The quality you guys associate with large drivers sounding great at low levels. Efficiency and source size. I’m the only reason arguing this “source size” aspect but I believe in it. Once the wave leaves the diaphragm it loses “integrity” as it travels through space. Larger source creates a wave of higher initial “integrity” so there is more of it still intact by the time it reaches your ear. My own personal theory. Throwing a large rock gently vs throwing a small rock as hard as you can, into the lake.
Here’s some interesting horn info. The 2380a doesn’t load at 400hz...it’s cutoff represents manufacture intended use not an actual cut off. Strauss crosses over at 400 using 2” exit beryllium diaphragm. Another manufacturer crossed at 300hz with similar driver and an 18sounds xt1464 which is rated to 500hz by manufacturer....confused yet? For some, loading down to crossover is a must....for others not so much. Which camp are you? Enter “try all the horns” lol
I said try multiple horns cause I want you to satisfy you...not someone else desire/opinion
Mixing/mastering can be personal...though after a post on mastering engineers forum I see a trend of people favoring sealed over vented...there are some claiming it’s the design execution.
Spherical horns are said to be the most natural and require the least eq for voicing....yet there are plenty of various products that are favored. Ask a group of mastering engineers what their favorite horn type is and likely won’t get any concrete answers....the Strauss has a diffraction slot yet I have yet to read where a mastering engineer has complained about diffraction related distortion
So, I am biased towards loading till crossover and I am ok with a small sweet spot. Anything that lowers xmax just makes sense and I actually believe there are benefits in beaming outside of lower reflective energy. I'm still going to try various horns so I can stop speculating. You don't have to buy them, even if you can listen to them, on similar drivers, or the same driver.
Here’s some interesting horn info. The 2380a doesn’t load at 400hz...it’s cutoff represents manufacture intended use not an actual cut off. Strauss crosses over at 400 using 2” exit beryllium diaphragm. Another manufacturer crossed at 300hz with similar driver and an 18sounds xt1464 which is rated to 500hz by manufacturer....confused yet? For some, loading down to crossover is a must....for others not so much. Which camp are you? Enter “try all the horns” lol
I said try multiple horns cause I want you to satisfy you...not someone else desire/opinion
Mixing/mastering can be personal...though after a post on mastering engineers forum I see a trend of people favoring sealed over vented...there are some claiming it’s the design execution.
Spherical horns are said to be the most natural and require the least eq for voicing....yet there are plenty of various products that are favored. Ask a group of mastering engineers what their favorite horn type is and likely won’t get any concrete answers....the Strauss has a diffraction slot yet I have yet to read where a mastering engineer has complained about diffraction related distortion
So, I am biased towards loading till crossover and I am ok with a small sweet spot. Anything that lowers xmax just makes sense and I actually believe there are benefits in beaming outside of lower reflective energy. I'm still going to try various horns so I can stop speculating. You don't have to buy them, even if you can listen to them, on similar drivers, or the same driver.
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This is what I exactly imagined when you talked about electro... and Heaaaaavy bass.
Lol, never said you should buy an ESL for electro ...
, what indeed a strange idea.
Hope we are speaking guys of room inside a house and not a flat... or the20 hz shaking walls experience could turn out in neighbours revolution
and plaster disaster. Well church music also can !
Minidsp is good enough for me if electro is involved only... I thought about the littliest model because I readed above about budget... Of course pc is the solution if already there. Well, Rephase is certainly interessant because of the FIR and for instance to solve the group delay of the vent ... if you can hear it with electro, here I doubt one can.
don't forget transcient and dynamic, both can be involved, transcient in kick drums is also harmonics management imho, treble register mainly.
I sudenly have a ghost image of Troels Gravsen walking in the living room with his Faital 3 way monitor, the big classic size a la Spendor.
Should not be so hard to acheive : excelent Faital, BMS, Beyma, 18Sounds drivers (s..t, brands), cubic coffin, size given...active system, so...
YaPluKa...
but...but... duno why I like the idea of the omega corner speakers, or the Bawslo monitor synergy, or an open push-pull cabinet with a 2 way above... 15m² certainly
The-Loudspeaker, forget the upper tweeter for electro, not mandatory...
Lol, never said you should buy an ESL for electro ...
, what indeed a strange idea.Hope we are speaking guys of room inside a house and not a flat... or the20 hz shaking walls experience could turn out in neighbours revolution
and plaster disaster. Well church music also can !Minidsp is good enough for me if electro is involved only
... I thought about the littliest model because I readed above about budget... Of course pc is the solution if already there. Well, Rephase is certainly interessant because of the FIR and for instance to solve the group delay of the vent ... if you can hear it with electro, here I doubt one can.don't forget transcient and dynamic, both can be involved, transcient in kick drums is also harmonics management imho, treble register mainly.
