High end speakers at low volume

You (anyone) need Loudness Compensation at LOW volume listening.

https://www.google.com/search?q=fletcher+munson+equal+loudness+contours&rlz=1C1GCEA_enUS1042US1042&oq=fletcher+munson&aqs=chrome.4.69i57j0i512l9.11011j0j7&sourceid=chrome&ie=UTF-8

We expect our systems to be frequency balanced at NORMAL or LOUD listening levels. true for any speaker, any type, any efficiency.

Due to Fletcher Munson's documented human listening curve, at LOW listening levels, both bass and highs are perceived diminished by our ears. Thus for low volume listening we need more bass and need more highs to get back to frequency balance. We do not want this 'boost' at normal volume listening.

i.e. Jazz, Bass Player, awesome at normal volume, frequency balanced. When played at low volume, even though the speaker is still frequency balanced, our hearing is not, thus the bass will need to be boosted to maintain it's proper presence in the performance (re-creating frequency balance at/to our ears).

The 'loudness' circuit is designed to alter/thus restore frequency balance at low volume listening (should have been called 'Low Volume Compensation' LVC, something sensible).

Most Vintage Preamps/Receivers had 'Loudness' controls, to be engaged when needed for low volume listening.

Many new or recent preamps lack LOUDNESS option, thus the speakers continue to produce frequency balanced sound at low volume listening, exactly when our ears need more volume of bass frequencies, i.e. unbalanced frequency dispersion to human's unbalanced hearing characteristics at low volume.

IF your speakers sound good without loudness compensation (any brand, any size woofer), i.e. normal amount of bass at very low volume, then they have too much bass at normal or loud volumes. i.e. that is like having the loudness circuit engaged at all volumes, a no-no.

many people like lot’s of bass, but mid bass, lower mids are ’buried’ by too much low bass.

Get thee a simple Sound Pressure Meter, tripod, set at ear height at listening position

https://www.amazon.com/BAFX-Products-Pressure-30-130dBA-Warranty/dp/B00ECCZWWI/ref=sr_1_4?crid=1BZ6BV6ZMIG39&keywords=sound+pressure+meter&qid=1686325343&sprefix=sound+pressure+meter%2Caps%2C73&sr=8-4

next a test cd with individual tones. Note: I scanned several Stereophile Test CD’s, others, none of them have the full range of frequencies this test disc has (29).

https://www.discogs.com/release/7290000-Various-Amazing-Bytes

you will know how flat of a frequency response your speakers are producing, IN That Space, AT that location.

It’s hard to find, and expensive, I can find a used copy if interested.

This Chase Remote Line Controller RLC-1 unit includes automatic and progressive LOW VOLUME compensation. It is like adding the Fletcher Munson ’loudness’ to a modern preamp that lacks that feature:

https://www.ebay.com/itm/144675075673?mkevt=1&mkcid=1&mkrid=711-53200-19255-0&campid=5338381866&toolid=10001&customid=81f8a786-0d0a-11ee-8eb4-386436396564

It can be used as a source selector OR single in/out from a preamp, OR optionally via a tape loop, or processor loop

The s/n 120db is true, no-one can tell if it is in/out of my 3 systems.

I simply use it for remote power to my Luxman in my office system.

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Setup:

a. turn on, Chase default volume has no loudness compensation.

b. turn on your preamp, adjust it’s volume for your normal (not low) volume. never use that volume control after that, you will use the Chase volume after a and b

c, Chase Volume (nice small incremental changes):

Increase, no loudness adjustments involved

Decrease (from a. it’s default volume). Loudness Compensation is automatically and progressively implemented, a bit, bit more, ...

It also has tone controls, I have never used them as I balance my speakers via their 2 level controls/spl/test tones.

Two identical outputs.

NOTE: must include the REMOTE, there are no controls on the unit.

"The RLC-1 was tested in Stereo Review and got good marks for its excellent specs and sonics. "

You people are driving me mad.

There is so much mumbo jumbo in audio land, but the Equal Loudness Compensation is long standing verifiable science.

Being an old dog having used ’Loudness’, in many makers products, and the Chase RLC-1 I wrote about, I am well aware of the benefit of ’Loudness’ Compensation at low volumes.

The biggest improvement, for me, is to maintain proper level of Jazz bass players, which maintains ’involvement’ at low volume, without it, I find it becomes simply non-involving background music, musak if you will.

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So many have equipment without balance, tone, loudness, .. ’PURE’ circuit paths, that the solution must be solved via add on equipment, the Chase unit the simplest for ANY setup. Optional use via tape or processor loops is ideal for the ’PURE’ crowd, however much newer equipment lacks in/out loops.

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To suggest ’this’ speaker is best for low volume is a chase into a firey pit.

LOOK at the equal loudness curve, look/read, don’t ignore it because you lack features

https://en.wikipedia.org/wiki/Equal-loudness_contour

IF any speaker sounds very good at low volume, without using tone controls or some form of equal loudness compensation, then that speaker’s frequency response has to be terrible at normal or louder volume!

TERRIBLE. Imagine Stereophile reviewing speakers with a frequency response reflecting the equal loudness contour as factory produced normal sound level.

Imagine a speaker designer deliberately producing said frequency response, being proud of it!!!!!!!!!!!!!!!!!!!!!!!!

A bad joke!!!!!!!!!!!!!!!!!!!

congrats on finding a good deal on speakers that you really like.

current discussion about stands IF you did not buy their stands:

https://forum.audiogon.com/discussions/why-are-speaker-stands-so-expensive

my opinion stated there:

I agree with the wife, the stands are distractingly ug..'

However, before you rush into new ones, I encourage you to mess about with toe-in and a milk crate, something low enough to need to tilt them up, so all the angles of reflection are altered.

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I use a SPL meter to help me, on a tripod, ear height

https://www.amazon.com/BAFX-Products-Pressure-30-130dBA-Warranty/dp/B00ECCZWWI/ref=sr_1_6?crid=14U0AXDR9SBHV&keywords=sound+pressure+level+meter&qid=1687112198&sprefix=sound+press%2Caps%2C90&sr=8-6

and this test cd, with a full range of 1/3 octavetones

https://www.discogs.com/release/7290000-Various-Amazing-Bytes

expensive, I'm sure I could figure out a copy.

ricco275

my friend visits, often refers to his phone spl meter, for relative volume info.

My speakers have two L-pads each: "Presence" and "Brilliance" (mid horn, tweeter horn) relative to their 15" cone woofer

That test CD: I go thru 29 1/3 octave bands, (individually select; pause; continue...) adjusting/moving/tweaking until I get the best output at my location in that space.

it’s not easy to get the pair’s output and l/r match perfected so frequencies don’t wander l or r as you go thru the range, but awesome when you get it right.

at seated ear height; at seated position.

for consistency, I prefer a separate directional meter on a tripod, giving me hands free capability for .....

these inexpensive spl meters can be ’perfectly’ calibrated after you receive them, however, all they really need to do is show relativity to be useful.

i.e. more or less, thanks for the answer.