Digital room correction

June 5, 2021
 by Paul McGowan

8 comments on “Digital room correction”

  1. If DSD is the best technology for recording music I do not see any reason for not converting any music from an analog source to digital. And thus getting all benefits from today’s advanced DSP technologies. I personally convert my analog sources since 2010 using my TacT/LYNGDORF (company‘s claim: “The future is digital”) and activating the internal DSP/equalizer function. However I see the problem with PS Audio’s dogma for a pure DSD chain not allowing any conversion to PCM for any digital equalization!

    1. We want to avoid unnecessary conversion and it makes sense to position equalization at a point in the signal chain where the signal is already digital. Paul makes a very good point here: PS Audio prefers DSD, but DSD does not support anything more than very basic digital processing, so digital EQ implies (at the very least) transcoding between PCM and PDM. Doesn’t that undo all the wondrous goodness of PWM/DSD?

      1. This is exactly the reason! Paul believes that DSD is a superior digital format. There is no DSP in DSD format. You can’t have a digital crossover for speakers in DSD. There is no room correction or any equalization in DSD format.
        It would require a huge contradiction for Paul to support DSD and provide equipment where the software is in PCM. And you also would have to add the digital to digital conversion.

        Too complicated! It is much easier if all stays PCM.

        But analog is not a true hindrance. Even my old Theta Casablanca used to let you keep the signal analog or convert to PCM for processing. Analog is not the problem. It is DSD!

  2. To use DSP to “correct your room”, currently you need a separate DSP device with a calibrated microphone to listen to and “measure” your room’s acoustics. Then it equalizes your system’s output to make the corrections. But why would you want to take a perfectly wonderful all analog signal and convert it to digital??

  3. I read about an integrated amp that is the same size as the Sprout.
    But my problem with that other integrated amp, forget the fact that it’s class D.
    And forget the fact that it has the same power output as the Sprout.
    And also, forget the fact that, it can do everything that the Sprout does.
    Here is the question.
    Would you want to buy a Sprout from Paul for $699?
    Or, would you want to buy this other class D integrated amp that does the same thing as the Sprout, and pay 20 times the amount that Paul is charging for the Sprout?
    If it was left up to me, I would buy a Sprout from Paul and save a lot of money.
    Sure the Sprout may not do network streaming, but why would you want that in the same chassis, when you know, that that creates some sonic problems?
    And it’s a lot of trouble to get that amp up and running?
    With Paul’s Sprout, you just hook your speakers and audio sources up to it, and you’re ready to rock!
    Paul, if I’m wrong, then please correct me.
    That other integrated amp that I’m talking about, you’ll find an article about it, in March/April issue of Sound And Vision.
    Or you can go to:
    to read about it.

    1. Hey JP,
      What about the ‘S.M.S.L. DA-9’?
      It’s nearly a third of the purchase price of the PS Audio – ‘Sprout’ & they are both ‘Made in China’.

  4. Good luck with that. Cannot even pry people away from tubes or LP’s. But you might not have to. You should build it anyways Paul. You have heard the saying if you build it they will come. People might not abandon their core principals but there are many people who have no core principals and they will buy the new gadget. Those stubborn will also buy it and play around with it. Audiophiles have both digital and analog in their systems.

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