JohnB wrote: 
> I've dipped into this conversation from time to time and thought I would
> comment on this.
> 
> That characterization of Digital Room Correction (if that is what you
> were referring to) is extremely misleading. Of course, it won't appeal
> to everyone but it can make a real and very worthwhile difference. 
> 
> The aim has nothing at all to do with anechoic chambers or impressing
> visitors - but to better represent the music in less than ideal rooms
> with domestic constraints. But the how the correction filters are
> generated is absolutely critical to the outcome and can make the
> difference between something pretty bad and a result that is a great
> enhancement and a pleasure to listen to. As a very narrow example, if
> you take Acourate (a well regarded program used to generate correction
> filters) it aims not to take into account room reflections by (as a
> default) only using the first 15ms of the scanned sound in its
> calculations. Some people find benefits in reducing this further to,
> say, 8ms. No attempt to create an anechoic chamber effect there. The aim
> is to improve the smoothness of the perceived frequency and phase
> response in a wholly beneficial way and there are  very real benefits,
> especially in the bass and lower mid areas which can be notoriously and
> frustratingly "lumpy".
> 
> (I use the InguzDRC plugin with correction filters generated by
> Acourate.)


Hi John!

The problem with our different takes on this issue is the difficulty in
experimentally distinguishing between our opposed viewpoints.

Your room correction will undoubtedly change the soundscape in your
room. However you yourself concede that if it is not done correctly, it
can make matters worse rather than better. OTOH, you believe that it can
make your listening experience more enjoyable when done correctly.

My retort is the obvious one that whilst you may hear a short-term
improvement, over time your brain will simply adjust to its new
listening environment (which will *-measure-* better using microphones &
meters) but will ultimately end up sounding the same through your ears.

If you can dream up an experimental way of testing between these
different conjectures, then all I can say is that you have missed your
true vocation as an experimental physicist. Otherwise, we shall have to
(politely & respectfully, of course) agree to differ since neither case
is provable.

I do intend to install a couple of bass traps to reduce the massive
modal resonance of my square concrete box of a listening room (Concrete
floor + beam & concrete ceiling which is the floor for the tenant above)
in order to partially eliminate the modal resonance between the floor &
ceiling which are less than 8' apart, both for my own benefit & that of
my long-suffering fellow inmates.  :D

I also intend to get my subwoofers up off the floor in an attempt to
acoustically decouple them from the floor.

I'm not opposed to DSP in principle - it is used to great effect in my
pair of PV1 subwoofers (which have opposed 8" aluminium mica long-throw
drivers in a sealed enclosure driven by a beefy 500W Class D amplifier
each, a lot of this power is used to increase the LF extension to
splendid effect.

It's simply that having listened to my system from the same location for
8 years now, I appear to be oblivious to the various minor room
resonances. When I listened to a "sweep test" on an audio test CD all I
heard was a series of constant pitch tones of progressively decreasing
frequency, *-all at exactly the same amplitude-*, at least for practical
purposes, except for the lowest tone which sounded about twice as loud,
corresponding I presume to the dreaded standing wave resonance between
my solid floor & ceiling. Which I think illustrates my point: I am sure
that my room would not register a flat acoustic if measured with test
equipment.

Dave  :cool:


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