Well done Maestro...
το RP-1 εξωτερικά μου θύμιζει κάτι από παλιά και μάλιστα Ελληνικό, λες να υπάρχει κάποια σχέση;
http://www.lyngdorf.com/index.php?op...d=21&Itemid=45
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Well done Maestro...
το RP-1 εξωτερικά μου θύμιζει κάτι από παλιά και μάλιστα Ελληνικό, λες να υπάρχει κάποια σχέση;
http://www.lyngdorf.com/index.php?op...d=21&Itemid=45
Νομίζω ότι και εδώ μυρίζει ADC/DAC, αλλά για πες και άλλα...εδώ μιλάμε ότι αλλάζεις πλέον και προ ε;
What else? voicing?? mmm...
http://www.lyngdorf.com/downloads/Ow...2014-05-07.pdfQuote:
Voicing
When using RoomPerfect™ you will experience a much more precise and detailed sound reproduction
– which could also be described as more analytical.
The Voicing setting is an EQ fi lter that can be used to gently amplify or attenuate certain frequencies according to your personal preferences and/or to compensate if a given recording sounds too ‘bright’ or too ‘dark’.
The standard voicing settings, and their numerical value on the remote control, are:
• Neutral (0), Music 1 (1), Music 2 (2), Relaxed (3), Open (4), Open Air (5), Soft (6).
The frequency curves of the different voicing settings can be viewed in the appendix. Neutral is a bypass setting.
You can toggle between neutral and the available voicings by pressing the Left/Right buttons on the remote or front panel. The voicings can also be chosen directly on the remote by pressing the ‘Info’ button followed by 0-6.
PREVIOUS SCIENTIFIC APPROACHES TO LOUDSPEAKER AND ROOM EQUALISATION2006
Some commercial room correction systems
In 1991 B&W launched a room correction system called the B&W Digital
Control Unit. Essentially it was based on the seventies Teledyne experimental
system and to a large extent Colin Bean and Peter Craven’s earlier theoretical
work (see above). A technical presentation can be found in Hi-Fi News &
Record Review 1991 December.
Marantz AX-1000, a combined room correction system and room simulation
system, was accessible in 1992. An impressive piece of equipment for that time
representing a power of 13.3 mips.
TacT Audio introduced a room correction system in 1997 called RCS 2.2. The
equipment only works together with a PC for calculating the equalisation
filters, impulse response acquisition and real-time processing are both done
independently. Splitting the measured impulses into three frequency bands,
the RCS 2.2 uses different strategies for designing the correction filters. In the
lowest frequency region, the correction resolution is 0.6 Hz, up to 1,500 Hz the
resolution is 5 Hz, and above it is 300 Hz. Processing is powered by four Motorola
DSP56002 processors. The RCS 2.2 was received with some excitement in
the professional world, and although really expensive it has been reviewed
(with good marks) in the home theatre / Hi-Fi literature. Many prejudges
pointing towards digital Hi-Fi equipment was put to death, and the reviews
reported on noticeable improvements in the subjective quality of reproduced
sound. Later, TacT has launched simpler and cheaper versions producing almost
the same subjective quality improvement.
Roister Digital Audio has come up with a quite new set of digital room
equalisers (1999), the Acoustics Compensators, having a processing capacity
between 160 and 480 MIPS for the top-of-the-range model. That allows running
two-channel FIR filters at 48 kHz with 768 up to 2336 filter coefficients.
Input impulse responses must be supplied using external pieces of measuring
equipment.
Other recent pieces of room correction equipment are listed below. Also Philips
launched a room equaliser in the early nineties (and a not too expensive set of
active speakers in fact) - neither of those obtained much commercial success.
• SigTech AEC-1000/2000. Can handle 2,200 FIR filter taps in 48 kHz
sampling and works adaptively, i.e. the correction filters are changed onthe-
fly,
• Snell Acoustics RCS 1000. Room correction system with 1.5 Hz
resolution,
• Behringer Ultracurve Pro 8024. A 1/3 octave equaliser that produces the
band corrections automatically based on measurements.
Why not more systems?
Not many systems of the kind have emerged yet, and the world still waits for
a simple, cheap, and completely automatic room correction system. Perhaps
that is why the concept of room correction has not yet gained widespread popularity.
Another explanation is that just ten years ago, digital Hi-Fi equipment
was still approached with much scepticism (at least among purists).
Perhaps still not completely vanished, the “fear-of-digital” has greatly reduced
here at the beginning of the new century. Thus, a breakthrough for the digital
room correction may be just around the corner.
http://kurser.iha.dk/eit/eaku/litt/R...the%20Past.pdfQuote:
John N. Mourjopoulos: Digital Equalization of Room Acoustics,
J. Audio Eng. Soc., Vol. 42, No. 11, 1994 November
Signal-processing methods such as digital equalization can in theory achieve
a reduction in acoustic reverberation. In practice, however, the realization of
these methods is only partially successful for a number of objective and
subjective (perceptual) reasons. Two of these problems, the dependence of the
equalizer performance on the source and receiver positions and the requirement
for extremely lengthy filters, are addressed. It is proposed that all-pole
modelling of room responses can relax the equalizer filter length requirement,
and the use of vector quantization can optimally classify such responses,
obtained at different source and receiver positions. Such classification can be
used as a spatial equalization library, achieving reduction in reverberation over
a wide range of positions within an enclosure, as was confirmed by a number
of tests.
http://kurser.iha.dk/eit/eaku/litt/