I sudenly have a ghost image of Troels Gravsen walking in the living room with his Faital 3 way monitor, the big classic size a la Spendor.
Should not be so hard to acheive : excelent Faital, BMS, Beyma, 18Sounds drivers (s..t, brands
), cubic coffin, size given...active system, so... YaPluKa...but...but... duno why I like the idea of the omega corner speakers, or the Bawslo monitor synergy, or an open push-pull cabinet with a 2 way above... 15m² certainly
The-Loudspeaker, forget the upper tweeter for electro, not mandatory...
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The main way to increase mechanical efficiency is to increase size of driver. You take the system with the ability to shake the walls, turn the volume knob down, and it sounds better than the smaller system at the same volume. Dynamic ability in efficiency, is the governor of Transient. I am great at transients at 100db because I can play 120db with out breaking a sweat.
Btw, sticking at op's whisch, is there a mid horn unit somewhere for a diy Klipsch horn sketch ?
For the treble register the little 18Sound horn with its compression driver seems ok for instance and highly appreciated.
Bass register is the challenge of the thread and the op has enough inputs to decide (I'm in Zmyrna camp)
We know D. needs/wants first octave and also high spl (number ? more than 110 db?) : presurization seems the key, I don't think we still can talk about "neutral sound" in 15 m² with these items.
I wanted to link this one for D. if not already knew about low frequency bass (first octave) :
and small drivers, while not forgiving the room will have the last word : Volvotreter Homepage : rest is also talking about D. first post askings.
A 10" driver front bafle horn from Gedlee could have been one if not the best choice, but doesn't exist anymore.
The bif TLS1 from Troels Gravsen is targetting high Sd (there is a 18" bass unit !)... in 15 m² first april fool
For the treble register the little 18Sound horn with its compression driver seems ok for instance and highly appreciated.
Bass register is the challenge of the thread and the op has enough inputs to decide (I'm in Zmyrna camp)
We know D. needs/wants first octave and also high spl (number ? more than 110 db?) : presurization seems the key, I don't think we still can talk about "neutral sound" in 15 m² with these items.
I wanted to link this one for D. if not already knew about low frequency bass (first octave) :
and small drivers, while not forgiving the room will have the last word : Volvotreter Homepage : rest is also talking about D. first post askings.
A 10" driver front bafle horn from Gedlee could have been one if not the best choice, but doesn't exist anymore.
The bif TLS1 from Troels Gravsen is targetting high Sd (there is a 18" bass unit !)... in 15 m² first april fool
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Hi Camplo,
Well imagine a closed room ( non leaky and with absolutly rigid walls that won't flex) with loudspeaker ( even better a sub with unlimited capability regarding sd and lowest possible freq reproduced) playing in there: what does happen in the ( very, very) low end? To be even more accurate what happens once you reached the point where the room doesn't 'wistand the reproduced frequency'?
Well imagine a closed room ( non leaky and with absolutly rigid walls that won't flex) with loudspeaker ( even better a sub with unlimited capability regarding sd and lowest possible freq reproduced) playing in there: what does happen in the ( very, very) low end? To be even more accurate what happens once you reached the point where the room doesn't 'wistand the reproduced frequency'?
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@krivium: Thanks for the simulation. Very helpful 
I know how to read the polar map. I've been reading about speakers some years now (not continuosly). I'm familiar with most things but there are still a lot of things I don't know. I would suggest that you let me ask question if I don't understand something. Otherwise you spend too much time explaining.
I'm also familiar with that kind of music (nearly every kind of electronic music). Hobby house and techno producer over here
@diyiggy: You are always talking about high spl. Guess you think that I'm constantly listining at 120db That's not the case. Of course it's nice to hear loud music SOMETIMES. But I prefer to keep my hearing a little longer. Little speakers sound very stressed and muddy at higher spl. Horn speaker sound very relaxed. I love to hear jazz and great vocals on them.
I don't know which speaker to build and you guys are already talking about specific DSP. I wanted to build a high quality DSP with 8 channels with a lot of features including FIR filters. So I'm covered here. But I wondered if I could use a RME UFX+ as DSP. It has 8 outputs and you can put filters on every channel with the totalmix software. I don't own one yet. But I thought about upgrading my interface. Maybe I can save the money for an external DSP?
