TWO THINGS A ROOM CORRECTION

PRODUCT MUST DO

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om/

ROOM CORRECTION
My research has led me the conclusion that there are a number of
basic functional elements that ALL room correction devices should
possess. These conclusions derive from a room acoustics design
viewpoint rather than a sound quality perspective. It is interesting
that there are many devices on the market that do not meet these
two basic criteria

Must not apply correction filters

above the transition frequency OR
must allow the user to switch off
room correction above the
transition frequency

THINGS A ROOM CORRECTION

PRODUCT
MUST DO
When a measurement microphone is placed at the listening
position(s) and the source is a reasonable distance away (e.g. 8ft)
what we see on a frequency response chart above around 300Hz
(the transition frequency) is a combination of the direct sound from
the speakers and the reflected sound from the surfaces of our
room. The contribution of the reflected sound from the room to the
measured frequency response can be as much as 60%. The
measured response, as seen on the chart, is often termed the
power response of our speakers. The shape of the line normally
droops towards high frequencies; this is due to the increasing
directivity of our tweeters as 20kHz is approached.

THINGS A ROOM CORRECTION

PRODUCT
MUST DO
Each line on the graph represents a
measurement at a different angle
off axis. The chart shows 0,30,60
and 90 degree off-axis
measurements. The red line is an
estimation of the power response,
or what the listener hears. These
speakers maintain very good off
axis response through 75 degrees
off axis.

THINGS A ROOM CORRECTION

PRODUCT
MUST DO
Above the transition frequency room correction products are
actually correcting the power response of our speakers i.e. they are
applying speaker correction. In some cases this can be a good
thing, for example with lower quality speakers that possess
variable on-axis frequency response.

THINGS A ROOM CORRECTION

PRODUCT
MUST DO
In most cases however, and especially with audiophile quality
speakers, one should be hesitant about allowing a room correction
product free reign to determine and apply correction filters above
the transition frequency. Some reasons for this are listed below:
Equalizing the power response will typically cause the direct

frequency response to rise towards 20kHz; your nice speakers

that measure flat on-axis at 1m will now exhibit a rising
frequency response!
Many speaker designers purposely engineer in some minor

deviations in the frequency response. This is often a subjective

voicing of the sound but is also sometimes required to control
the sound quality impact of a driver breakup mode. An example
of this is the BBC or Gundry dip.

THINGS A ROOM CORRECTION

PRODUCT
MUST DO
These examples illustrate why any room correction product should
either:
Only apply correction to bass frequencies like Meridian.

OR
Allow the end user to select which the frequency range to which

room correction is applied like TacT.

Must allow the user to

choose a target
frequency response

THINGS A ROOM CORRECTION

PRODUCT
MUST DO
Room correction devices aim to fit the measured frequency
response to a nominal target frequency response by applying
correction filters. There is an element of preference in the shape of
the target curve, some people preferring a ruler flat response whilst
others prefer a rising response in the bass which adds a little more
weight to music. To some extent this preference is informed by the
volume at which a person listens to music and the sound level
dependent nature of our hearing. Those who listen at lower
volumes (e.g. 70dB) may prefer a lift of up to 10dB at 30Hz. See
this information on the Fletcher Munson curves for more
information.

THINGS A ROOM CORRECTION

PRODUCT
MUST DO
In any event any room correction device should either:
Allow the user a wide choice of target frequency responses

Or
Allow the user to manually draw their target frequency

response. Any system that requires the user to specify the

correction filters (e.g. Rives Audio PARC, Z-Systems RDP-1) is
effectively providing a limited version of this capability.

THINGS A ROOM CORRECTION

PRODUCT
MUST DO
There are three additional
criteria that a room
correction product should
have:
-not performing a
needless analog to digital
conversion
-providing measurement
capabilities
-providing filter
generation capabilities

Did you realize that room correction cant fix all the acoustical problems of your
listening room? Let us know your thoughts!
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