Flush-mounting a speaker in a wall reduces the low-frequency rise to 6 dB
Evidence
In the case of flush mounting the speaker in the wall, the result is slightly different. Now the effect of the mounting surface extends to very high fre quencies and therefore the number of surfaces that affect the low-frequency response reduces to two. This means the maximum low-frequency rise becomes 6 dB and the optimum ratios of placement change. — David Howard, Jamie Angus, coustics and Psychoacoustics, 2194
In the case of flush-mounting the speaker in the wall, the result is slightly different. Now the effect of the mounting surface extends to very high frequencies, and therefore the number of surfaces that affect the low-frequency response decreases to two. This means the maximum low-frequency rise becomes 6 dB and the optimum ratios of placement change. — David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 2139
Categorization
- XREF: Connects to Chapter 4’s discussion of excitation points on bowed instruments, and backward to listener-ear books about how mounting geometry shapes perceived sound. — connects to: Loudspeakers perform best only free-standing or flush-mounted in a boundary; Operating a loudspeaker near three room boundaries imposes a 9 dB low-frequency rise — David Howard, Jamie Angus, coustics and Psychoacoustics, 2193; Loudspeaker enclosure shape and size alter frequency response via diffraction — David Howard, Jamie Angus, coustics and Psychoacoustics, 2198 (+1 more)
- corroborated: 3 independent passages support this claim — David Howard, Jamie Angus, coustics and Psychoacoustics, 2194; David M. Howard, Jamie Angus, Acoustics and Psychoacoustics, 2139
Broader Connections
- Loudspeaker enclosure shape and size alter frequency response via diffraction
#complicates(0.75) — David Howard, Jamie Angus, coustics and Psychoacoustics, 2198