Follow-Up with Umik-1 Measurements
I revisited the Wiim RC measurements using a
iPad Mini (borrowed from a friend) in combination with an
Umik-1 microphone The measurement procedure remained the same as before, relying on the
REW MMM (Moving Microphone Method) to capture averaged in-room responses.
From
Figure 1, it is clear that
Wiim RC (20–300 Hz) (purple) closely aligns with
REW MMM (20–300 Hz) (orange) when using the Umik-1. This suggests that the Wiim RC algorithm is highly effective for low-frequency correction without calibration file.
By contrast, in
Figure 2, the
Wiim RC (20–20 kHz) (blue) introduces significant discrepancies at higher frequencies—most likely because the Wiim software cannot apply a calibration file for the Umik-1, leading to less accurate results above the midrange.
- Green = Uncorrected
- Purple = Wiim RC (20–300 Hz)
- Blue = Wiim RC (20–20 kHz)
- Orange = REW MMM (20–300 Hz)
- Red = Harman target curve
View attachment 420289
Conclusion: When
Wiim RC is limited to
20–300 Hz and measured with a
Umik-1, the outcome is very similar to
REW MMM. This indicates Wiim’s room correction can be excellent, as long as the software has accurate measurement data and is restricted to the problem frequencies below ~300 Hz. When Wiim adds support for custom calibration file, the RC solution could become even more robust across the entire bandwidth.
One additional point worth noting is how consistently both
Wiim RC (20–300 Hz) and
REW MMM (20–300 Hz)maintain a smoother transition between sub-bass and mid-bass. If you look at the
70–150 Hz region, both curves follow a very similar contour, suggesting the algorithms effectively target the same modal peaks without producing any abrupt dips. By contrast, the
full-range Wiim RC (20–20 kHz) shows more variability above 300 Hz, which highlights the importance of limiting correction to where it’s really needed—primarily below about 300 Hz in most rooms.
Another interesting observation is how the
uncorrected response (green) may already be fairly balanced in parts of the midrange and treble, indicating that the LS60’s native design is solid beyond the low-frequency room interactions. The upshot is that if your speaker is already well-engineered (like the LS60), you usually won’t need significant mid or high-frequency adjustment, reinforcing the idea that limiting the correction range can yield the best overall result.