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Rob, just wanted to make sure you understood that I'm not against you. I'm just trying to get you to expand on the premise you laid out.
Perhaps, we should take a step back and define what we mean by 'Room Correction'.
I see this in two forms, one is electronic magic that analyizes the room, and tries to compensate, so that the room and the audio system are as match and synergistic as possible. That they are working with each other instead of against each other.
But this, within reason, assume you are putting a good system in a good room, and maximizing the mating of the two.
But you started with the premise that a good system in a bad room, is not going to sound good (highly paraphrased), and I think you will get no argument on that.
However, no amount of electronic correction can fix a bad room. If the room is highly reflective, electronic correction can not remover standing waves, or the nulls and peaks that result from them.
Keep in mind that I am not criticizing electronic room correction, in a good room, I'm sure it can optimize a system in stunning ways. But I still say it can't fix a bad room through electronic means.
So, to maximize a room and the equipment in it, we must first put some time and effort into the room itself. Only then can electronic room correction come into play and optimize the listening experiences.
So before we go any farther, perhaps an explanation of what you mean, in the context of this discussion, by 'Room Correction'. And, how, in a very general sense, that is applied in practical terms.
Despite the degree of negativity in this thread, it is an interesting discussion based in a sound concept, and despite my own negativity, it has been my goal to steer the conversation away from 'who' and more into the realm of 'what' and 'how'.
So... "Room Correction" ?
Steve/bluewizard |
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