Paulssurround's Revised Space Optimisation v1 Simplified, October 2018

[Paulssurround]

Paulssurround’s Revised SPACE Optimisation, v1 Simplified   October 2018

 

 

Introduction

 

Linn's developed Space optimization is a highly advanced method to get the best sound quality out of your Hifi, adapting the speakers to the acoustic properties of the room and speaker placement. It is available to all people that have a Linn Digital Streamer or Linn DSM. 

When Space optimization is applied, improvements in sound quality can be significant and profound. 

It is well advised to get the best possible speaker placement in your room, for sound quality, before doing space optimisation using a method like Tune Dem. However, one of the brilliant features of Space optimization, is that it allows you to place speakers in the non-ideal position due to domestic reason's and still get outstanding results. 

Carefully entering the room dimensions, the building materials of the room with room features such as doors and windows, the speaker placement and your listening position, in relation to the room, you are able to use Linn’s advanced algorithms to calculate room modes. This generates a graphical representation of calculated room modes, which can be adjusted for frequency, gain and bandwidth, as well as the addition of 4 custom filters.

 Space optimization v1, is the brilliant invention of Phil Budd at Linn headquarters, and has been around since 2015. It can be applied by anyone with a Linn digital streamer or Linn DSM. This includes Linn Exakt HiFi and non-Linn HiFi components and speakers.

 Linn has recently released Space optimisation v2 for non Exakt HiFi systems. This document does not cover the newer v2 version, which currently only works for non-Exakt HiFi systems 

 Space optimisation continues to evolve over time, and gets better and better in sound quality with each revision at no cost to the Linn owner.

I have recently returned from Europe and now completed SPACE optimisations on 106 different Exakt and non-Exakt Linn systems in 12 countries, so far. I have noticed in my travels that a number of people have required assistance with Space Optimisation to get the results they are hoping for. I have been on a mission to find a more simplified method of doing Space optimisation to facilitate its use, the Rosetta Stone if you will, and I believe I have found it.   

 I am extremely grateful to all the Linn owners in Europe and North America that allowed me to do Space optimization on their Linn systems over the last 3 years or so, as this has been an invaluable experience to learning all I can about this amazing tool that Linn has developed. I have also met so many awesome Linn owners that generously let me adjust their precious Linn music systems.

 Following Linn’s method should get you very good sound quality and see a big improvement in sound quality. However, if you are a person who wants to fine tune your HiFi system for potentially even higher performance, you may wish to try the following method which I have applied to many HiFi systems with great success.

 

Linn combine the ability of using an advanced algorithm to generate predicted room modes which can interfere with sound quality, with an ability to make extremely fine adjustments to optimize the sound. The Space adjustments to frequency, gain and bandwidth are similar to using a parametric equalizer, which can be applied to the calculated room modes with some restrictions, and to the custom filters which you create, but combined with all the technology that Linn has developed for calculating room modes, it is far more powerful than that.

 Parametric equalizer link:  

 https://en.wikipedia.org/wiki/Equalization_(audio)#Parametric_equalizer

 

My method is not unlike a piano tuner, listening for tonal quality changes as I make the adjustments to frequencies, gain and bandwidth, while being aware of harmonics, timing and Tune Dem. My method appears to successfully adjust for issues related to phase wiggle.and quite possibly other unknown parameters. 

 

Here is the link to Linn’s method of doing Space optimization:

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Here is a link to Linn's explanation to TuneDem to help set up your system and speaker placement:

 

http://docs.linn.co.uk/wiki/index.php/FAQ_-_Tune_Dem

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[SIZE=13pt]I believe I can now confidently say that I have found a universal pattern that seems to resonate with most of the Linn systems I have encountered.[/SIZE]

 

After adjusting so many Linn systems I have found enough commonality in all the Linn systems I have performed Space optimisation on, that I can suggest the following techniques to get potentially impressive improvements in sound quality. These suggestions are the culmination of many hundreds if not thousands of hours working on a very wide variety of Linn systems.

 Following this “simplified” Rosetta Stone technique, all you need to figure out what speaker frequency is recommended for your custom filter 1 from the table below, if your speaker is listed, adjusting the gain and adding the bandwidth suggested. Then adjust sound quality changing the gain of the custom filters 2, 3 and 4, move some of the frequencies and gain  of a couple of calculated room modes and eliminate some of the calculated room modes that have a similar frequency to the custom filters I will give you.

 The revisions outlined in this latest SPACE Optimization thread are my latest thinking on fine tuning the latest versions of SPACE Optimization for Davaar 173 and newer.

 If you are unfamiliar with the background of Space optimization, skip the following sections and go straight to the section below called Background Information, as this will describe the techniques I use for fine tuning Space optimization and how to use the reference music tracks to make evaluations on whether the sound quality has improved. Then when you are familiar with this, come back to the Rosetta Stone section

[SIZE=13pt] [/SIZE]Your results may vary.

