Speaker placement in control room

Monitors and speaker configuration in recording studio

Speaker placement and: The 38% Rule from Wes Lachot
“Several years back Wes Lachot (a very nice and gentle guy) came with a rule of thumb to define a distance from the front wall of a control room, in order to minimize x-axis (length) disturbances of the length axial modes.”

JBL: Sound System Design Reference Manual
“Sound System Design Reference Manual. Preface to the 1999 Edition: This third edition of JBL Professional’s Sound System Design Reference Manual is…”

Listening conditions for the assessment of sound programme material
“The European Broadcasting Union is the largest association of national broadcasters in the world. “

A Survey Study of Today’s Monitoring Conditions
“When speakers are put in a room all sorts of acoustical interactions occur. The criteria that define the performance and quality of a speaker are completely different from those defining the acoustical behavior of a room and both must be taken into consideration when setting up speakers.”

Survey Study Of In-Situ Stereo
“The in-situ responses of a total of 372 loudspeakers in 164 professional monitoring rooms around the world have been measured after acoustical calibration. All measured rooms have been equipped with factory calibrated three way monitors and acoustically calibrated with standardized apparatus.”

GENELEC: Flush Mounting to Wall
Flush Mounting to Wall:

flush-mounting minimizes diffractions
eliminates back wall reflection
boosts speaker output
removes the front baffle effect
low frequency room resonances need to be attenuated

Master Handbook of Acoustics, Alton Everest: 4th ed., Chapter 25, page 491 wrote:
Speaker-Boundary Interference Response:

The next type of acoustic distortion is due to the coherent interference between the direct sound of a loudspeaker and the reflections from the room. It is called the speaker-boundary interference response, or SBIR. The room’s boundaries surrounding the loudspeaker mirror the loudspeaker forming virtual images. When these virtual loudspeakers (reflections) combine with the direct sound, they can either enhance or cancel it to varying degrees depending on the amplitude and phase relationship between the reflection and the direct sound at the listening position.