Author Topic: Joachim Gerhard speaker placement  (Read 456 times)

Online Drifter

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Joachim Gerhard speaker placement
« on: February 04, 2020, 09:05:41 PM »
So Joachim Gerhard, founder of amongst others Audio Physic speakers advocate a 2.85:2 ratio where Cardas' Golden ration is 2:2.
So 2.85 between speakers and 2 from speaker to listening position.

He also advocates positioning the speakers against the long wall and about half way into the room. Something like this:


It is a near field config but many people swear by it.
Here is a write up.
https://suesskindaudio.de/wp-content/uploads/2013/10/Speaker-Set-Up.pdf

Anyone tried this including the severe toe-in?

Offline Jason Willemse

Re: Joachim Gerhard speaker placement
« Reply #1 on: February 05, 2020, 08:55:33 AM »
I have always used cardas as a starting point, then note the changes over the following weeks and months. Until I finally settle.

Itís a slow process that I actually enjoy - but more interestingly, my current favourite is uncannily similar, including the exaggerated toe in. The drivers are about 1.6m from the front wall, around 2.7m apart and 2.5 to the listening point, crossing over around 0.5m in front of the listening position.

The effect for me is a smoother sound and a less critical listening position. Just easier to spend time with.

Personal preference as always.






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Offline Air

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Re: Joachim Gerhard speaker placement
« Reply #2 on: February 09, 2020, 05:20:21 PM »
So Joachim Gerhard, founder of amongst others Audio Physic speakers advocate a 2.85:2 ratio where Cardas' Golden ration is 2:2.
https://suesskindaudio.de/wp-content/uploads/2013/10/Speaker-Set-Up.pdf

The golden ratio is actually 1:1.618

Longwall placement often works well, especially with medium-sized speakers in a largish room. It increases the sense impact and if speakers are wide dispersions units, the distance from sidewalls is also an upside. As a rule of thumb, I am for anything from 90 to 120 cm from the back wall, but the bass alignment of the speaker and the interaction with the amp could influence this distance slightly. My aim is 1st of all to get a clear midbass so that male voices don't sound chesty, thereafter I target lower bass evenness.

Experimentation in a given room and with specific components pays dividends. Patience and a very systematic approach over a month or even more are often needed.


Offline Agaton Sax

Re: Joachim Gerhard speaker placement
« Reply #3 on: February 11, 2020, 02:45:08 PM »
I used to set up my systems exactly like that when I probably thought Joachim Gerhardt was a driver for the Wartburg racing team in East Germany- when there was an East Germany.

Chair against back wall,speakers as wide apart as possible and pulled way out into the room with the speakers angled towards the listener to such a degree that you cannot see the side walls of the speakers from the listening position.

Why did I do that? Well the speakers were always small so the back wall gave usefull bass re-inforcement. More than that,the room would simply disappear giving the listener the feeling of sitting in an open window with an enormous sense of space in front of you.

Caveats are that the speakers have to be imaging champs and have a smooth flat on axis response. In my life it was Celestion SL6 then QLN monitors and , best of all, a pair of Infinity Prelude P-FR driven by Cary 805 SETs in my current home where the entire front wall of the room is glass. The sense of having an entire symphony orchestra in the garden still remains one of the most goose-pimply experiences of my audio life.I also believe that no one has ever truly heard the original QUAD ESL unless set up in this fashion. Shear magic.

Not everyone can tolerate this with the listener almost able to touch the speakers. Some prefer a bigger sense of separation from the musical event but if you enjoy that sense of uber-realism this set-up is unbeatable. I still remember the expression of shock and horror on the owner's face when  I ,after being confronted by the most awful sounding Audio Research/Magnepan system I ever heard ,pulled up a chair almost into the speakers and promptly sank into a state of total bliss.

I believe it was this sense of being connected to the event that led to my infatuation with horns.