 

The Rosetta Stone Of Adjusting SPACE Optimization

 The following is an example of adjusting Space optimization, using the simplified Rosetta Stone method. You have previously added in all the room dimensions, and building materials information into Konfig, pressed “Optimize” and notice you have a number of calculated room modes which look like upside down peaks on a graph.

[SIZE=13pt] [/SIZE]You may notice that you have the following example calculated room modes:

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Room Mode 1

 

Frequency: 28.53 Hz, Gain (-18.78), Bandwidth 0.078490

 

Room mode 2

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Frequency: 43.65 Hz, Gain (-26.27), Bandwidth 0.082651

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Room mode 3

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Frequency: 56.11 Hz, Gain (-20.27), Bandwidth 0.064871

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Room mode 4

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Frequency: 65.28 Hz, Gain (-14.75), Bandwidth 0.028693

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Room Mode 5

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Frequency: 72.83 Hz, Gain (-16.75), Bandwidth 0.020675

 

Room mode 6

 

Frequency: 78.25 Hz, Gain (-19.48), Bandwidth 0.034287

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Of course you may have as little as 1-2 calculated room modes and in some cases I have seen as many as 17 or more calculated room modes.

 

We are going to work on each calculated room mode as follows:

 

Before you start, make sure you “Save As” this new profile under a new name and do your adjustments on the newly saved profile!!!! That way you can always go back to the old profile if you don’t like the new one.

 

The following is a suggestionfor you to try, and should be an excellent starting point for your Space Optimisation journey. Your results may vary

 

 Calculated Room Mode 1 example above was:

 This room mode is close enough to the new custom filter 1 frequency that it may interfere with our new custom filter 1, so will eliminate it completely, by changing the gain to 0.00 as above.

 

So this will now become:

 

Frequency: 28.53 Hz, Gain (-0.00), Bandwidth 0.078490

 

At the moment, Linn allows us 4 different custom filters that you can apply in Space Optimisation, and you will be using the first one to create a custom filter 1, that has a frequency related to the actual speaker you own. These values have been discovered by me, doing Space optimizations on many hifi systems, and have been found to provide deeper, tighter more musical bass quality for your particular speaker. The example values I show below are a good starting point, depending on which speakers you use, and you may find you have to adjust the frequency up or down incrementally in Hertz, or fractions of a Hertz, from what I show below, to get the best results for your speakers and room.

 

Linn 109’s           28.54 Hz

Linn 140’s           23.48 Hz

Linn 212’s           22.45 Hz

Linn 242’s           22.3 Hz

Linn 350’s           16.35-16.42 Hz

Linn 530’s           22.78 Hz

Linn 5140’s         21.38 Hz

Linn Akudoriks    22.18 Hz

Linn Akubariks    21.35 Hz

Linn Kans           32.53 Hz

Linn Kabers         26.58 Hz

Linn Kelidh’s       28.51 Hz

Linn Kiko             30.27 Hz

Linn Killer Keltiks  16.9 Hz       

Linn Komri’s        15.2-15.87 Hz

 

Linn 242’s with 2 Sizmiks   19.3 Hz

Linn Akudoriks with Sizmik or REL  20.6 Hz

B &W 803 V3          18.72 Hz

Kudos Titian 808’s  18.98 Hz

Burmester 949 Mk2   16.25 Hz

Piega’s    22.58 Hz

 

 If your speakers are on this list, plug in the listed frequency for your speaker for custom filter 1, the gain should start at around -12.24 dB, and you will adjust it up or down depending on the Diana Krall track “A Case of You”  until you eliminate the bass thump of her piano pedal. The bandwidth of this custom filter 1 will be 0.014427

 

 

Calculated Room mode 2 example was:

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Frequency: 43.65 Hz, Gain (-26.27), Bandwidth 0.082651

 

I have found that calculated room modes in the 30Hz-45Hz range should be retained. However, I would recommend to try adjusting the calculated frequency by up to 2 Hz in either direction. When the vocals and bass sound clearer and tighter, you probably have the correct frequency for that calculated room mode.

Using the above example frequency of 43.65 Hz, try adjusting the frequency from 41.65 Hz -45.65 Hz in 0.04 Hz increments.

 

When you have found that you get an improvement in sound quality by changing the frequency, adjust the gain by boasting it by a few dB (-26.27 towards -24.27 Hz) and see if it improves sound quality

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Calculated Room mode 3 example was:  

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Frequency: 56.11 Hz, Gain (-20.27), Bandwidth 0.064871

 

This is an application of the famous Timster tweak at around 55 Hz. This tweak involves adjusting the gain to 0.00 dB and seeing if it improves the sound quality. You should experience a cleaner, clearer mids if the Timster tweak works.