Now let's come back to horns again.
I know the volvotreter page. Because of my room size I didn't want to use Sub bass horn. Btw his midbass horn is great
Troels Gravsen uses the 15PR400 in open baffle and he says it works great in small rooms. But with multiple subs I can stimulate room more evenly I think.
I know how to read the polar map. I've been reading about speakers some years now (not continuosly). I'm familiar with most things but there are still a lot of things I don't know. I would suggest that you let me ask question if I don't understand something. Otherwise you spend too much time explaining. I'm also familiar with that kind of music (nearly every kind of electronic music). Hobby house and techno producer over here
@diyiggy: You are always talking about high spl. Guess you think that I'm constantly listining at 120db
That's not the case. Of course it's nice to hear loud music SOMETIMES. But I prefer to keep my hearing a little longer. Little speakers sound very stressed and muddy at higher spl. Horn speaker sound very relaxed. I love to hear jazz and great vocals on them. I don't know which speaker to build and you guys are already talking about specific DSP. I wanted to build a high quality DSP with 8 channels with a lot of features including FIR filters. So I'm covered here. But I wondered if I could use a RME UFX+ as DSP. It has 8 outputs and you can put filters on every channel with the totalmix software. I don't own one yet. But I thought about upgrading my interface. Maybe I can save the money for an external DSP?
Now let's come back to horns again.
I'm not sure what you mean with "loading down to crossover". The cut-off frequency is a more a theoretical value (as far as I understand). It's quite common to mention the cut-off frequency but most drivers load the horn from twice the cutoff-frequency. So maybe the PH2380 starts to have an impact on dispersion from 400hz but you get the full benefits of the horn like higher effiency etc. from ~800hz. Maybe that's the reason some manufacterer crossing at 400 or 650hz? The dispersion below 800Hz is more than 90° so it fits better with the 15"? That's my guess. Because you have no chance to get 90° dispersion from a 15" woofer at 400-600Hz so you use the hf driver to get more than 90° with lower x-over.
As I said before I like those tractrix/spherical style horns and I just wanted to try a pair. Tractrix horns beam more the higher the frequency gets when you use them over a large spectrum. I don't like that. But you can make the frequency response flat at 15° and let the triangle cross in front of your listening position. This way you can get a bigger sweet spot. Or you use multiple tractrix horns. That's why I wanted to know if I can add a 12cm tractrix horn to my 30cm tractrix 'mid' horn. If you cross them at 2 or 3khz the wavelength will be bigger than the distance of the drivers (~21cm). So probably not great for listening distance of 2-3m?
I know the volvotreter page. Because of my room size I didn't want to use Sub bass horn. Btw his midbass horn is great
Troels Gravsen uses the 15PR400 in open baffle and he says it works great in small rooms. But with multiple subs I can stimulate room more evenly I think.
If you like an open bafle and think 1.5 m from the front wall is feasible, indeed T G open bass is good as the lowermid a la Linkwitz. But it goes at the oposit of your thinking about compression driver about the behavior of the sound surface emiter. About open design with a sealed bass, there was a nice discuss between Juhazi speaker and Linkwitz. If you are open pn open bafle system, google Jazzman push pull bass cabinet, open bass sys often less mask the upper register which may copy with the sound you describe an like
Multi amp gives you liberty.
Multi amp gives you liberty.
I think you will save monney with a computer for DSP and FIR. PA drivers and compressions are less precise , read linear, so need more comput than a tower pc allows. Best soft are free like pos's one or cheap. The way you load the room in the low end stays important despite eq, a wave length stays a wave length in a closed room.
@krivium: Thanks for the simulation. Very helpful
Your welcome. My pleasure if i can be of some kind of help.
I don't mind spend a bit of time to explain things i know. To be honest while i worked in studio i faced so much information retention i'm eager to share the one i have as this is the only way to kill this kind of attitude ( and i've been teacher in an audio engineering school so i like to learn and share but be quiet about it i don't want to spend my time explain how to set up asio...
).Other thing being we are on a forum and the information could be useful to others.
Cross over are a huge part of the end result, no kidding. It can ruin a design if not good enough.
Ok so Dsp it'll be... easier.
About the Rme i don't think you can use vst plug ins in totalmix ( i can't in the two Rme cards i own but they are older reference digi something and aes32) so you'll have to check for it. That said you could use a multichanel convolver at output of your daw so you'll have more or less the same thing. Maybe you'll lost a bit of processing power for vst instruments and fx but i've build a dinosaur pc ( win Xp, 2ghz proc/2g ram, Aardvark 20/20 outcard) and it runs flawlessly 6 out at 48khz with less than 10ms latency.
