The Listening Room Independent · No shop · No scores

Start here

Your room is the component you already own.

Below a few hundred hertz your walls, not your loudspeakers, write the frequency response. Everything in the plan below costs nothing but an afternoon and a tape measure. Do that first, then read about spending.

ProportionsNever prices. This site quotes none.
No scoresCategories and principles, not rankings.
Honest registerMeasurable, disputed, or preference — flagged as such.
a valve amplifier glowing in a dim room
Lamplight and a warm valve stage — and the room still doing more to the bass than any of it.

The five placement rules · plan view

Select a rule — the plan annotates itself. Every rule here is free.
Plan view · a rectangular room01 · the triangle02 · off the walls03 · past the midpoint04 · the mirror trick05 · toe-in
FRONT WALL BACK WALL SIDE WALL SIDE WALL RUG L R SEAT roughly equal sides pull out 30–50 cm equal side gaps midpoint — the usual null sit past it mirror here mirror here equal angles in and out straight, or at your ears

01 The equilateral triangle. Speakers and seat form a triangle with roughly equal sides. Start here every single time.

02 Pull them off the front wall. Close to a wall gives more bass and less definition. Trade the two off by ear, in small steps.

03 Don't sit at the midpoint. Halfway down the room is where the strongest length-mode null tends to sit. Move the chair, not the money.

04 Find the first reflections. Slide a mirror along each side wall. Where you see a tweeter, that is the point worth treating.

05 Then argue about toe-in. Aimed at your ears, crossing in front, or straight ahead — each trades image focus against width.

Brands worth your ears.

Friends of the room

Shops and labels this listening guide tunes toward.

Shops, labels and listening rooms whose shelves, catalogues and demonstration spaces overlap with the territory this guide covers.

The signal chain — and how unequal it is

Four stages. The differences between them are not remotely the same size.
01

Source

Turns a groove, a disc or a file into an electrical signal.

Audible difference: Small

Small between competent modern sources. Large if one of them is broken or badly set up.

02

Amplification

Makes that signal big enough to move a cone, and controls it while it moves.

Audible difference: Moderate

Moderate. Mostly a question of whether it has enough authority for your speakers.

03

Speaker

Turns electricity into air movement — the only stage that is also a mechanical object.

Audible difference: Large

Large. This is where the money buys audible change.

04

Room

Returns most of that sound to you a few milliseconds later, reinforced and cancelled.

Audible difference: Largest

Largest, and the only stage you already own.

What the spec means — a decoder

No figures invented. What each number describes, and what it does not.
Power (watts)
What it describesHow much the amplifier can deliver into a stated load.
What it does not tell youLoudness. A 100 W amplifier is not twice as loud as a 50 W one — it is about 3 dB louder.
Sensitivity (dB/W/m)
What it describesHow loud a speaker plays for one watt at one metre.
What it does not tell youQuality. It tells you how much amplifier you need, nothing more.
Impedance (ohms)
What it describesThe load the speaker presents, which varies with frequency.
What it does not tell youA single number. The nominal figure hides the dips that actually stress an amplifier.
THD
What it describesHarmonic distortion added by the electronics.
What it does not tell youAudibility. Below a certain point it stopped being the interesting number decades ago.
Frequency response
What it describesThe range reproduced, ideally with a tolerance in dB.
What it does not tell youAnything at all without that tolerance. '20 Hz–20 kHz' with no ±figure is marketing.

The long version, with the conditions each measurement is taken under, is in What the Specifications Actually Tell You.

Brands in our orbit.

Outfits whose ears we trust.

Makers and retailers whose shelves reflect how we listen.

Where the money actually goes

Proportions, not prices. This site quotes no prices.
45%
25%
20%
10%
  • Speakers45%
  • Amplification25%
  • Source20%
  • Stands & treatment10%
40%
25%
15%
20%
  • Speakers40%
  • Amplification25%
  • Source15%
  • Stands & treatment20%
35%
25%
15%
25%
  • Speakers35%
  • Amplification25%
  • Source15%
  • Stands & treatment25%
The argument

Buy the speakers you can live with and drive them adequately. Everything else can be improved later.

The treatment line doubles because by now the room is the thing holding you back.

Watch which slice grows as the total grows. Treatment and stands are the only line that keeps returning something audible — and the only one nobody photographs.

Proportions, not prices — this site quotes none

Read the full argument in Where the Money Actually Goes.

On the shelf

Newest first · everything is evergreen, so nothing here is dated
Brands worth hearing out.

Further along the shelf

Rooms and rigs we've spent real hours with.