Treating the room for acoustics

January 25, 2022
 by Paul McGowan

7 comments on “Treating the room for acoustics”

  1. I will never understand why audiophiles and audiophile record label always make things that complicated. Isn’t the basic promise of high fidelity to reproduce the sound quality of the concert hall? Thus why add the room acoustics of so many mixing studios, room acoustics unknown to the end user, to the final sound? Why not making the mix in the free field and let the end user equalize the final mix according to his own listening room acoustics? And is is that important to get the sound waves reflected from the rear of the concert hall for getting the essence of the music requiring rear speakers? The human ear is able to discriminate re-elected sound from the rear from the direct sound. But there is a saying: why make things simpler when we can make it more complicated! And the highest degree of complication is reached with multi-mic arrays of some 36 channels and undefined mixing room acoustics adding spatial cues additional to the multiple plug-in tools as artificial reverb, etc.

  2. I wish Paul could say his comment in one or two sentences, but I think he’s suggesting putting an equalizer into one’s system? If so, what would a good one be?

    1. Good morning Peter!
      I don’t know where you are in this world, but lets just say that, you lived here in the United States.
      JBL has a trio of digital equalizers that are under a grand each.
      But their most expensive one, can go all the way up to 7.2 channels.
      If I were setting up a surround sound system, then I’d get the most expensive and the second most expensive ones.
      In this way, I would be able to equalize every speaker in my surround sound setup, including my subwoofers!

  3. If you are a techy audiophile, I guess miniDSP or the like gives you a play box for hours of tech hobby fun. I am not sure if you would ever reach the point that it is at your satisfaction, but maybe that is not the intention anyway.

    If you are just a music lover like me, you may like the black box RoomPerfect approach. After twenty minutes of mic measurements the system tells me that it knows enough and that I am ready to go. By the way, and if I want to add some more measurements at my discretion, that is fine as well. Easy, with no computer required and consequently no inside in graphs whatsoever. The only play around fun you have is that you can do it again and again and again and listen if results make a difference.

    And the results are really convincing. I check it against my live knowledge of church spaces I am familiar with. I close my eyes and test if I am virtually there. The recognition is stunning.

    And there is the excellent subwoofer integration of course.

    Worth spending on my Lyngdorf 3400 system that is a 20k setup. Sure. And its total sound resolution is a huge advantage here. But also worth spending on a Lyngdorf 1120 setup of 5k in my holiday house.

    Both Lyngdorfs come with comprehensive streaming, phono in, digital in, USB, HDMI, (pre)amp and DAC function. I use the 1120 as poweramp, but many use it as a preamp.
    You have it below 2500$.

    Almost forget to mention the very usefull Voicing options. Pick one of the preset voicings or make your own. That is funny and easy to do on a browser on your iPad. A bit fuzzy logic driven. Real added value if you listen to many genres of music and also render tv and movie audio through the setup.

    So, I agree with Paul. Why making it so complicated? DSP room correction plus voicing is within arms length. Plug and play, at very reasonable prices.

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