If it takes too much out of the music by setting the gain to zero, adjust the gain back. In this case, the gain was calculated at (-20.27), and you adjusted it to 0.00. Try changing the gain to -5.00, and in increments move towards -5.15. -5.20, -5.25 and so on, until you get sound quality that sounds better

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Room mode 4

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Frequency: 65.28 Hz, Gain (-14.75), Bandwidth 0.028693

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Room Mode 5

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Frequency: 72.83 Hz, Gain (-16.75), Bandwidth 0.020675

 

Room mode 6

 

Frequency: 78.25 Hz, Gain (-19.48), Bandwidth 0.034287

 

Room modes 4, 5 and 6 are in the same frequency range as the 3 custom filters that I recommend trying in your new Space profile.

 

Please set the gain on all 3 calculated room modes to 0.00 dB

 

Now add custom filter 2 at 63.5 Hz, a starting gain around (-5.88) Hz and a bandwidth of 0.014427

 

Now add custom filter 3 at 74.3 Hz with a starting gain around (-6.12) and a bandwidth of 0.021697

 

Now add custom filter 4 at 82.48 Hz, with a starting gain of around (-14.5) and a bandwidth of 0.014427.

 

You only need to adjust the gain on custom filters 2, 3 and 4, not the frequency or gain. I feel confident that you will get respectable results with these values. For example, start at a gain of (-5.88) and then go to (-5.83) and so on. 

 

Adjust the gains on each of these 3 custom filters as described in the sections below using the reference tunes and the guide on how to make adjustments, by starting to read the section called Background information, then work your way through the reference tracks in the section “Reference Music Tracks To Evaluate and Make Adjustments In SPACE Optimisation

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Reference Music Tracks To Evaluate and Make Adjustments In SPACE Optimization:

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Here is a list of some of the reference tracks I use for adjusting parameters in SPACE optimization. In my next post, I will document in Appendix 1, a more detailed explanation of what nuances and tonal qualities I listen for in each of these tracks. 

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Here is the list of my current reference tracks:

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Ane Brun-“Halo”, Rarities Album

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Bob Marley- “Buffalo Soldier”, Legend Album Deluxe Edition

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Dire Straits- “My Latest Trick”, Brothers In Arms Album

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Diana Krall – “Black Crow”, Girl In The Other Room Album

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Diana Krall – “A Case Of You”, Live In Paris Album

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Leonard Cohen- “You Want It Darker,” You Want It Darker Album

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Lou Reed – “Walk On The Wild Side”, Transformer Album

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Lou Reed – “Perfect Day”, Acoustic version, Last Track on Transformer Album

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Nils Lofgren – “Keith Don't Go”, Acoustic Live Album

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Nils Lofgren – “Black Book”, Acoustic Live Album

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Nora Jones- “Turn Me On”, Come Away With Me Album

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Oscar Peterson – “You Look Good To Me”, We Get Requests Album

 

Simon and Garfunkle- “Scarborough Fair”

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At the bottom of this document, I have included an appendix 1, of my personal reference tunes that I use to tune SPACE Optimization. I try to describe the audio cues I listen for to help make adjustments in Konfig.

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The Most Important Optimization Tool, You!!!

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In some musical tracks, I listen for the sound quality of the twang of the upright bass strings reverberating back into place, the growl of an electric bass guitar, the sibilance of vocals, the harshness in vocals or the vocals are too pushy, the depth, height and width of the soundstage, the musical detail, the layers of music, the musicality and detail of the bass, imaging, vocal clarity and many other qualities. And all of these are adjustable in SPACE optimization, if you know what to adjust.

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When I am doing SPACE optimization, I listen to specific music reference tracks, and focus on the tonal sound quality I hear, as well as the sound pressure I feel on my ear drums, and my body. The sound pressure I “feel” and “hear”, is a reference tool that is more accurate than measuring the sounds in the room with a calibrated mike or some other measuring device, IMHO.

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In effect, I can feel the low frequency music that I cannot hear, through pressure on the eardrum or a punch in the stomach. I have also trained myself to listen carefully to whether the music makes me feel uncomfortable, or is fatiguing to my ears. For example, if you are sitting next to someone listening to music with you, and the music is turned up to loud, if you have to raise your voice significantly while carrying on a conversation with them, then that is a sign that adjustments in SPACE optimization would be beneficial. Ideally you should be able to speak at a normal voice level even at higher volumes of music to someone sitting beside you. 

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Anyone can learn this, but it takes a bit of practice and an awareness of your world around you, as you perceive it through your senses.

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I believe my approach is unique, in that I listen to the music, feel the music and then know exactly which frequencies to adjust in SPACE optimization. The trick with SPACE optimization, is to learn exactly which adjustments to make, when you hear different audio clues, and then know the exact frequencies, gain and the bandwidth to adjust.

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I can correlate specific things I hear in the reference music tracks and know how to make adjustments to make them sound like I want, and soon you will be able to as well.

