{"id":27740,"date":"2021-03-15T21:32:10","date_gmt":"2021-03-15T19:32:10","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=27740"},"modified":"2021-03-19T10:50:05","modified_gmt":"2021-03-19T08:50:05","slug":"r-t-f-s-ceiling-vane-and-carreau","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/accessories-reviews\/r-t-f-s-ceiling-vane-and-carreau\/","title":{"rendered":"R.T.F.S. Ceiling Vane and Carreau"},"content":{"rendered":"

Review samples supplied by R.T.F.S.<\/a>
\nRetail price in the NL including 21% VAT:
\nCeiling Vane\/Deckensegel: 425 Euro per unit
\nCarreau: 89.90 Euro per unit<\/h4>\n

For all their different types of products, R.T.F.S. has clearly articulated intended applications, aimed to address the most common situations. However, with the bass build-up in the front left corner, bass cancellation in the front right corner, and an open hallway and kitchen area on the left side, my room deviates from the ideal quite severely. And I must admit to having struggled with it for a very long time. Adding to this, the Martin Logan loudspeakers radiate sound as much to the rear as to the front and, despite their curved panels, are quite beamy. And so, this situation called for solutions that deviate somewhat from the manufacturer’s intended application, as detailed in part two of the SiRRAH review<\/a>. But, to be clear, my non-standard applications do not change the fact that the R.T.F.S. products have proven to be extremely effective.<\/p>\n

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After the results as described in the previous R.T.F.S. review, the six SiRRAHs are still in the same positions (to address reflections). The four Big Blocks are also still in use (to address various room modes) but in different positions. This followed the discovery that all the glass panels of the right side wall had a 40Hz resonance frequency that was returned to the room with a delay, causing the right-hand speaker to be nulled at various low frequencies. After dividing up the glass panels using glued-on horizontal wooden crossbars to stiffen them and break up their resonance frequency, it became clear that the Big Blocks were both needed in the right-hand corner sections of the room. While the stiffening of the glass wall had shortened the amplitude of the resonance in the bass, the Big Blocks further reduced the gain and shortened the decay to make for a superb combined effect.<\/p>\n

Following this, I moved all my media (24 CD racks and a big LP cabinet) to the listening area to address the resonance of the left-hand gypsum block wall, reduce corner bass build-up, and used some of the racks on the front wall in conjunction with the two SiRRAHs to manage reflections and balance out the liveliness of the room.<\/p>\n

With the urgent issues of the main listening area under control, it was now time to look at the biggest surface of the room, that had gotten the least amount of attention: the ceiling.<\/p>\n

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Ceiling Vane<\/h3>\n

The 100 x 100 x 10cm Ceiling Vanes are designed to be affixed to the ceiling in the first reflection point between the speakers’ position and the listening position. When untreated, such reflections can reduce the soundstage precision and articulation of vocals as a result of comb filter effects. While the panels have quite a broadband effect, the special variation of the BreaCoat coating prevents overdamping of the high frequencies in the room. In addition, these panels can be ordered fitted with LED lighting and cleverly integrated into a room’s lighting design and thus can offer a substantial improvement in sound while attributing to a room’s visual appearance.<\/p>\n

The manufacturer indicated that many customers use only the Ceiling Vanes with no other absorbers in the room because they can be installed so relatively invisibly. With this in mind, the panels have been made to be as effective as possible. One way in which this is achieved is by not using a frame, meaning that the sides also attribute to the absorptive surface.<\/p>\n

This way, a 1×1-meter ceiling vane is 1,4 times as effective as a similarly-sized absorber with a wooden or metal frame.<\/p>\n