The main issue with Fir will be latency if you do realtime monitoring. As i said 5ms is upper limit for some musicians ( i worked with a metal guitar player which was bothered at 3ms, but he played fast bpm and virtuoso kind of music).
If i were you i won't bother with an hardware dsp: they are obsolete fast (or you'll have to spend big bucks) and the real advantage i have with mine are the converters.
And given the quality of cheap last gen converters... keep your money for something else. Iow i agree with diyiggy overall ( except about the power needed for the pc: eq are not that cpu intensive. Fir filter can be depend of number of taps, freq of xover and sampling frequency...) .
What is your actual soundcard?
Spot on. As a more or less rule of thumb 1,5x the cut off freq given by datasheet is the lowest freq you could use in practice.
I could not find a datasheet for ph so let's take a look at Jbl2380a which it is inspired from:
2380A | JBL Professional Loudspeakers
As it can be seen from both diagram on the lower of p2 of datasheet the horn will start to have grip over directivity at about 650/700hz on both axys but be in full control horizontal from 1khz.
You can use them at 500hz but they won't have directivity control and thus as you guessed will need to be matched at a larger angular than the prefered 90*. But you'll have to accept waistbanding of directivity behavior... compromise, compromise...
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Drumberg, could you rent some PA loudspeakers to test about directivity? One 90x60 and a 60x40 to test within your room which one you prefer in place?
You could then have one less variable into the equation and could focus on the horn profile.
Speaking about horn i took a look at the galapagos loudspeaker ( ) and it's horn. This is a biradial so in the same family as Tad TH-4001 ( this is the one of interest not 4003, sorry i mix reference all the time).
It could be interesting to study the Tad 2404 as it won't be totaly different design.
You could then have one less variable into the equation and could focus on the horn profile.
Speaking about horn i took a look at the galapagos loudspeaker (
) and it's horn. This is a biradial so in the same family as Tad TH-4001 ( this is the one of interest not 4003, sorry i mix reference all the time).It could be interesting to study the Tad 2404 as it won't be totaly different design.
A rule of thumb that works out to be true is that you need to listen at least 2 to 3 times the height of the speaker away in order to have the drivers integrate properly, preferably further. So anything with a 15" woofer is going to struggle at 1m. I don't think this applies to the OP's intended use but is important to remember.
This is also one of the reasons for studios to use different size speakers for different situations and is not so clear cut as high spl and big drivers.
Near field monitors are smaller because at a close distance the speaker needs to be small to integrate, the further away you sit the more power and size is needed to produce higher spl's at lower frequencies. In between near field and main monitors you get mid field monitors that are designed for a middle distance.
Every speaker will have been designed to be listened to at a specific distance and will perform best at that distance.
Hi, i thought a bit more about the situation last night and here is some thoughts i had about it taking the situation as a whole ( room+loudspeaker):
_ usually the sweetspot in control room is located at what is called 'critical distance'. This is the point located where you are at a 50/50 mix of direct sound and 'diffuse field'* of room.
This garantee confort (this is more natural than being 100% in direct sound as you have cues from the room you are located in) and keep you away from listening only to the room's response alone (which will have a lot of chance to be coloured thus misleading to make choice about your work).
The issue ( there is always one or more...) being this critical distance is defined by the room volume ( it's dimension), the reverberation time* and the directivity of loudspeakers.
_I played a bit with an online simulator** to have an idea of what to expect from your room and this lead to 2 things: if you want your listening spot to be at the apex of the regular equilateral triangle of 3m ( so with corner located loudspeaker) you'll need AT MINIMUM 0.3second RT60 ( reverb time) and a maximum 60* horn.
The 60* horn is not what you aimed at first (for large sweetspot) but it'll still be usable without too much hassle ( well to me at least). This is the first comromise.
The second point is 0.3s reverb time (this is at 2khz).
This is short. Very short and guess what, typical of professional control room. In other word it'll imply you'll need a lot of absorption ( i don't talk about bass trap here but for mid let's say from 500hz and up).
As you want RT to be coherent along the frequency range it'll imply to have absorption too from 500hz down to schroeder frequency of your room.
It can be done using 'slat resonator' so there this won't be impossible to achieve.
But for what happen below schroeder frequency it'll be almost impossible to treat the room as the size of basstrap will 'eat' most of your room volume (and given you'll need to absorb a lot of mid it may lead to other very annoyable nasty thing)***.