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These audio cues are the information I need to make educated guesses, some intuition, and experience, to make the SPACE optimization adjustments.

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Then I start playing around with moving the frequencies, gain and bandwidth for each individual calculated room mode or custom filters.

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I have been known to create a number of custom room modes where there were none calculated, and have sent a few calculated room modes to the chopping block. Some calculated room modes I set to zero, then later reintroduce them gradually, to take some energy out of specific frequencies, such as excessive bass that needs to be tamed.

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This is why things like REW are of limited value to me. I recognize that REW and other room sweeps, can provide shortcuts to focusing on specific frequencies when making adjustments. I do use SPACE tones when I have the time or inclination to listen to individual generated frequencies between 30-Hz and 100 Hz, (Thanks to Gary at Better Music (Whereever you are) and Eldarboy for the SPACE Tones)

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For the listening tests, ideally, you have another experienced audiophile person with good hearing to help you do room measurements and listen to the music with you, to help you confirm what you are hearing, and perform fine tuning of the adjustments to the room modes.

[SIZE=13pt] [/SIZE]In this way, I liken it to an artist that creates a musical soundscape with SPACE optimization, using the computer as the paintbrush and the speakers as the paint and canvas. You too can be a musical Van Gogh. 

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[Paulssurround]

Appendix 1

My Reference Music Tracks:

 

There are different versions of these albums and songs recorded, but some are sold as 16 bit or 24 bit. I usually play the 24 bit version if possible.

Warning: Do not use Qobuz or Tidal streaming to adjust your SPACE optimization. Only stream these tracks which are on your NAS, as there can be significant differences in sound quality and timing in the streamed versions from Tidal and Qobuz.

I don't have a particular order to listen to the tracks, but pull up the appropriate tracks, when needed, as I try to uncover the sound quality of specific parts of music tracks. I am hunting for tonal balance, timing, voice quality, bass overhang, clarity of vocals and instruments, space around the instruments, sound stage and 3 dimensionality, vocal shoutyness, depth and transparency, and many other qualities, depending on the music track.

Extremely important is the musicality of the music, with timing and toe tapping qualities. It is really important for me to feel the music and bounce along to the musical rhythm, or as Linn says, the Tune Dem qualities.

 

 

In alphabetical order:

 

Ane Brun,  “Halo”, Rarities Album

Ane Brun has a stunningly delicate and sublime voice that carries through the song, with the continuous pluck of cello bass strings throughout the song. This provides a good reference for the bass and the layering of voice with the bass notes. Two violin players join into the song and add layers to the music, playing off the cello. The real treat comes in the last minute of the song, where Ane Brun continues singing and then the cello player starts singing along as well, creating a sublime harmony of the two voices, like I have never heard. The vocals create a delicate spiral of harmony and interplay that is both sensual and sublime. Almost like an extremely slowly rotating tornado. The better you have dialed in SPACE optimization, the more 3 dimensional and delicate this harmony will become. There will be two distinct voices embracing and simultaneously floating in a circle to carry you away emotionally.

 

 

Bob Marley- “Buffalo Soldier”, Legend Album Remastered

 

Buffalo Soldier is great for revealing whether the bass is muddy. As I make changes in SPACE, I listen to how deep the bass is, and whether the bass guitar and drums are layered and well separated. I look for detail and improved clarity in the bass. The most important clues on this track for me is the layering of the bass drum with the bass guitar, and how growly the bass guitar is. As you dial in SPACE optimization, the bass guitar will have a deep growly roar. 

As the song progresses, I also listen carefully to Bob Marley's voice quality and the background singers blended in the background. When dialed in properly, you will notice all the musicians playing their instruments together in great synchronization, and a great sense of rhythm and toe tapping, with your body wanting to dance to the music. 

You will also get a great sense of the how the musicians all interact and play together as a well honed band.

Soundstage when dialed in is stunning.

 

 

Dire Straits- “My Latest Trick”, Brothers In Arms Album

 

My Latest Trick is an excellent track to listen to the trumpet at the beginning of the song. As you dial in SPACE optimization, the trumpet takes on a raspy horn like quality, that sounds very real and organic as it is dialed in.

I listen to voice quality of Mark Knopfler, and the soundstage of all the instruments, to hear great separation between all instruments.

This is a well recorded album and is very revealing for clarity, transparency and instrument separation.

There are some versions of this album that have a saxophone player instead of a trumpet. I listen to the trumpet version in 24/88.

 

 

 

Diana Krall – “Black Crow”, Girl In The Other Room Album

 

Diana Krall's Black Crow, has mariachis playing in both speakers to keep timing.

The sound quality of her voice is extremely important to my evaluation, as I listen to how deep her voice is, the sultry sexiness of her voice, her breathing, and the sound of the piano pedals.