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The fixation of acoustic panels is often an afterthought. It doesn’t usually entail more than tabs or screw-hooks but the R.T.F.S. panels are different. As with the SiRRAHs, the Ceiling Vanes attach magnetically. In this case, glued to the panel are five smaller square hard-foam panels into which large metal plates are screwed. These attach to five extremely strong Neodymium magnets that are screwed in the wall or ceiling. Because the magnets are very small and the metal plates much larger, the hole-drilling procedure does not require very high precision. And thanks to their low weight of under two kilograms, the panels are very easy to apply and they can just as easily be repositioned and aligned precisely.<\/p>\n

<\/p>\n

First Application<\/h3>\n

The first location where I tried the Ceiling Vanes is above the loudspeakers where I previously used GiK 422 broadband bass traps. While the GiKs did reduce the vertical room mode that resulted in too much reverberance in the upper bass that created a hollow\/nasal upper bass, these panels also dampened the overall liveliness of the sound and dulled the treble significantly. While this was no issue with the Wilson Watt\/Puppy 8’s as these speakers are plenty spicy and lively, with the very well-behaved Magico S1 mk2’s, this proved too much. As a result, I removed the panels some time ago and have thus far preferred slightly too much midbass to an overdamped overall performance.<\/p>\n

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In order to avoid having to drill new holes in the ceiling, I used wooden extensions for four of the five connection plates, see photo below. While the panels are held up securely, due to leaving the center point unfixed, they bulge a bit in the middle. Normally, the panels hang absolutely flatly.<\/p>\n

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Here’s a tip to get the neatest result. Because the Spack (structure paint) layer on the ceiling is not 100% flat, it’s best to not screw the magnets into the ceiling too tightly. In my case, this resulted in the panels bending in some places. By untightening the screws just half a turn, the magnet will be free to auto-level with the mounting plate, resulting in a beautifully flat panel.<\/p>\n

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With the panels in place and without any music playing, I already noticed when humming that the ambiance was different- calmer, and less reverberant. For a major part of my professional career, I have worked in audio and video editing suites, sound recording studios, and VO booths, and all these spaces were overdamped. While that may have been ideal for those purposes, the goal for the home is to obtain a good balance between damping and liveliness. If this first impression is anything to go by then the Ceiling Vanes do indeed go some way toward preventing overdamping.<\/p>\n

Listening<\/h3>\n

Listening to the same 5-track playlist as I used just 2 minutes prior to attaching the panels (thanks to the magnetic fixation!), the results simply can’t be argued with. Even though the panels are above the speakers and not in the first reflection points, it’s clear that the panels are extremely effective in these positions. Without the panels, the hard laminate floor (with no carpet at that position) and concrete ceiling interact audibly and the panels balance this out entirely.<\/p>\n

At this point, it also became clear that while the Ceiling Vanes provide a high degree of damping, they do indeed also allow a moderate amount of reflection. You don’t get the overwhelming dulling that I got when using broadband bass traps such as the GiK 422’s.<\/p>\n

With the Ceiling Vane panels in place, several things happen. First, the recorded ambiance becomes clearer, wrapping more around me. I know it seems illogical but I have repeated the comparison and this is really what happens. Further, a hard coloration in the upper bass \/ lower midrange (floor-ceiling resonance) is removed. This is an aspect that might require some getting used to as it also makes the sound a little calmer and less bright. However, it does not reduce the slam or dynamics. If anything, sudden sounds have more impact due to the more silent background. What happens, in reality, is that one gets used to a certain amount of room-induced liveliness that one may prefer but which could also be considered unnatural. The third aspect that I notice with the use of the Ceiling Vanes is more accurate bass. Even though the panels are not strictly speaking bass traps, they do clean up the upper bass resulting in clearer pitch definition and better articulation.<\/p>\n

