That is not correct, EQ/DSP can influence these things. You can also control off-axis response, shift the soundfield up/down, left right and so on. It depends on your speakers how far you can go. If your speaker is a laser beam when it comes to dispersion, no amount of EQ/DSP is going to fix that.
Plenty of speakers out there with DSP and digital crossovers. They are much more common for high-end speakers (not necessarily price) and in the professional world. This isn't limited to DSP in the speaker as Merridian does it, it can also be an external box such as JBL, Wisdom and others.If you are able to spend time with toe of your speakers and they are in a reasonable position, I dont think the problem is big enough to need DSP, I agree some speaker have digital crossovers and are active but very few, 1% ?
DSP can correct/control many things such as dialog integrity, better positioning of objects, soundstage, etc. In the end you always have to look at the whole chain. Applying DSP settings in an external box, be it in a audio processor with decoding capabilities such as Lyngdorf, Trinnov and others or additional processors in the chain, for example Lake LM44, the end result is always a combination of all filters/settings applied... from the input right up to the driver in a speaker.But DSP cant IMO improve dynamics other than avoid phase issues, wont improve tonal accuracy unless there is a significant room aberration which would be better to fix and very doable above 200 Hz, and this would remove it at source, not alter digitally.
As I mentioned before how can you compare the different systems when there is an element of manual setup in some systems - who or how do you determine they have been adjusted to best effect to give a balanced comparison?It really would be good to have a direct comparison of systems. Putting Trinnov, Lyngdorf and Storm side by side would be great. It will be the preamp, processor and correction that would be compared but that’s fine as that’s what you’re buying
As I mentioned before how can you compare the different systems when there is an element of manual setup in some systems - who or how do you determine they have been adjusted to best effect to give a balanced comparison?
That surely will also happen with all systems because the brain is very poor at remembering exactly what an acoustic signature sounded like last time and at that point you cannot do an blind A/B/X comparison.
this is the difficult part......but then again, reading the Lyngdorf thread it now appears people are getting different results each time they do a calibration?!?
I’m not having a dig, but the point being, if RP is that good, why does it give different results from different calibrations? I experienced the same when I had an MP50.
Im not saying they produce bad calibrations, but they should be consistent. This is where the random mic positions will give different results I’m guessing.
If there was a way of swapping quickly enough between the top processors after they have been set up that would provide a great comparison day which would include the benefits of the different room correction
I'm hoping to get an MP-40 for testing.
Hope someone can help with an odd question
My listening area is part of an open layout towards the dining area / kitchen. Not all that unusual I suppose. Meaning there is no immediate wall behind the rear surround speakers. Both areas taken into account is of a rectangular shape where the listening area takes up about 50% of the total space.
In order to get the most out of RoomPerfect what would be the recommended procedure for the random part of the microphone placement in this particular case? Like... how far back towards the dining area / kitchen should I measure? Or should I remain with the microphone within the listening area of the speakers themselves only?
Any input is much appreciated!
With RoomPerfect you need to take room measurements mostly around the seating area but with the mic at different heights, firing in different directions. You should always have a clear line of site from the mic to the front speakers. Keep the mic 50cm away from walls, floor and the ceiling and all the speakers. Keep it at least 2m from the front speakers.
I have had clients measure behind their speakers and in all sorts of strange places which has led to poor results from RoomPerfect. If in doubt do a rough sketch of the room and show where the mic will be placed and I’m happy to give my suggestions.
I have never had a bad result with RoomPerfect if you follow these guidelines. If you have, something has been done incorrectly, so please get in touch.
What are your ears telling you?Question for all you learned people here, I have been reading up in this and the Audyssey thread and I am confused! I use RP on 2170 for Front L&R and Sub. Should I turn Audyssey off on the SR7013 (it does Center, Surrounds and Atmos speakers) or just select L/R Bypass option? Do the two EQ systems play nice together or can they conflict?