Dianas voice can be shouty at times and overly energetic, but as you are dialed in, everything starts smoothing out, as sound quality improves. Her voice ‘takes on a different quality and that sultry sexiness is all apparent. Piano should be detailed and clear, with an excellent well balanced sound stage with no instrument dominating. There should be excellent instrument and voice separation and the mark of a well recorded and produced song.

 

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Diana Krall – “A Case Of You”, Live In Paris Album

 

This is a live song and her voices sounds slightly different than in Black Crow. It has a more natural and emotional quality than Black Crow.

The sound of the piano is excellent, but if your SPACE optimization is not dialed in properly, the piano pedals will give a dull thud, everytime she presses on the pedals, which she does throughout the song. Fortunately, this can be fixed by an adjustment at the first custom room mode by a slight removal of gain (0.03 dB for example)

 

 

 

Leonard Cohen, “In My Secret Life”, 10 New Songs Album,

 

On Leonard Cohen's,  “In My Secret Life”, I listen for his voice quality and how deep his voice is, trying to estimate how many cigarettes he smoked that day. The backup singer is perfectly layered behind his voice and this reveals itself, the better you have dialed your SPACE settings. 

Also, his voice will become deeper as dialed in.

The overall sound stage is really important to me, as well as the layering of the instruments and voices.

 

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Leonard Cohen-  “You Want It Darker”, You Want It Darker Album

 

Leonard Cohens’s “You Want It Darker”  from You Want It Darker album

 

This album is God’s gift to SPACE optimizers, with excellent detail in voices and instruments. His voice is so deep and compelling, it is mesmerizing. 

Focus on the voices and instrumentation for layering and separation, vocal harmonies and resolution. 

The back up singers are a true delight, and the instrumentation stunningly detailed.

The title track and Steer Your Own Way are my favorites.

 

 

 

Lou Reed – “Walk On The Wild Side”, Transformer Album

 

Lou Reed’s Walk On The Wild Side is an excellent track for timing, as the repeating rhythmic pulse of the stand up bass strings, the twang of the strings being plucked and then released.

This is one of the most helpful tracks in my arsenal for adjusting bass and bass detail, harmonics and depth of bass.

When dialed in properly, Lou Redds voice reminds me of a radio DJ’s voice.

This is also the most important track I have for checking the depth of the sound stage, by following how far out of the speakers the do do do girls come out of the speaker cabinet. If done properly, the second time around, the do do do girls sing, they sound like they are sitting in your lap.

I also listen to the saxophone at the end of the song, for how organic sounding. 

In addition, I focus on the timing in the left and right speaker, of the high hats throughout the song, as well as the violin strings in the background.

 

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Lou Reed – “Perfect Day”, Last Track on Transformer Album

 

Perfect Day, acoustic version is a well recorded track for listening to acoustic qualities of the guitar strings. When dialed in properly, the twang and detail of the strings vibrating is wonderful.

 

Malia and Boris Blank – “Magnetic Lies”, Convergence album

 

Magnetic Lies has a very prominent synthesizer track line that follows the song, and as you dial in SPACE optimization, it has a very pronounced energy that jumps out of the speakers in rhythmic pulses.

If SPACE optimization is not set up properly, the bass track can overwhelm the room and muddy over everything.

 

Dialed in properly, the bass will be well controlled, tight, musical and toe tapping.

 

Nils Lofgren – “Keith Don't Go”, Acoustic Live Album

 

This is an extremely well recorded track for listening to acoustic qualities of the guitar strings. When dialed in properly, the twang and detail of the strings vibrating is wonderful. This track complements the Lou Reed Acoustic Live track Perfect Day, for the same reason.

 

I also like this track to check for depth of the audience. As the audience reacts to his playing, you can dial it in to get a deeper front to back image and more organic sounding hand clapping and cheering.

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Nils Lofgren – “Black Books”, Acoustic Live Album

 

Nils Lofgrens Black Book has a synthesized choir in the background throughout the song with a bias towards the left speaker. There is a slow beating bongo drum in the right speaker, that actually slows down the cadence as you dial in SPACE properly. 

At the beginning of the song Nils sings, then as that fades, eventually a guitar takes front and centre stage. The tonal quality of the guitar strings, his voice and the beautiful 3D layering of these instruments gives me clues as to how well I am doing with resolving a deeper sound stage.

 

As you dial in SPACE optimization, you can separate out the layers of instruments, to get a deeper front to rear soundstage, and detail in each instrument track.

 

 

Nora Jones- “Turn Me On”, Come Away With Me Album

 

With the Nora Jones track, Turn Me On, it helps me identify shoutyness of vocals, about a minute into the song or so. But is also a great track to listen for timing and sound stage, piano timbre, Nora's voice, layering of instruments.

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Oscar Peterson – “You Look Good To Me”, We Get Requests Album

Oscar Peterson's You Look Good To Me, reveals a fantastic sound stage when set up properly, with a great mix of the three instruments, drums, piano and bass. If you listen carefully, you can hear Ray Brown whispering to the stand up bass, while he is playing it. The piano is not as prominent at the beginning of the track, but becomes more so as the song progresses. The soundstage of drums, piano and bass beautifully balanced and the feeling of being at a live venue, with the musicians playing in front of you.

