Todellakin jos RTA on 0,2 luokkaa, puhutaan pehmustetusta kopista kuten esim. Pieskapovin tapauksessa. Normaaleissa asuintiloissa ei liene kohtuullista pyrkiä yhtä hyvään/kuolleeseen.
Dipolit kuulostaa dipoleilta vain, jos heijastuksia pääsee syntymään. Hyvän laaja-alaisesti vakiosuuntaavan dipolin juju on, että heijastuksilla on suht sama taajuusspektri kuin suoralla äänellä, mikä näkyy mm. decay vasteen tasaisuudessa. Voimakkaasti dempatussa tilassa heijastusten vähäisyys heikentää tuota efektiä.
Tässä Linkwitzin nykykäsitys aiheesta 2ch magic
http://www.linkwitzlab.com/The_Magic/The_Magic.htm#Heddle
Loudspeaker & Setup Requirements
For the magic to occur there are five requirements, which I have found to be essential:
1) The off-axis frequency response of the loudspeaker in the horizontal plane must mimic the on-axis response. The vertical polar response is not as critical but the formation of lobes should be avoided, i.e. the loudspeaker should be acoustically small. Such a loudspeaker has a neutral signature and its reflections and the reverberated sound field will have the spectral signature of the listening room. The polar pattern could be omni-directional, cardioid or dipolar with frequency independent power response. The omni pattern would produce the strongest interaction with the room and be the least desirable of the three.
2) The loudspeakers must be free of resonant radiation such as coming from vents or panels. Non-linear distortion must be low enough not to identify the speaker location during loud music passages. This demands adequate volume displacement capability of woofers and tweeters.
3) The loudspeakers must be set up at least 1 m distance from left and right side walls and 1 m from the wall behind them. The resulting time delay of about 6 ms is necessary for the ear-brain perceptual apparatus to separate direct from reflected sound streams. With neutral excitation of the room response, the listener can then withdraw attention from the room and process primarily the direct sound streams from the loudspeakers. This is similar to not hearing the ticking clock or to the cocktail party effect where attention and hearing is drawn to information streams of interest. Everything else is moved beyond the acoustic horizon as in survival mode.
4) The wall behind the loudspeakers is preferably diffusive and the wall behind the listener absorptive. The sound waves from the loudspeaker should be allowed to travel freely past the listener and not be reflected from a wall behind.
5)
The listening room should have a reverberation time around 450 ms, i.e. be neither acoustically dead nor overly live but comfortable for conversation and entertainment. If anything it should err in the direction of liveliness.