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Ok, the very first thing in your way to the proper Imbedded Macro-Positioning is to undusted what you what to accomplish. Most of you redder can not understand it before 2 reasons:

1) You were thought and learned wrong thing for too long
2)  You hardly ever experienced what accurate Imbedded Macro-Positioning, not to mention the DPoLS can do.

Therefore, I would lean this there as a proposal to experiment. Try it and if you appreciate the result then good for you. If the sonic results of your practical assessments you do not find good for you then discard whatever you read here. Oh, yes, also stoop do audio… because you are deaf….

So, have you seen loudspeaker sitting in the room, screaming with all their drivers like wounded in ass hyena but sound is “little sound”? The individual notes have absurdly high self-declaration but the notes are too individualistic, disconnected and the system has the conflict between resolution and musicality? Sure you have seen it – I just described 90% of high-end audio installations out there. However, despite of the poor electronics and poor acoustic systems that might be used the 50-60% pf the sound that I characterize as stupid sound come on those installations from the poor “room loading” of the Macro-Positioning of the loudspeakers. Generally ANY properly Macro-Positioned speakers should over perform in musical scale ANY improperly Macro-Positioned inhalation. Yes, a cheep but good consumer amplifier with a inexpensive old JBL monitor, properly Macro-Positioned, will literally destroy a performance of $250.000.00 high-end installation of the installation is … against the interests of the room. Do I have to pump you up more?

So, what to do next? Let forgot whatever crap you have heard about better and worst rooms for Sound, unless you build a listening dedicated rooms from scratch, that, as a concept, has it’s own problems. Let forgot a point about the topologies of loudspeaker. Also, let forgot the idiotic idea that the industry have implanted in you – “you have to find best position in your room for your given loudspeaker”. The reason why the industry pushed this notion to you is because the loudspeaker are design to performer more of less linearly in more of less anechoic environment. The problem is not that your listening room is not anechoic environment. The real problem is that your listening room is a bitch with attitude and you as the room owner need to USE the given attitude in your benefit.

With the said let me to introduce you with a bogus concept of mine that I used for years – “Room Polarity”. The Room Polarity has nothing to do with Polarity in a normal since and it is rather a semi-philosophical generalization…. However, one of the major task of the Imbedded Macro-Positioning to place your loudspeaker in-wide-phase with the Room Polarity. This is the absolutely mandatory and this is VERY seldom done by audio peoples. Without your acoustic system (or at least the fundamental channels of your loudspeakers) operating in-wide-phase with your room to get an “interesting sound” is practically impossible (with some very seldom exceptions that I might cover in future)

So, the next my post in this thread will provide some practical guidance how to set your playback in-wide-phase (or as I call it “in-second-phase”) with your listening room.

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