home you need to think about what you have to do to create a pleasant acoustic environment with zero echo. This does not need to cost an arm and a leg. Furnish the room appropriately in relation to its volume.
- Tip no. Sound waves need to be broken up (diffused), and the best way of doing this is by using objects that are not soft. Your coffee table, pedestals with plants, anything that has a hard surface in the room actually helps improve the acoustics as it breaks up the sound waves. Therefore, it is important to “fill” the space with enough furniture to create sound wave break points. In other words, the room should not be too empty.
- Prevent sound from bouncing off hard surfaces in the room using curtains, carpets/rugs, and sound-absorbing lamps.
- Tip no. Sound waves bounce against hard surfaces such as windows, walls, ceilings, and floors. Use heavy duty rugs/carpets on the floor and hang curtains. The thicker the material, the better the sound absorption. Ceilings are usually more difficult to improve from an acoustics perspective. However, Abstracta’s popular sound absorbing Lily lamp stops sound waves from bouncing onto a ceiling, making it perfect to use as a sound absorber.
- Bookshelves are underappreciated sound absorbers. Fit a suspended absorber, e.g Airbloom, on the adjacent wall to achieve maximum sound absorbing effect.
- Tip no. You can create a good acoustic environment by placing tall, sound absorbing elements, such as bookshelves, against a wall that is at right angles to the wall where the nearest sound absorbing element is located, e.g. a thick curtain or a suspended sound absorber. Talking about bookshelves, fill them with books instead of ornaments. Books in large numbers work wonderfully well as sound absorbers.
- In a home office environment, place soft materials in front of you. Scala sound absorbers come in a variety of designs for use on walls or desks.
- Tip no. If you can, put your home office in a separate room. Generally speaking, doing this will enable you to be more focused than if you were working at the kitchen table in the middle of your house. Do you make many phone calls or video conference calls? Placing a soft material in front of you will make the acoustics of the call much more pleasant.
- Tip no. In a staircase there are often several parallel walls, like a cube, where sound waves can emanate freely and create an echo. You can counteract this simply by hanging objects on the wall surfaces that break up the sound waves. The classic “staircase wall hanging” is no longer a common feature in homes today, but you can make a smart decision and hang some form of textile along one staircase wall, or hang something on the walls that breaks up sound waves e.g.