So it bring us back to Earl Geddes answer to this, which in a way is fine as it fulfill one of your requirements ( multi sub).
That said there is a 'limitation' i haven't talk about in the summarize i've done of his approach: the low end needs to be monoed.
It can seems to be an issue but in practice and for electronic music this isn't an issue ( it could be argued against in case of acoustic music but forget about it for now). Why it isn't an issue?
Have you ever heard a mix done the oldschool way: a pair of 1200mk2 a mixer and some black dish on platter... ( ). Had you complaints about low end ? No not really? Ok so it won't be a problem to use Geddes approach as bass is monoed on vinyl from 300/150hz.
Here is an other point ( my turn to expose my own theory as Camplo did! ): i've experienced that the ability to distinct stereo with low end is linked to Schroeder Frequency. The higher it is the lower you can't discern lateral information about bass ( the best being to be outside with no room modes).
So from the size of your room i would say that from 250/300hz you wont have issue to use mono bass.
In a way it'll even help within your loudspeaker design too i think...
So to sum: if i were you i would use 60x40 directivity for horn and Earl Geddes multisub approach. I would prepare myself to build some absorber panels and some slatabsorbers too. Chances are those are not too costly.
And i would start a thread about your room in the Acoustic subsection of forum as it'll be of great help ( and because i bothered everybody including moderators for one to be created!).
*: theoricaly speaking there is no real reverb and diffuse field in small room but lets take this shortcut for ease of understanding.
**: RT60 - Distance critique have fun, if you need translation i can help.
***: here is an example (read the entire thread to understand what is at work here): Mad Scientist Noise Cancellation - Bass noise leakage acoustic can be fun isn't it?! ( not so for Bobthedespot as it is some money loss )
And Drumberg check your pm.
_ usually the sweetspot in control room is located at what is called 'critical distance'. This is the point located where you are at a 50/50 mix of direct sound and 'diffuse field'* of room.
This garantee confort (this is more natural than being 100% in direct sound as you have cues from the room you are located in) and keep you away from listening only to the room's response alone (which will have a lot of chance to be coloured thus misleading to make choice about your work).
The issue ( there is always one or more...) being this critical distance is defined by the room volume ( it's dimension), the reverberation time* and the directivity of loudspeakers.
_I played a bit with an online simulator** to have an idea of what to expect from your room and this lead to 2 things: if you want your listening spot to be at the apex of the regular equilateral triangle of 3m ( so with corner located loudspeaker) you'll need AT MINIMUM 0.3second RT60 ( reverb time) and a maximum 60* horn.
The 60* horn is not what you aimed at first (for large sweetspot) but it'll still be usable without too much hassle ( well to me at least). This is the first comromise.
The second point is 0.3s reverb time (this is at 2khz).
This is short. Very short and guess what, typical of professional control room. In other word it'll imply you'll need a lot of absorption ( i don't talk about bass trap here but for mid let's say from 500hz and up).
As you want RT to be coherent along the frequency range it'll imply to have absorption too from 500hz down to schroeder frequency of your room.
It can be done using 'slat resonator' so there this won't be impossible to achieve.
But for what happen below schroeder frequency it'll be almost impossible to treat the room as the size of basstrap will 'eat' most of your room volume (and given you'll need to absorb a lot of mid it may lead to other very annoyable nasty thing)***.
So it bring us back to Earl Geddes answer to this, which in a way is fine as it fulfill one of your requirements ( multi sub).
That said there is a 'limitation' i haven't talk about in the summarize i've done of his approach: the low end needs to be monoed.
It can seems to be an issue but in practice and for electronic music this isn't an issue ( it could be argued against in case of acoustic music but forget about it for now). Why it isn't an issue?
Have you ever heard a mix done the oldschool way: a pair of 1200mk2 a mixer and some black dish on platter... (
). Had you complaints about low end ? No not really? Ok so it won't be a problem to use Geddes approach as bass is monoed on vinyl from 300/150hz. Here is an other point ( my turn to expose my own theory as Camplo did! ): i've experienced that the ability to distinct stereo with low end is linked to Schroeder Frequency. The higher it is the lower you can't discern lateral information about bass ( the best being to be outside with no room modes).
So from the size of your room i would say that from 250/300hz you wont have issue to use mono bass.
In a way it'll even help within your loudspeaker design too i think...
So to sum: if i were you i would use 60x40 directivity for horn and Earl Geddes multisub approach. I would prepare myself to build some absorber panels and some slatabsorbers too. Chances are those are not too costly.
