Bueller?View attachment 138288
View attachment 138289
Your thoughts? Please give me constructive ideas on what I can do. I am very much a newbie. Thank you.
Bueller?View attachment 138288
View attachment 138289
Your thoughts? Please give me constructive ideas on what I can do. I am very much a newbie. Thank you.
I want to use that on the PC but the company tells me the correction can only be used in a DAW.ARC3 gives me better results than MathAudio (or REW with Eq. APO, DRC-FIR with DRCDesigner and foobar2000 Convolver is unusable because of volume fluctuation):
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I just make a note that several of you seem to room-correct above Shroeder frequency. That will mess-up the first-arriived on-axis frequency response of the speaker.
Is it better to correct above schroeder if you listen off-axis? I have Elac dbr62 which are designed to be listened to off-axis (I have them straight forward)
A lot of it has to do with not trusting these systems to make the right decisions in terms of what to EQ and what not to EQ when given room/power response data, including all the small wiggles that our brains average out.Is it better to correct above schroeder if you listen off-axis? I have Elac dbr62 which are designed to be listened to off-axis (I have them straight forward)
I just make a note that several of you seem to room-correct above Shroeder frequency. That will mess-up the first-arriived on-axis frequency response of the speaker.
Generally no. Correcting above Shroeder should be done only if you correct for speaker response. Not speaker-room response.
I know you meant smooth and not flat, but to clarify for everyone else, flat in-room, from your listening seat a few meters from the speakers, is not the target. At least not above 2-3 kHz. To get a flat measurement all the way through the treble there often means the speaker itself is boosted above neutral. Note that is not the case if you are near field, which should measure much closer to flat without any EQ.Makes me think a flat REW plot has become the target, rather than balanced and appropriate sound.
As Toole suggests, one should adjust using equalization above the Schroeder frequency only based on anechoic data.
My own, without and with EQ, with adjustments only up to 300 Hz:
There are wiggles I can’t hear and my space minimizes the early reflections that would fit the Harman model. Speakers are Revel F12s.
Rick “EQ games” Denney
I know you meant smooth and not flat, but to clarify for everyone else, flat in-room, from your listening seat a few meters from the speakers, is not the target. At least not above 2-3 kHz. To get a flat measurement all the way through the treble there often means the speaker itself is boosted above neutral. Note that is not the case if you are near field, which should measure much closer to flat without any EQ.
You have a good starting point - now with a rise to the bass starting at 100-120 Hz or so and increasing about 6 dB to 20 Hz, you will have more balanced sound. The reason I don't extend the bass boost beyond 120 or so is to maintain clarity - you don't want those instruments and vocals to start sounding boomy or congested.
I'm not sure where the disagreement would be because that is also my understanding.With respect, I disagree. The downward spectral tilt is a byproduct of a flat speaker (and I do mean flat) in a typical room, where the bass is omnipresent but early reflections don’t see as much of the treble because of treble directivity. A room with relatively little early reflection (like mine, because of its shape) will provide more treble than listening positions more dominated by reflected sound.
Toole has said this a number of times. The downward tilt is a room effect, not an objective. It indicates an anechoically flat speaker in a typical room.
Whether people like more or less bass is a matter of preference. A preference model may or may not apply to an individual. As a tuba player, I have a specific notion of what I want bass to sound like.
Rick “who has checked this knowledge several times” Denney
The waves from each speaker create interference giving cancellations and the opposite. That is why especially the treble can show crazy deviations . Move the mic or one speaker 2cm and the plot can change dramatically. If you run random pink noise and plot RTA instead of Spectrum you avoid this.Stupid question from me: why do we measure L and R separately, rather than LR together? When I measure them both together (post-EQ), I get very different results than an average of the two. In particular, there are often large cancellations evident that I can only get rid of by smoothing the response even more.