Behringer DEQ2496 HELP

Tvad...I never tried the stereo autoEQ. My impression is that it just transfers results measured for one channel to the other one. That doesn't sound right to me. Perhaps it drives both channels for the measurement. Is that so? (Now it's your turn to be the Behringer expert!)

Smooth, rather than flat is the most important thing about bass response, and the flat autoEQ will give you this, so it is a good starting point. Your tweeking to achieve a frequency response that sound good to you can be done when you set up the target curve for the autoEQ. Many people find that they like different curves for different types of music, and the Behringer memory feature accomodates this.

Warnerwh,

That link you gave is very good advice. Could not agree more with the authors criticism of many speaker designs.

I would only add that even if serious room acoustic treatments can be disappointingly ineffective for very low frequencies.....Soffit mounting of speakers is well known to be effective (by professionals).

There is a good reason for soffit mounting....it eliminates the problem of omni-directional bass frequencies which radiate towards the wall behind the speakers creating havoc with quarter wavelength cancellations. (The wall behind the speakers has the single biggest effect on the bass sound in a room as it creates the biggest coherent reflection....the second biggest issue is the wall behind your listening position...third are side wall reflections in mid and upper frequency ranges)

BTW....why do cheap car stereos systems often sound pretty amazing.....it is actually very simple, two words....Soffit Mounting.

BTW...why all the recent interest in bass traps....more speakers on the market that are nearly flat anechoically to 20 Hz, which radiate in all directions in the bass and play havoc with room modes...

For those who think it was as simple as buying a speaker flat 20 Hz to 20 Khz...do some research!

Does the DEQ2496 have an expander?

This might interest me given that most CD's are intentionally mastered with 1 to 3 db of added compression compared to the studio mix. Unfortunately a lot more compression is often used (especially on rock) to achieve a "loud" CD, where the artist simply wants it to sound louder than other CD's.