The ultimate room 💫

 

I have been to hundreds of dedicated audio rooms, and this is, by far, the most elaborate listening room ever constructed on earth. John has a long-running thread on the WBF forum, and unlike most people in this hobby, he has amassed a genuinely significant body of technical knowledge. He actually knows what he is talking about. More importantly, there is always a technical rationale behind why he believes something should sound a certain way, and that target is ultimately accuracy, namely how the recording was originally intended to be presented. His level of dedication is extraordinary.

To make a very long story short, the room itself is isolated and mechanically decoupled from the surrounding structure. The walls incorporate suspended solid steel plates, roughly one inch thick, hung using layers of rubber, foam, and additional acoustic materials. The floor is anchored directly to the foundation, except for the seating area, which is itself isolated and suspended independently from the rest of the structure.

The diffusers you see, nearly one to one-and-a-half feet thick, were custom made by YONO from this group according to John’s specifications. The ceiling diffusers are solid mahogany, built in a repetitive but deliberately non-random pattern.

Power delivery is equally obsessive. Electricity enters through a direct uninterrupted run of custom-made 3.5 AWG copper wiring. The phase panel itself looks like jewelry. The incoming supply is 400V three-phase, stepped down to 230V according to code. Absolutely nothing is left to chance. Everything is calculated, custom fabricated, and backed by an absurd amount of theory, research, and experimentation.

Now, I come from a very different philosophy.

I am a visceral, almost pagan, carnal kind of audiophile. I place enormous emphasis on subjectivity. I want to feel the music. Texture, immersion, spatiality, emotional impact, that is what matters to me. Unlike most people, I know exactly what I like, and over time I have developed an internal measuring stick that subconsciously evaluates tonal balance, spatial accuracy, frequency extension, texture, and visceral physicality.

That is also why I am generally not a fan of “most” treated rooms.

After visiting hundreds of systems around the world, I have found shockingly little correlation between money spent, elaborate absorption panels, diffusion schemes, and actual sonic results. Most people frankly have no idea what the hell they are talking about, and very few possess genuinely good ears. “David Chans” are exceedingly rare.

David, needless to say, has played a major role in my sonic journey, and I also follow many of Ivan Li’s principles, which I wrote about here: https://pt.audio/2025/01/05/modified-room-coupling-method-for-speaker-positioning/

For me, speaker positioning is ultimately done by ear. John approaches it from a far more calculated, theory-driven perspective.

But the proof is in the pudding.

And yes, he absolutely has the goods to back it up.

When you first walk into the room, it almost feels like an anechoic chamber. You can practically hear your own heartbeat. The moment I experienced that sensation, my immediate reaction was, “Good grief. Another dead-sounding recording studio.” Experience has taught me that people who over-treat rooms usually end up with rolled-off highs, muffled presentation, and muddy bass.

That was exactly what I expected.

But that was not what John had built.

For the first time in my life, I encountered a room that was extraordinarily damped, yet somehow not muffled. The highs were not rolled off. Instead, there was ambiance, extension, clarity, and openness. It completely contradicted every previous experience I have had with heavily treated spaces.

The tonal balance was exceptional. There was no obvious recession or exaggeration anywhere across the frequency spectrum. The spatial precision and soundstage expansiveness were simply the best I have ever heard.

On familiar reference tracks, the usual suspects such as Rosa Fra Bethelem, Kalimando, Tannhäuser, and others, I heard layers of information I had never previously detected on any system.

Tonality was superb. Balanced, natural, and convincingly accurate.

The presentation was smooth and utterly grain-free, without edge or sibilance, yet still possessed clarity, extension, and realism.

Complaints?

Yes, of course.

The bass is not what I am personally accustomed to. On something like Carmina Burana, if David’s system delivers bass impact at a 10/10 level, this would sit closer to a 7/10. Instead of that gigantic, larger-than-life “OH MY GOD” slam, the bass here is tighter and more restrained, more of a controlled thud than an overwhelming physical assault. I suspect the diffusers and steel plate construction contribute significantly to bass dissipation.   This is a tuneful bass, more accurate, with clarity, but less viceral.

But honestly, in the grand spectrum of what this room accomplishes, that is just nitpicking a relatively minor issue. You are hearing so much new information, so much spatial and tonal truth, that you almost forget to care about the missing excess.

Also, I feel more honest when I can point to at least one thing to nitpick.   Otherwise, you would think I’m just shamelessly ass-kissing.     

This is just the beginning of the journey, he has KICK ASS equipment coming in so I will go back to hear a lot more good shit !!  His own equipment has not even arrived; most of the stuff is borrowed, so this will only get better!

Thanks to Richard H. Mak for the above: your level of introspection and proper lingo is awesome, Richard.

I guess this very review could represent a benchmark in audio and music accuracy agenda.

Kudos.