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Showing results for tags 'digital room correction'.
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For details and chances to debunk caveats errors etc, please refer to If you have suggestions, you're welcome Results : Bernie Grundman uses, or at least used to master Joe jackson's Body & Soul in 1984, the Bruel & Kjaer Kevin Gray, at least for his SACD of the above, used straight 0 dB to 1K, downward straight slope from 1 to 20 K, 20 K -3 dB (projected, he lets, as I do, the natural parabolic fallout of his speakers above 10K) Alan Yoshida seems to use the same (Somethin' Else by Cannonball Adderley for HDTracks) Shawn R Britton to master Steamin' by Miles Davis (MFSL SACD) : same as above but -4.25 at 20 K Bob Katz (claims): same as above but -7.26 @24000 Steve Hoffman : oh my ! read in the above quoted thread Please think carefully : are the versions you prefer the absolute very best (could be because of source, transfer...) or the best match to your own in room response ? What if there's no alternative version and you're far off ? I encourage to have at hand several in room responses to match the engineers' Mind that there are several dBs difference that no usb cable or LPS will compensate
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As suggested by the title, this is no substitute to much admired @Josh Mound ‘s TBVO. However, it’s a follow-up to comments/questions I appended to TBVO: Can we deduct the in-room response (and/or “ear”) of praised mastering engineers from comparisons? Isn’t our “in room” response (“” meant to include headphones) biasing best version into best fit? TBVO thoroughness can’t be beat and I don’t pretend I address source tape quality, transfer (machine, baking, ADC, etc) nor do I address dynamics, levels, compression, etc, I don’t even compare peaks while the attached comparison goes to show than peak treatments can display bigger differences than averaged power comparisons.
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I was fortunate enough to be invited by David Snyder @dsnyder of the San Francisco Audiophile Society to talk about DSP/DRC.While the video begins at my DSP talk, I encourage folks to rewind to the beginning of the video as David has a wonderful presentation on streaming and using a Raspberry PI as a Roon endpoint.
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my question is simple, my reason is a little bit more complicated. the question: one of my speakers is about 8 inches further away than the other one, should i use time alignment after the room EQ plugin? i've uploaded a picture of my layout, maybe it will help with confusion. i'd like to think i could simply set the time alignment and answer the question myself, but i can't because there's like 1.5dB splash off the television next to my computer monitor. the television is angled some towards my chair. because of the splashing, i don't know if i'm overshooting my effort or if it is because the screen is angled. what makes finding the answer more difficult for me.. the left speaker is by the wall .. the right side of the room doesn't have a wall. i can see on the VU meter that room EQ has lowered the amplitude of the left side some. makes sense to me because without the correction applied, the left side is clearly louder than the right (my balance is in the middle). i don't know if room EQ has adjusted the delay for the left side or simply lowered the amplitude. okay, an answer based on what i hear? well without the time alignment vocals seem to smear from the speaker all the way to the middle. with the time alignment, the smearing is gone and the sound is focused in the middle - plus or minus the splashing. room EQ is supposed to fix the phase issues, but if the time alignment is wrong.. is what i'm hearing (i don't know what to call it) phase issues? cross-correlation issues? combing artifacts? i'm SORRY because i don't know if all that ambiance is intended or not. i know the ambiance is gone with the time alignment. i think i'd have an answer myself if it wasn't for the television. it's highly important to me because i plan on going around locally to calibrate people's audio and video. i don't want to do it wrong. as i said, i don't know if all the ambiance is a style (which would basically be THE style i guess) or artifacts. thanks for reading my post.
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- digital room correction
- mathaudio
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Hi I am wondering what the best music server software is and the best digital room correction software to go with it is, please. I have a work system that I plan to upgrade over time. It has a decent buisness PC and a Xindac DAC5 feeding Linn 11L active speakers. The problem is that the upper base can blurr together. I will upgrade in time. I expect to get a Hugo DAC, then amp(s) at least the cost as the DAC, and, say Neat Iotas, then... etc. I love the Naim sound, but if the DAC V1 isn't the greatest, then I wait longer to get my first black box. I am computer literate and have written a Word Macro once, used to know how to update my website and wrote something once in keystroke emulation software that I can not know the name of. So, I'm not a technophobe, but I wont be programming in source code anytime soon. I know that dB is a log scale that doubles every three dB, but I forget the rule of thumb to add two sources together to get total loudness. I don't want the be all and end all, but I can be a bit obsessional about stuff. A mainstream, powerful solution would be fine. I figure I should chose the software to work together. JRiver and Acourate? If so, that's great. It's a pitty HiFi books and magazines give NO guidance about this. I will really appreciate any help!
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- digital room correction
- drc
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