To Indus ~ The reason I didn't initially use a set of random measurement positions is simply that, somehow or other, I failed to read that part of the manual, so the reason for unsatisfactory results is entirely mine. When I did do the set-up properly, the results were much better, if not absolutely right. But, as reported, it didn't last. The following morning, it was if the room correction had all but evaporated (hardly what you need with a pair of Lyngdorf W210 sub's), which led me to concur with Gecko's diagnosis that the unit must be faulty.
Gecko did ask whether or not this unit has the latest firmware installed (what, I wonder, is firmware, as opposed to software?) but, as this unit doesn't have the long lead to connect it to a PC, I wasn't able to check.
Your observations about the additional/alternative voicing filters are interesting and I'd already concluded that Neutral is the best setting. All the others sound manipulated in one way or another, even though they may do something beneficial in isolation such as smoothing off some top end edginess.
As for constantly fiddling from recording to recording trying to compensate, I went through seven years of that with the TacT RCS which, as you may know, incorporates a 12 band parametric equaliser. You can choose exactly at which 12 frequencies you set each eq. point, the width of eq. (in terms of ocatave spread) and then boost or attenuate at each of those frequency points by up to +/- 10Db in 0.1Db increments, as Peter Lyngdorf himself used to be forever doing at TacT show dem's. For that reason, I imagine, Lyngdorf (the company) decided very definitely not to include such a facility in their own RC products.
Apart from there being very few Lyngdorf dealers in the first place (interestingly, Sevenoaks Hi-Fi at certain locations appears to be amongst them), only one (to my knowledge) actually stocks the RP-1 (Audio Destination in Tiverton) and whether they'd be prepared to lend me one is moot. It took my local dealer (who's not a Lyngdorf dealer) 6 months to get hold of what appears to be Gecko's one and only loan unit (it seems to have spent an extended period on loan to someone in Madrid) and, when it finally arrived, both the RCH and a key part of the mic stand were missing, though Gecko mailed the RCH a few weeks later.
Gecko admit that the RP-1 hasn't been much of a seller (I don't know about the DPA-1, though Audio Destination are advertising their stock unit at £2,500), which is why they virtually never crop up on the used/ex-dem market. Choice Hi-Fi briefly had one for £1,200 (I believe the owner upgraded to a DPA-1) but that went very quickly, well before I went looking for one.
That aside, my preference for an RP-1 as opposed to a DPA-1 stems from the fact that my ambition is for an all Bryston (& PMC) system as a benchmark, so I can hear exactly what the insertion of RoomPerfect is doing and, if I don't like it for some reason or other, I won't be stuck without a D:AC and pre-amp. At the moment, I'm back with the system as it was sans RP-1, in 2 channel mode and, although the bass isn't as crisp and authoritative as I might wish it to be (for all its other failings, the TacT certainly got things right in that department), it's acceptable and I can still listen to music.
I'm still hopeful that the RP-1 will deliver what's been reported in all the reviews I've read and I agree that it's a shame that the less than satisfactory performances of most of the early RC systems have perhaps compromised the market place for the good ones. Dealer apathy has also played a part (an earlier post suggests that a surprisingly large number of people who work in hi-fi shops aren't actually much into hi-fi ~ they're just box shifters), whilst I imagine that very few prospective purchasers are likely to be wowed by the benefits of RC by anything other than a home trial. That means the dealer will probably need to spend an hour or two installing the unit and setting it up, probably of an evening, as well as travelling to do so. And, on top of all that, for a unit that isn't a core system component (source/amp/speakers) and which does only one thing (albeit, for some people, a potentially very valuable thing) the RP-1 is hardly inexpensive at £2,800. Even I've wondered why it costs £2,800 instead of, say, £1,800, given that the DPA-1 is only about £3,600. And you can't really (effectively) dem RC at shows either because the fundamental acoustics of the dem room vary significantly according to how many people are in there at any give time. If the demonstrator says to his audience "And this is how the system sounds without RC....", there's bound to be the suspicion that the system doesn't sound very good to begin with and that it has to have RC to sound half decent.
Plus, of course, with more and more people these days opting for all-singing, all-dancing home theatre receivers that do 2 channel, 2+2, 5.1 or 7.1 with RC (most commonly the Audyssey system, I believe) built in, all for upwards of not much more than a grand, it's not hard to see why the market for something like the RP-1 is pretty rareified. Also, you can download RC programs off the InterNet for very little money.
My dealer's just called round to collect the unit and, somewhat to my surprise, he considers that it compromises transparency, despite admitting to having been as surprised as I've been that it improves the midrange. If I can get one that does what it's supposed to in the bass as well as what it does in the midrange, it'll be a dead cert buy.
But, for now, I shall just have to wait to see what Gecko come back with after the unit's been returned to Denmark for investigation. I just hope they don't report back that it's functioning perfectly and that they've been able to find nothing wrong with it. Ho, hum.