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As mentioned, the intended location for the Ceiling Vanes is not how I used them now, but in the first reflection points on the ceiling. In my case, however, I have a strong feeling that this might not be the ideal location for my particular situation. My reasoning is as follows. The equipment area of my listening room contains no carpeting and, aside from two SiRRAH panels, no other damping materials. As a result, the panels integrate well in that area. Conversely, the seating area of the room contains very large sofas with thick cushions and a large and thick wool rug. Experiments with removing the rug showed that it provided a significant amount of damping – slightly too much, actually. But I like the aesthetics and comfort of the rug and it did prove essential in keeping the floor reflections in check. Together, the rug and the sofas already provide more than enough damping. Additionally, the ceiling is quite high for an apartment – 260cm. At around 100cm, the speakers’ tweeters are located much closer to the floor than they are to the ceiling, meaning that reflections from the floor are more prominent and these have already been addressed. Lastly, the speakers are positioned pretty much halfway into the room and relatively close to the listening position, further reducing the potential benefits.<\/p>\n

All things considered, I opted not to drill 10 more holes in the ceiling (and will remain visible afterward) just to try it out. If and when I change speakers this may change and in that case, I will update this article. For now, I decided to proceed to another section of the apartment where I already knew that the panels’ blessings would be much more urgently needed.<\/p>\n

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Second Application<\/h3>\n

Adjacent to the listening room is a large kitchen area that doubles as my workplace where I have the computer desk. As such, I spend copious amounts of time in this room. With near-identical distances between the floor and ceiling and the two side walls and with no damping materials whatsoever, this area has always been overly lively. Throughout the area, there are several resonances (multiple modes across the frequency band) with a particularly annoying 200Hz peak above the table and computer desk. This is not only noticeable when talking with guests at the dining table but also when I’m all alone and humming along with the music.<\/p>\n

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I used a crossline laser in combination with a tape measure and a laser distance meter to find the correct distances.<\/em><\/p>\n

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Not only does this area have bad acoustics when you are in it, but the area is also situated such that sound from the speakers from the listening area is captured and reflected between the two side walls. One might assume that these reflections simply die out but they are actually audible from the listening position as a small amount of fluttery reverberance coming from the left-hand side.<\/p>\n

In the context of a non-treated room, one might judge this as a side-issue. But because the right-hand side of the room has been carefully treated using two stacks of R.T.F.S. Big Blocks and the rest of the room is so well-balanced, this reverberance becomes even more distracting.<\/p>\n

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Listening<\/h3>\n

With the addition of only two Ceiling Vanes, the sound quality in this room improved immensely. Not only are all of the resonances entirely gone, but it’s also as if the desk got thicker and I changed keyboards. Rather than sounding clickety-clackety, it sounds like a brand new and better keyboard. Visitors also noticed it immediately by their voices sounding more pleasant and more natural.<\/p>\n

More pertinent to this review, perhaps, in addition to fixing the in-room issues in this area, the Ceiling Vanes also greatly reduced the reverberance issue when listening to music in the main room.<\/p>\n

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<\/p>\n

Third Application<\/h3>\n

While they are intended to be used on the ceiling, I found that the Ceiling Vanes are also highly effective on sidewalls, and I think the panel looks great there, too!<\/p>\n

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Since the sidewalls have a flat finish (no Spack layer as on the ceiling), I have no problems drilling holes just for trying locations since it is easy to fix the wall invisibly using plaster and some paint.<\/p>\n

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Five of these tiny buttons keep the panel securely in place whilst allowing easy alignment.<\/em><\/p>\n

With two panels on the ceiling, the addition of a third panel on the sidewall (right before the opposite wall ends) addressed the last remaining bit of hollowness in this area. Additionally, it removed the last remaining smidgeon of left-hand area reverberance when listening to music in the main room, making for an even more even-handed and balanced soundstage. To be fair, while the effect on the sound in the kitchen area was very large, the effect of this on the sound in the listening room was relatively small. But in the context of all the treatments that were already done, this cherry on the pie was certainly worthwhile.<\/p>\n

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Attaching the panel to the ceiling next to the other two is another option but one that I have not yet pursued. As a rule of thumb and in case of an otherwise untreated area of this size, I would advise treating at least one wall with one or two panels, and depending on the room shape, that could be the ceiling or a sidewall.<\/p>\n

