What Exactly is "Soundstage"?
In the US (birthplace of hi-fi), two terms relate: "Sound Field" & "Sound Stage". "Sound Stage" describes the physical arrangement (width/depth/height) of instruments on stage—a 3D space concept. "Soundstage" refers to this "Sound Stage" reproduction. Direct translation ("Sound Stage" → "Stage of Sound") lacks clarity. "Sound Field" corresponds to "spatial perception".
"Shape of the Soundstage"
Means how your system recreates the instrument layout. Uneven frequency response and speaker directivity cause deviations from the original recording. Some stages are inherently rectangular; systems may render them convex/concave. Note: Live orchestras are wider than deep; studio recordings often deepen stage (e.g., placing drums farther back) for effect—different from concert halls.
"Position of the Soundstage"
Includes front/back/height placement. Poor setups may float mid-air or feel like balcony seating. Causes: Speaker placement, FR irregularities. Ideal stage: Double basses/cellos sound low; violins higher; brass at/below violin height. Overall height should be slightly below eye level when seated—violins above sightline, basses below. Depth starts behind speakers. Avoid excessive depth ("reaching across the street").
"Width of the Soundstage"
Good systems extend beyond speakers—sometimes "through side walls". Pop/rock may place instruments outside speakers; classical expands beyond speaker separation. True width exists within room boundaries only.
"Depth of the Soundstage"
Distance between front-most (e.g., violins) and rear-most instruments (e.g., kick drum/timpani). Not to be confused with "layering" or "imaging". Excess bass can pull drums forward, shrinking depth. Conversely, apparent depth may result from a recessed stage—not true depth. True depth is measured violin-to-drum distance.
"Shape of the Soundstage"
Means how your system recreates the instrument layout. Uneven frequency response and speaker directivity cause deviations from the original recording. Some stages are inherently rectangular; systems may render them convex/concave. Note: Live orchestras are wider than deep; studio recordings often deepen stage (e.g., placing drums farther back) for effect—different from concert halls.
"Position of the Soundstage"
Includes front/back/height placement. Poor setups may float mid-air or feel like balcony seating. Causes: Speaker placement, FR irregularities. Ideal stage: Double basses/cellos sound low; violins higher; brass at/below violin height. Overall height should be slightly below eye level when seated—violins above sightline, basses below. Depth starts behind speakers. Avoid excessive depth ("reaching across the street").
"Width of the Soundstage"
Good systems extend beyond speakers—sometimes "through side walls". Pop/rock may place instruments outside speakers; classical expands beyond speaker separation. True width exists within room boundaries only.
"Depth of the Soundstage"
Distance between front-most (e.g., violins) and rear-most instruments (e.g., kick drum/timpani). Not to be confused with "layering" or "imaging". Excess bass can pull drums forward, shrinking depth. Conversely, apparent depth may result from a recessed stage—not true depth. True depth is measured violin-to-drum distance.