http://docs.linn.co.uk/wiki/index.php/Linn_Account_Space_Optimisation#Why_does_Space_Optimisation_no...A different way to do DSP from the Lyngdorf approach. Why does Space Optimisation not use a microphone measurement?The aim of Space Optimisation is to remove the effects of your room, in order to uncover the unique acoustic characteristics of your speakers; after all, this is what you fell in love with when buying your speakers. In order to do this, Space Optimisation needs to understand both the interactions between your speakers and room and the unique acoustic characteristics of your speakers; the unique acoustic characteristics of your speakers are then subtracted from the interactions between your speakers and room, leaving only the effects of your room.
An acoustic measurement of the interactions between your speakers and room can have many sources of error which may affect the accuracy and repeat-ability of the measurement, including: the choice of measurement stimulus, such as MLS or a log chirp; external noise, such as traffic noise and vibration; quality and calibration of the microphone, which can introduce distortion; and the microphone location, which can be sensitive to within a few centimetres. The use of acoustic modelling removes these sources of error: the model can apply an ideal impulse as stimulus; the modelling domain is free from noise; the model can use an ideal microphone; and the listening location is well-defined. It can thus be seen that acoustic modelling has a clear advantage over acoustic measurement in understanding the interactions between your speaker and room.
The unique acoustic characteristics of your speakers depend on many factors, including: the shape and size of the drive units and ports; the constructive and destructive interference between the drive units, ports and any cabinet-edge diffraction sources; and the angle between the listening location and your speakers. Therefore, a simple on-axis anechoic measurement of your speakers is insufficient information; what is actually required is an anechoic measurement with your speakers in the exact same configuration as you have them in your home. While some manufacturers do publish anechoic measurements of their speakers, both on- and off-axis, it is extremely unlikely that they will have performed an anechoic measurement of your speakers in the exact same configuration as you have them in your home. The acoustic modelling of such a scenario is, however, straightforward; the model can simply turn your room into an anechoic chamber to obtain the unique acoustic characteristics of your speakers in the exact same configuration as you have them in your home. It can thus be seen that acoustic modelling once again has a clear advantage over acoustic measurement in understanding the unique acoustic characteristics of your speakers.
From the above, it is clear that acoustic modelling is the best approach to Space Optimisation.
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This is likely the analogues Linn unit to the Lyngdorf https://www.linn.co.uk/sources/network-music-players/selekt#comparison-tablehttp://docs.linn.co.uk/wiki/index.php/Selekt_DSMhttps://www.whathifi.com/reviews/linn-selekt-dsm-review The original version of this software debuted in 2015, but this latest version is an intriguing and more complex alternative to the kind of mic-operated auto equalisation systems we’re used to seeing on modern AV amplifiers. While some users could get decent results, it needs training and experience. The new version can work with any shape of room, no matter how uneven. It will accommodate the effects of windows and doors, and even the changes in air pressure due to temperature fluctuations. Space Optimisation also takes into account the behaviour of your speakers. Linn has built-up a large database with the detailed measured results of a wide range of speakers, including their electrical characteristics as well as physical aspects such as the distance of the drive units from the ground. This information, plus all the data of the room’s walls and construction, is crunched and the DSM’s output tailored accordingly to deliver what Linn feels is the optimum sound. Clever stuff.
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There is also a RP-1 Lyngdorf unit, which is a preamp with DSP, EQ curves and crossover. No amp. No DA. I use it a lot. You may find one used for a little more than 1K. No manual dsp setting though. Or have a look at the more expensive DEQX. I also believe ARC2 is great.
Vanessa Fernandez gives an ok listening all in all. But her voice is not sweet at all on most of her recordings. Rather sharp and forced when she gets louder. No Roberta Flack there :-) Maybe just bad mics... If you found it sweet then the system was, in my opinion, colouring it. |
@yyzsantabarbara ,
The whole DSP/DEQX stuff seems to me a bit much. Though I can understand the concept, I just don't see why you have to go through hoops to get 'perfect' sound. Just my opinion...
I also wonder why, considering that you can tailor the sound to the room, that you can't take any speaker and tune it to the sound you like? Like make a Magico sound like a Persona, or at least closer?
Bob |
@gdnrbob
It’s not about that at all. It would be quite impossible. It’s about giving the speakers a chance to present their best, mostly in the bass and low-mid were the room interacts the most. I mean - they were not exactly build to play music in your listening room at precisely your listening spot. It’s a simple way to more fairly compare the true sound of different speakers.
It’s a real relief when the muddy and freq. wise uneven sound from all room interactions, resonances and standing waves is reduced with a professional correction system. Some also are supposed to work with the phase issue. Naturally, you should try to treat your room and work with your speakers placement as much possible before you use any dsp.
The Anti-Mode 2.0 may be the cheapest and most practical way to experience this. Gives you the opportunity to set the upper freq. for dsp. 500 Hz is standard.
Note though that the resulting correction is rather depending of where you put the mic. So you may not like the first try. |