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[Paulssurround]

[SIZE=13pt]SPACE Optimization Tools[/SIZE]

 Here are a few extra points I would like to add:

Setting Up The Speakers:

 

Everyone that I visited, without exception, was shocked and delighted by what their Linn system was now capable of, with proper application of SPACE optimization, appropriate toe-in, leveled and secured speakers that don’t rock, and appropriate tightening of the speaker  drivers to the speaker cabinets with just the right amount of torque. 

 

Don't underestimate the importance of proper toe-in with the speakers, as this can have a dramatic effect on sound quality, imaging and perceived sound stage.

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Hashluck’s Observations and Encouragement:

 

After I visit Hashluck’s home and he observed me doing SPACE optimization, he wrote the following on the Linn Forum that I think is appropriate, regarding SPACE Optimization:

 

What did I learn from this?

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1. Think outside the box - The Linn calculations are a starting point but try and consider what is really going on. I had two room modes quite close to each other which created quite a hole until we narrowed the bandwidth of one and there were also other harmonics that needed to be dealt with to allow the system to breathe fully hence the additional Custom Filter. 

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2. Don't be afraid - Save as you go and experiment, you cannot break anything. I had previously been less worried by this but more ignorant of how very small changes could make such a big difference and thus how easy it is within a few notes to tell whether it is for the better or not. It does not take as much time as you might think. 

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3. Have the courage of your convictions - if it sounds different it is different and you will instinctively know if it is better or not really quickly. Several times we made a change and I thought I could hear a difference but was reluctant to voice it since the change to the filter we made was so small and then Paul would pipe up with exactly what I was thinking  A good example was the change of Custom Filter 1 from 28Hz to, initially 31Hz, the music just flowed better conveying far more emotion. Change to 32Hz and it went off again. Paul and I both heard this the same.....

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4. Get another set of ears if you can. It encourages you to try things and helps with the above. 

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5. There is no magic wand. Some tracks will always be challenging. At some point you will hit a bottleneck be it the limits of the equipment or room (as well of course as just trying to compensate for any poor recording). I still have a couple of tracks with issues in my room (though they still sound very good). I do think I could come up with a profile just for those but that is not a realistic scenario. So I would concentrate on well recorded material of the type most often listened to rather than focusing on one 'difficult' track. 

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[timster]

Yo Paul  Great to see you!

 

[MickC]

Welcome, Paul!

 

[Billz]

Glad to have you here Paul. I did turn your original post on the OLF in to a PDF file and printed it out, but it’s good to be able to access it on line as well.

I will be interested to hear what you make of SO v2 in future posts.

Bill.

 

[CaptenBonScott]

Hi Paul . Im overwhelmed and happy to se mr Space here at Wigwam, your skills have made my Linn system superb  

 

[Glyn Ruck]

Good to see you here Paul. Long may you contribute. It's not that long ago that we were discussing the positive values of the Linn forum on the Linn forum.

 

[Pennypacker]

Hey Paul, nice to see your input again!

Really nice stuff about SO, but there is something myself or maybe starters need some help with, the first optimal set up of the speakers.

The link to the linn site of the Tune Dem doesn't realy give a hands on, on how to start from scratch in a new room, to me Tune Dem looks like a way of A/B-ing different set ups. 

If someone has some tips and experience it would be of great help, before you start wiht SO, since the better your speakers are set up, the less involment of SO is needed. 

I started with this to get me on my way http://www.cardas.com/room_setup_main.php

 

[Nrwatson]

Yes used the Cardas formula to get started and then moved speakers to get to ideal position I have to say the Cardas formula was a great starting point

 

[Nrwatson]

Appendix 1

My Reference Music Tracks:

 

There are different versions of these albums and songs recorded, but some are sold as 16 bit or 24 bit. I usually play the 24 bit version if possible.

Warning: Do not use Qobuz or Tidal streaming to adjust your SPACE optimization. Only stream these tracks which are on your NAS, as there can be significant differences in sound quality and timing in the streamed versions from Tidal and Qobuz.

I don't have a particular order to listen to the tracks, but pull up the appropriate tracks, when needed, as I try to uncover the sound quality of specific parts of music tracks. I am hunting for tonal balance, timing, voice quality, bass overhang, clarity of vocals and instruments, space around the instruments, sound stage and 3 dimensionality, vocal shoutyness, depth and transparency, and many other qualities, depending on the music track.

Extremely important is the musicality of the music, with timing and toe tapping qualities. It is really important for me to feel the music and bounce along to the musical rhythm, or as Linn says, the Tune Dem qualities.

