That's the point. It's still a believe (and Toole debunked that somewhat). I would like to advance beyond believe to knowledge. Is that too German?
No doubt that's a German virtue. God bless them, that's my favorite part of German culture(besides the beer
)--my wife prefers the restrooms apparently. I don't know about Toole debunking that somewhat. The more I read in the book the more holes I see in it, even though it is an excellent read and required for any audiophile IMO. I just went and listened to speakers at a hifi shop yesterday. All I can say is that early reflection are not where it's at and I'm surprised by his research still. I have much to read yet though and maybe I'm just different from the norm. The clarity and intelligibility seemed to be destroyed by VERs. It was relief to come home and listen to something as compressed as Pandora and have it sound more intelligible and dynamic with a 20 watt amp than a multi thousand dollar mini monitor on a shelf with a multi thousand dollar amp and source. The situation improved on a stand away from the walls. I can't help but think that Dr. Geddes isn't crazy--well not completely. I know this isn't exactly scientific, but we have nothing else to go on.Dan
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Joined 2003
I read your paper and did not understand all of it.
I kept thinking "why not use the old Watkins Echo Muffs?" to help eliminate the VERs.
Butt ugly, big and not 100% effective at all frequencies, but worked well from around 500hz on up.
Other open celled foam pads right up against the edges of your speaker, extending a foot or so in front of the speaker, and maybe on top. Kind of a foam enclosure around the speaker, would reduce reflections.
It would let whatever axis you listen to have a more direct sound without all the artificial room echoes. Treating the floor would help too.
Sitting in the near field helps too.
Of course none of the above is very practical!
That's pretty easy to explain: he doesn't know. There's no scientific data that would allow him to give non-ambiguous advice.
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Joined 2009
my question is a little off topic but the paper states that EQ can only fix problems on the electronics and mechanical end but not acoustical ones.
if this statement is correct does that mean that digital room correction is worthless?
Digital room correction - Wikipedia, the free encyclopedia
if this statement is correct does that mean that digital room correction is worthless?
Digital room correction - Wikipedia, the free encyclopedia
In a nutshell: (Digital) room correction can correct the low frequency response and variations among loudspeaker frequency responses at higher frequencies (gating of the measured impulse response is required which limits the lower limit). It can't correct errors of the indirect sound field.
Best, Markus
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The more room equalization corrects frequency response at one listening position, the poorer frequency response gets at all other listening positions.
The more room equalization corrects frequency response of sustained tones, the poorer frequency response gets for transient tones.
The opposite of the above is also true.
I think the EQ thing is also a case of the circle of confusion. If it's deliberate or unintended or a little of both is hard to say in all cases. Acoustic problems on the mixing and mastering side will manifest themselves as electrical problems on the end recording.
Consider the theory that the reverberant field should be fairly consistent in spectral balance to the direct field. If you have a lot of diffusers and absorbers in a room that you are mixing in. And these absorbers tend to only work on the reflections from maybe 200Hz on up. Then there will be a tendency to try and replace that missing energy in the room with EQ by the engineer - at least I think so in some cases.
I've had much more success EQing perceptual pressure points (100Hz, 200Hz, 7kHz) with low Q EQ in order to correct what I suspect are in fact electrical problems with a lot of contemporary productions. So it's really hard to say with this whole push pull relationship that I am offsetting my room or in actuality the mixing room's lack of acoustic energy being hardcoded onto the recording.
Consider the theory that the reverberant field should be fairly consistent in spectral balance to the direct field. If you have a lot of diffusers and absorbers in a room that you are mixing in. And these absorbers tend to only work on the reflections from maybe 200Hz on up. Then there will be a tendency to try and replace that missing energy in the room with EQ by the engineer - at least I think so in some cases.
I've had much more success EQing perceptual pressure points (100Hz, 200Hz, 7kHz) with low Q EQ in order to correct what I suspect are in fact electrical problems with a lot of contemporary productions. So it's really hard to say with this whole push pull relationship that I am offsetting my room or in actuality the mixing room's lack of acoustic energy being hardcoded onto the recording.
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That's not universally true. You have to look at the wavelength too. At lower frequencies no distinction can be made between the room and the source. An EQ is able to correct the frequency response. If you use multiple subwoofers to decrease the seat-to-seat variations an EQ will be able to correct the frequency response for a wide area and not just for a single point.
Best, Markus
Yes, a near field subwoofer works amazingly well. That's how my old setup looked like:
An externally hosted image should be here but it was not working when we last tested it.
Worthless, perhaps not, being over sold as a panacea, absolutely.
It can make a disater better, but it cannot create a truely great sound system from a poor one. And getting that truely great sound system will not involve a "room correction filter".
Thats a stretch thats for sure. Multiple subs are far more than just an electronic solution, its basically acoustic in nature with some electronic augmentation. And its limited to LFs, which "room correction", in general, is not.
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