так а я и не против совсем того что написано постом выше.
Я к тому - что не только реверберация судя по всему влияет на субъективное восприятие глубины сцены.

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Кстати о ЛЕДЕ, часть концепции я так понимаю поглощение за Ас и рассеивание за слухачем?
Читая Ньюэла находил совсем другие рекомендациии - отражающая фронтальная стена....
Почему такое отличие кардинальное?

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Интересный метод расстановки, особенно для тех кто не измеряет:

Wilson Speaker Set Up


First, remove the spikes (if any) off the bottom of the speakers so they sit flat on the floor; you’re going to be doing a bit of sliding around. Move the speakers out of the way.

With your back flat against the wall behind the speaker, take steps forward putting one foot directly in front of the other and speak in a loud voice. What you are listening for is to hear the sound of your voice STOP coming off the wall behind you. If you have a very “live” room it may take you a few times to hear it, but you will hear it.

Once you’ve found that point, mark the position with a line of blue painters tape on the floor. Now, from that line you’re going to continue stepping forward, one foot directly in front of the other, speaking loudly, until you hear your voice coming off the back wall of the room. Make another line of blue tape on the floor.

Repeat this procedure with the side walls of the room. What you should wind up with are 2 blue tape “boxes” on the floor, usually about 3’ square and usually about 3’ out from the room boundaries.

Now you’re going to set the speakers in the center of each of the blue tape boxes. Viewing from your listening chair, toe the speakers in until you can see just a sliver of the inner facet of the cabinet. Take another piece of blue tape and run a line parallel to the side wall so that it touches the inner forward “point” of the cabinet and mark it in half inch increments with a magic marker or sharpie. Do this for each speaker.

Playing only one speaker at a time, play a piece of music with a strong constant bass line. Starting in 1 inch increments, slide the speaker back towards the wall behind it and listen for both quantity and quality of the bass line. You will hear one point where the speaker will “lock” with the room. When you find that point, you want to slide the speaker back an forth using the half inch increments until you fine tune the sound. You’ll be very surprised at how much of a difference even tiny increments make.

Once you’ve done this for both speakers, you’ve optimized the bass performance.

Now, take another similarly marked piece of blue tape and run it parallel to the wall behind the speaker at thefarthest rear “point” on the cabinet.

Again, playing one speaker at a time, play a piece of music with strong treble content. Good piano recordings work well for this. Slide the speaker in one inch increments toward the closest side wall. As with the bass, you’ll hear a point where the treble will “lock” with the room. Again, using the half inch increments, fine tune the treble.

Step back and view the speakers from the listening position; make fine adjustments so that only a thin sliver of the inner cabinet facet can be seen.

Now you can play both speakers. Take a well recorded vocal (Diana Krall, Joni Mitchell, Patricia Barber, etc.) and play a selected track. You should “see” a solid center image with the voice exactly centered between the speaker. If the image seems to be skewed to the right, push that speaker back in half inch increments until the sound lock into the center. Usually very little adjustment is needed here. If the image is skewed to the left, etc, etc.

Replace the spikes and you can now enjoy your very precisely set up and tuned speakers!

I recommend some big power orchestral music or a nice Grateful Dead soundboard tape