 

 

In alphabetical order:

 

Ane Brun,  “Halo”, Rarities Album

Ane Brun has a stunningly delicate and sublime voice that carries through the song, with the continuous pluck of cello bass strings throughout the song. This provides a good reference for the bass and the layering of voice with the bass notes. Two violin players join into the song and add layers to the music, playing off the cello. The real treat comes in the last minute of the song, where Ane Brun continues singing and then the cello player starts singing along as well, creating a sublime harmony of the two voices, like I have never heard. The vocals create a delicate spiral of harmony and interplay that is both sensual and sublime. Almost like an extremely slowly rotating tornado. The better you have dialed in SPACE optimization, the more 3 dimensional and delicate this harmony will become. There will be two distinct voices embracing and simultaneously floating in a circle to carry you away emotionally.

 

 

Bob Marley- “Buffalo Soldier”, Legend Album Remastered

 

Buffalo Soldier is great for revealing whether the bass is muddy. As I make changes in SPACE, I listen to how deep the bass is, and whether the bass guitar and drums are layered and well separated. I look for detail and improved clarity in the bass. The most important clues on this track for me is the layering of the bass drum with the bass guitar, and how growly the bass guitar is. As you dial in SPACE optimization, the bass guitar will have a deep growly roar. 

As the song progresses, I also listen carefully to Bob Marley's voice quality and the background singers blended in the background. When dialed in properly, you will notice all the musicians playing their instruments together in great synchronization, and a great sense of rhythm and toe tapping, with your body wanting to dance to the music. 

You will also get a great sense of the how the musicians all interact and play together as a well honed band.

Soundstage when dialed in is stunning.

 

 

Dire Straits- “My Latest Trick”, Brothers In Arms Album

 

My Latest Trick is an excellent track to listen to the trumpet at the beginning of the song. As you dial in SPACE optimization, the trumpet takes on a raspy horn like quality, that sounds very real and organic as it is dialed in.

I listen to voice quality of Mark Knopfler, and the soundstage of all the instruments, to hear great separation between all instruments.

This is a well recorded album and is very revealing for clarity, transparency and instrument separation.

There are some versions of this album that have a saxophone player instead of a trumpet. I listen to the trumpet version in 24/88.

 

 

 

Diana Krall – “Black Crow”, Girl In The Other Room Album

 

Diana Krall's Black Crow, has mariachis playing in both speakers to keep timing.

The sound quality of her voice is extremely important to my evaluation, as I listen to how deep her voice is, the sultry sexiness of her voice, her breathing, and the sound of the piano pedals.

Dianas voice can be shouty at times and overly energetic, but as you are dialed in, everything starts smoothing out, as sound quality improves. Her voice ‘takes on a different quality and that sultry sexiness is all apparent. Piano should be detailed and clear, with an excellent well balanced sound stage with no instrument dominating. There should be excellent instrument and voice separation and the mark of a well recorded and produced song.

 

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Diana Krall – “A Case Of You”, Live In Paris Album

 

This is a live song and her voices sounds slightly different than in Black Crow. It has a more natural and emotional quality than Black Crow.

The sound of the piano is excellent, but if your SPACE optimization is not dialed in properly, the piano pedals will give a dull thud, everytime she presses on the pedals, which she does throughout the song. Fortunately, this can be fixed by an adjustment at the first custom room mode by a slight removal of gain (0.03 dB for example)

 

 

 

Leonard Cohen, “In My Secret Life”, 10 New Songs Album,

 

On Leonard Cohen's,  “In My Secret Life”, I listen for his voice quality and how deep his voice is, trying to estimate how many cigarettes he smoked that day. The backup singer is perfectly layered behind his voice and this reveals itself, the better you have dialed your SPACE settings. 

Also, his voice will become deeper as dialed in.

The overall sound stage is really important to me, as well as the layering of the instruments and voices.

 

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Leonard Cohen-  “You Want It Darker”, You Want It Darker Album

 

Leonard Cohens’s “You Want It Darker”  from You Want It Darker album

 

This album is God’s gift to SPACE optimizers, with excellent detail in voices and instruments. His voice is so deep and compelling, it is mesmerizing. 

Focus on the voices and instrumentation for layering and separation, vocal harmonies and resolution. 

The back up singers are a true delight, and the instrumentation stunningly detailed.

The title track and Steer Your Own Way are my favorites.

 

 

 

Lou Reed – “Walk On The Wild Side”, Transformer Album

 

Lou Reed’s Walk On The Wild Side is an excellent track for timing, as the repeating rhythmic pulse of the stand up bass strings, the twang of the strings being plucked and then released.

This is one of the most helpful tracks in my arsenal for adjusting bass and bass detail, harmonics and depth of bass.

When dialed in properly, Lou Redds voice reminds me of a radio DJ’s voice.

This is also the most important track I have for checking the depth of the sound stage, by following how far out of the speakers the do do do girls come out of the speaker cabinet. If done properly, the second time around, the do do do girls sing, they sound like they are sitting in your lap.

