Room correction, DSP for dummies.

Too much contemplating the navel here folks in my humble opinion.  I think my earlier post said it well and I really have nothing to add.  Big fan of removing the room’s impact as much as possible so speakers sound as designed, not perverted by room and speaker placement compromises.  Not all room correction designs are created equal and some do a much better job of doing no harm. Lyngdorf nailed it as proven through use.  

@david_ten The contemplating comment was in regard to your post with many more questions. I just don’t know how to say it any clearer or more simply? No, outside of the builder’s written or verbal comments on sonic design goals I don’t know exactly what they are shooting for. I don’t need to. Remove the room’s impact as much as possible and the speaker is free to be what it was intended to be....a high fidelity instrument.

The only advice I have left is this:

Listen to the system in store with room correction. Make sure you like the room correction’s choices before you commit.

Be aware that when you commit to this you are usually committing to an entire chain of devices. A/D, DSP, DSP Software, and DACs. Very few use digital only DSP units, though they do exist.

The issue here is if you are a DAC and speaker snob (and who isn’t? :) ) you are probably going to give up your choices in sound quality to the room correction.

Personally, I use room acoustic treatments along with DSP (not room correction) based EQ in the sub and center channels only. I leave the Surround, L and R alone. I have no problem getting seamless great sounding movies and music this way.  I do sometimes think about toying with time/impulse correction, but meh. 


Best,

E

grannyring

Remove the room’s impact as much as possible and the speaker is free to be what it was intended to be....a high fidelity instrument.

That doesn't quite make sense, because audiophile speakers aren't designed to be used in an anechoic chamber. You don't want to eliminate all reflections.

I guess I walked into a debate between David and Bill (the ’other Bill) unwittingly. My concerns with whole system DSP (and I’ve never heard the Lyngdorf ) if that’s what’s being discussed are:

settings and adjustments- is this done entirely through electronic measurement by the device itself or do you, as the user/listener, tweak the settings to taste?
to what extent does digitizing the signal (including of an otherwise all analog source) compromise the sound?
are you limited by being unable to substitute key components if you adopt a solution that integrates processing and amplifier(s)?

Does an "add on" DSP device that allows you to integrate DSP into an otherwise conventional system fall short of the best that DSP can do, so that you cannot retain an ’unprocessed’ system if you choose to?

I was curious about the MiniDSP products a few years ago, but they seemed to involve more than I needed for simple bass management and I was reluctant to introduce anything between my line stage and main amps that could affect the sound in a negative way. I guess I’m not entirely out of the "purist" camp, though I recognize that at some level, all of this is "processed" to a degree, even in the analog domain....