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My research has led me the conclusion that there are a number of basic functional elements that ALL room correction devices should possess. These conclusions derive from a room acoustics viewpoint rather than a sound quality perspective. It is interesting that there are many devices on the market that do not meet these two basic criteria...
When a measurement microphone is placed at the listening position(s) and the source is a reasonable distance away (e.g. 8ft) what we see on a frequency response chart above around 300Hz (the transition frequency) is a combination of the direct sound from the speakers and the reflected sound from the surfaces of our room. The contribution of the reflected sound from the room to the measured frequency response can be as much as 60%. The measured response, as seen on the chart, is often termed the ‘power response’ of our speakers. The shape of the line normally ‘droops’ towards high frequencies; this is due to the increasing directivity of our tweeters as 20kHz is approached.
Each line on the graph represents a measurement at a different angle off axis. The chart shows 0,30,60 and 90 degree off-axis measurements. The red line is an estimation of the 'power response', or what the listener hears. These speakers maintain very good off axis response through 75 degrees off axis.
Above the transition frequency room correction products are actually correcting the power response of our speakers i.e. they are applying speaker correction. In some cases this can be a good thing, for example with lower quality speakers that possess variable on-axis frequency response. In most cases however, and especially with audiophile quality speakers, one should be hesitant about allowing a room correction product free reign to determine and apply correction filters above the transition frequency. Some reasons for this are listed below:
These examples illustrate why any room correction product should either:
Room correction devices aim to fit the measured frequency response to a nominal target frequency response by applying correction filters. There is an element of preference in the shape of the target curve, some people preferring a ruler flat response whilst others prefer a rising response in the bass which adds a little more weight to music. To some extent this preference is informed by the volume at which a person listens to music and the sound level dependent nature of our hearing. Those who listen at lower volumes (e.g. 70dB) may prefer a lift of up to 10dB at 30Hz. See this information on the Fletcher Munson curves for more information.
In any event any room correction device should either:
There are three additional criteria that a room correction product should have: not performing a needless analog to digital conversion, providing measurement capabilities and providing filter generation capabilities. These will be covered in a future blog post.
Do you think there are any other functional criteria that a room correction product MUST HAVE? Let me know through the comments!
Nyal Mellor, Founder, Acoustic Frontiers