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Carreau<\/h3>\n

Regular readers will have noticed the Carreau experiment that I slipped in the first part of the SiRRAH review<\/a> that was done at audio buddy Jeroen’s place where I substituted a SiRRAH for a Carreau and noticed obvious differences. While the Carreau was not the ideal panel to use in that position it did a fine job of highlighting the SiRRAH’s additional value.<\/p>\n

A couple of days ago, I finally got around to using the Carreau in the very position that it is designed for: on the sidewall, to absorb first reflections.<\/p>\n

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Carreau is available in a range of colors and motifs, even with calligraphy and white gold or 24-carat gold application.<\/p>\n

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With no designated use for the Carreau in my main listening area, we’re changing location to the secondary system. Here, the system is located rather asymmetrically with the right speaker standing freely and the left speaker near a wall. There is a room mode in the left front- and rear corners but, for a change, this mode is actually beneficial. Instead of creating an annoying hump, it extends the Xavian Perla Esclusiva speakers’ limited bass range without any noticeable bumps. To be fair, when using larger speakers that extend deeper, the room mode does change from beneficial to overwhelming and if I would ever change speakers then some Big Blocks might be in order.<\/p>\n

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Keep in mind that a mirror flat on the wall will have an offset reflection. I found it easiest to simply position the mirror in front of the panel to counteract this.<\/p>\n

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To find the ideal positioning spot, simply use a mirror and move it backward and forward until you see the speaker baffle reflected in the middle of it. Then move sideways on the listening seat to make sure that the outer extreme positions are also covered. Thanks to the magnetic fixation, leveling the panel is super-easy and this can always be re-adjusted later.<\/p>\n

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The Carreau is fixed to the wall precisely as the SiRRAHs are, using self-adhesive metal-impregnated foil. As I learned from experimenting with the SiRRAHs, the temporary affixation of the foils using paint masking tape actually holds very strongly while retaining the self-adhesive layer for use once the final position has been found. About half a year later, the tape still holds and seems strong enough to keep holding indefinitely. So, as long as you’re not sure of the ideal or final position, just leave the paint masking tape in place safe in the knowledge that the panels will stay put.<\/p>\n

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Listening<\/h3>\n

The audible result of the single Carreau on the wall is unmistakable and entirely beneficial. I think it looks nice, too, but that’s only a bonus. What the panel does for the sound is to render the wall onto which it is placed audibly invisible. It does this by absorbing most of the direct reflections whilst leaving no sonic impact otherwise. An added bonus is that the panel not only works as a midrange\/high-frequency absorber while allowing a moderate amount of controlled high-frequency reflection, it also works as a bass trap and in that last capacity, but it is also way more effective than one might assume.<\/p>\n

With the focus having become clearer, the stability of the soundstage improved, and the bass having become more even-handed, this has to be one of the simplest yet most effective upgrades that one can do for a given system.<\/p>\n

Conclusion<\/h2>\n

Room Acoustics are not an easy subject and there is no “one size fits all” solution. It takes knowledge and even then it remains a balancing act. But if there’s one thing that has become clear during my time with various R.T.F.S. products, it’s that they have proven to be extremely effective. More effective than other foam or wool solutions that I have tried. Additionally, R.T.F.S. products are smartly designed and precision-made, and, contrary to many competitors’ products, they are aesthetically pleasing. Lastly and importantly, key R.T.F.S. products such as SiRRAH, Carreau, and Ceiling Vanes use coatings that are specially formulated to allow diffusion and absorption without overly dulling the ambiance.<\/p>\n

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External Links<\/h3>\n

AcousticMatters website:\u00a0AcousticMatters<\/a>
\nR.T.F.S manufacturer’s website:\u00a0R.T.F.S.de<\/a>
\nDealer for the Netherlands: ListeningMatters<\/a><\/p>\n

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