And i would start a thread about your room in the Acoustic subsection of forum as it'll be of great help ( and because i bothered everybody including moderators for one to be created!).
*: theoricaly speaking there is no real reverb and diffuse field in small room but lets take this shortcut for ease of understanding.
**: RT60 - Distance critique have fun, if you need translation i can help.
***: here is an example (read the entire thread to understand what is at work here): Mad Scientist Noise Cancellation - Bass noise leakage acoustic can be fun isn't it?! ( not so for Bobthedespot as it is some money loss
) And Drumberg check your pm.
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While I don't know what is the theoretical disadvantage having large woofers in a small room, I would have to say that you never get that 15" feeling from 12" especially for Jazz and Hiphop.
I have 4 x JBL 14" in rather small studio, and I know that the low frequency control is extremely difficult in a small room. If I were you, I would build a wall instead of 2 boxes and build soffit kind (wall mounted) large monitor for better low frequency control, and it will end up both less time consuming and cost effective, I guess.
Regarding DSP, I would strongly recommend DMG Equilibrium EQ for FIR. It is the most versatile, most transparent EQ as far as I know, and I have 50 different EQs in my computer.
Anyway, you can't avoid having a feeling you're living in rooms size headphone, but it's not that bad. Good luck!
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Hello Plasnu,
May you have tips about this EQ prg and the way you can measure with the mic in the room ? Is it possible for instance to have multi measurement spots to target room corection + wished curve ? Corners + sweet spot, etc ? Is it precise in the time domain to sort out between reverb, resonanceand needs a special (sensitive) mic please ?
What sort of soundcard would you advise please?
May you have tips about this EQ prg and the way you can measure with the mic in the room ? Is it possible for instance to have multi measurement spots to target room corection + wished curve ? Corners + sweet spot, etc ? Is it precise in the time domain to sort out between reverb, resonanceand needs a special (sensitive) mic please ?
What sort of soundcard would you advise please?
Diyiggy,
Equilibrium is an eq vst plugin ( same kind as the one used on a mixing desk but wayyy more powerful and good sounding!) not a DRC dedicated unit.
Plasnu in there... missing some others members and your thread will be annexed as Camplo's one Drumberg! Lol!
Hi Plasnu nice to have you here. Obviously i'm with you about a wall of large drivers with inwall mid hi.
So i count 4 members for ( multiple... yes my next step was to introduce mtm lol!) 15" ( three of them are audio engineer)... is there a pattern in this?
Equilibrium is an eq vst plugin ( same kind as the one used on a mixing desk but wayyy more powerful and good sounding!) not a DRC dedicated unit.
Plasnu in there... missing some others members and your thread will be annexed as Camplo's one Drumberg! Lol!
Hi Plasnu nice to have you here. Obviously i'm with you about a wall of large drivers with inwall mid hi.
So i count 4 members for ( multiple... yes my next step was to introduce mtm lol!) 15" ( three of them are audio engineer)... is there a pattern in this?
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thanks,
when I talked about DSP I had in mind not a particular in a box but a DRC prg for a personal computer whatever the distro. Room EQ could do multiple spot measurements ? My understanding is despite frequency and amplitude EQ can correct delay, I'm not sure it can solve all the rooms problems like corners behaviors, wall / windows vibration if low end is involved. Duno what is saying Toole or overs about that, but I was yet on the point you can not sove with EQ all what is below room resonance, hence resonators and room acoustic (passive) job ?
If I dare Krivium, while it's OT can you please advise me a little headphone please ? I like my Fostex 7 TPH but would lile a little upgrade... Audeze ? Mezze ? Fostex again/Mr Speaker ?.. Never liked Sheineizer sound (because too much neutral ? straight right curve ?).
when I talked about DSP I had in mind not a particular in a box but a DRC prg for a personal computer whatever the distro. Room EQ could do multiple spot measurements ? My understanding is despite frequency and amplitude EQ can correct delay, I'm not sure it can solve all the rooms problems like corners behaviors, wall / windows vibration if low end is involved. Duno what is saying Toole or overs about that, but I was yet on the point you can not sove with EQ all what is below room resonance, hence resonators and room acoustic (passive) job ?
If I dare Krivium, while it's OT can you please advise me a little headphone please ? I like my Fostex 7 TPH but would lile a little upgrade... Audeze ? Mezze ? Fostex again/Mr Speaker ?.. Never liked Sheineizer sound (because too much neutral ? straight right curve ?).
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