Do YOU have a flat frequency response in your room?

If you’re using the ability to replicate live music as a measure of success in Hi-Fi sound, then a flat frequency is almost irrelevant as the sound of music in any venue will depend entirely on the sound characteristics of that venue. And every venue sounds different.

I am afraid I do not buy into the need for a flat, or other, prescribed frequency response. I tested numerous combinations of amps and speakers in my room till I found the sweet spot for me. I have measured it and it’s all over the place but it sounds absolutely incredible. I used Roon DSP to produce a slightly tailing off frequency curve but it did not sound as good as my natural frequency bumpy curve and it flattened my soundstage. Room treatments are not possible in the family room where I listen so fortunately I have no choice but to enjoy the wobbly curve I have.

@ghasley
You seem to be assuming that the sound techniques I was talking about were from CHILDREN that listened to Boomboxes and earbuds. No I was talking about the Mid 1900s You know before you most likely were born.

@esarhaddon 

No, I was talking about recorded music for which the mixes were tailored for the intended audience and how they might play it back. Alot of music was compromised because they made certain that it was optimized for AM or FM rebroadcast.

You are correct, I was born after the middle of the last century so I haven't had time yet to become snarky or bitter. Just pointing out that EVERYONE is likely aware that production values of many recordings has been compromised as a result of distribution/playback decision making.

@ghasley
I am sorry that you found my comment Snarky or... But YOU brought up the devices Boomboxes and earplugs, which didn't even exist till the turn of the century. And except for the dollar two ninety-five wired earphones given away with Japanese transistor radios your comment didn’t’ fit what I was talking about, but then you say it was. Colour me confused.
Yes some of it was modified to fit certain formats, as L:Ps still are, but I find that MOST of the music from the 50s, 60,s 70,s 80.s was mostly just what the sound Eng decided that he himself liked or the dictates of the studio. The later you can find that many label’s ’HAD A SOUND’! and that sound often made or broke many a musician. AND that this sound had little to noting to do with the LP, 8-trac, Cassette, Am, or FM industries. It was also a huge period of experimentation in SOUND and sound engineering. I only wish to be a straight shooter and if yo see other comments I make on this site I don't vilify company names or store names if at all possible. I try not to make personal comments other than to point out definite decencies in a comment made to me.

Flat on-axis frequency response is clearly the engineering objective for most of these systems. Those that deviate significantly earn lower ratings in double-blind subjective evaluations. Although there is more to be considered, a flat direct sound delivered to listeners is the basis for most reproduced soun

The important takeaway here is 'flat direct sound',  in other words flat when reverberating sound is not combining with the direct sound, as in an anechoic state or a free field, meaning no reflected signal or measured in room with gating employed during capture.

I personally strive for a smooth response, which is to say I avoid peaks and nulls by careful driver choice, crossover design and room treatment. Using 2 or more subs will also reduce the lumpy response.