Various aspects of the listener, the loudspeaker, and the listening room are discussed. The psychoacoustic mechanisms used by the auditory system are briefly reviewed to understand how the listening room can corrupt spatial and spectral textures. Experimental polar patterns for the human ear measured at the eardrum, a dynamic speaker, a dipole speaker, and an omnidirectional speaker, are presented. An explanation is presented to explain why the loudspeaker polar response dictates the type of acoustical treatment necessary. After a discussion of the principles behind the designs which comprise the RPG Home Concert Hall, a detailed outline of three listening room designs for dynamic speakers (OPUS I), dipole speakers (OPUS II), and spatially-oriented or omnidirectional speakers (OPUS III) is presented. Experimental before and after TEF ETC measurements are presented and discussed.
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