I also listen to the saxophone at the end of the song, for how organic sounding. 

In addition, I focus on the timing in the left and right speaker, of the high hats throughout the song, as well as the violin strings in the background.

 

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Lou Reed – “Perfect Day”, Last Track on Transformer Album

 

Perfect Day, acoustic version is a well recorded track for listening to acoustic qualities of the guitar strings. When dialed in properly, the twang and detail of the strings vibrating is wonderful.

 

Malia and Boris Blank – “Magnetic Lies”, Convergence album

 

Magnetic Lies has a very prominent synthesizer track line that follows the song, and as you dial in SPACE optimization, it has a very pronounced energy that jumps out of the speakers in rhythmic pulses.

If SPACE optimization is not set up properly, the bass track can overwhelm the room and muddy over everything.

 

Dialed in properly, the bass will be well controlled, tight, musical and toe tapping.

 

Nils Lofgren – “Keith Don't Go”, Acoustic Live Album

 

This is an extremely well recorded track for listening to acoustic qualities of the guitar strings. When dialed in properly, the twang and detail of the strings vibrating is wonderful. This track complements the Lou Reed Acoustic Live track Perfect Day, for the same reason.

 

I also like this track to check for depth of the audience. As the audience reacts to his playing, you can dial it in to get a deeper front to back image and more organic sounding hand clapping and cheering.

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Nils Lofgren – “Black Books”, Acoustic Live Album

 

Nils Lofgrens Black Book has a synthesized choir in the background throughout the song with a bias towards the left speaker. There is a slow beating bongo drum in the right speaker, that actually slows down the cadence as you dial in SPACE properly. 

At the beginning of the song Nils sings, then as that fades, eventually a guitar takes front and centre stage. The tonal quality of the guitar strings, his voice and the beautiful 3D layering of these instruments gives me clues as to how well I am doing with resolving a deeper sound stage.

 

As you dial in SPACE optimization, you can separate out the layers of instruments, to get a deeper front to rear soundstage, and detail in each instrument track.

 

 

Nora Jones- “Turn Me On”, Come Away With Me Album

 

With the Nora Jones track, Turn Me On, it helps me identify shoutyness of vocals, about a minute into the song or so. But is also a great track to listen for timing and sound stage, piano timbre, Nora's voice, layering of instruments.

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Oscar Peterson – “You Look Good To Me”, We Get Requests Album

Oscar Peterson's You Look Good To Me, reveals a fantastic sound stage when set up properly, with a great mix of the three instruments, drums, piano and bass. If you listen carefully, you can hear Ray Brown whispering to the stand up bass, while he is playing it. The piano is not as prominent at the beginning of the track, but becomes more so as the song progresses. The soundstage of drums, piano and bass beautifully balanced and the feeling of being at a live venue, with the musicians playing in front of you.

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Not 24 bit for the oscar Peterson as they all seem corrupted

great to see you on board Paul

 

[timster]

Hey Paul, nice to see your input again!

Really nice stuff about SO, but there is something myself or maybe starters need some help with, the first optimal set up of the speakers.

The link to the linn site of the Tune Dem doesn't realy give a hands on, on how to start from scratch in a new room, to me Tune Dem looks like a way of A/B-ing different set ups. 

If someone has some tips and experience it would be of great help, before you start wiht SO, since the better your speakers are set up, the less involment of SO is needed. 

I started with this to get me on my way http://www.cardas.com/room_setup_main.php

Tune Dem is a method to find the ideal position of your speakers. It involves a lot of moving around of the speakers, listening to where they sound best. Cardas is a good starting position.

But you can also use the Virtual Tune Dem method. ie. if you only have one practical position, you set that in SO, then move the SO Ideal Position as if you were physically moving the speakers and listening for improvement or otherwise. This is particularly useful if you have heavy floorstanders and a wooden floor!

 

[Paulssurround]

Thank you for the kind welcome, everyone. 

I hope my newest updates on Space optimization are useful.  

 

[Craigas]

Thanks for joining Paul and for all your contributions now and in the future.

 

[aurelio]

welcome Paul.! Great that you made it to the new forum, it would not be the same without you.

 

[Avalon2]

Heh Paul it was nice talking to you last night. Your Space optimisation instructions are invaluable, thanks for sharing.

And convincing me to join this Linn club forum, My original Avalon name from was taken, so I am using this one as it was all that was available.

Avalon 

 

[zephyr]

This is a wonderful set of reference  material which , since I last looked in our other dearly loved  dead and buried forum, you have really refined and expanded your resource. Thanks so much Paul. 

 

[Tendaberry]

Great to you see you here Paul, a warm welcome :rockin:

 

[Paulssurround]

Thank you guys for your wonderful support.

I am very pleased to see familiar faces, and hope that this will be helpful for people