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In Reply to: RE: Maggies and software room correction posted by Rayd on February 04, 2023 at 17:34:01
Why not share your experiences publicly? Others are surely interested.
I thought OldMaggieFan would communicate with me first, but.....
I use a Lyngdorf TDAI2170. It is an integrated amp with Room Perfect room correction but I use the 2170 as a preamp and feed a Sanders Magtech amp with the 2170 analog out signal. The Sanders feeds Magnepan 3.7i speakers. I have an AudioKinesis SWARM sub system (four passive subs) fed from a Dayton Audio SA1000 sub amp. I send the 2170 digital output to a DAC and the DAC analog output feeds the sub amp. The subs are 8" woofers. Low pass and high pass filters in the 2170 are set to 80 Hz. so the Magtech is not doing a lot of grunt work. The subs are positioned throughout my 16 x 16 room as per Duke Lejeune's directions. Duke is the owner of AudioKinesis. The Maggies are positioned four feet from the front wall (the wall behind the speakers) and 37" from the side walls. Tweeters are inside and the speakers are toed in so they cross in front of me. While this is my preferred set-up WITHOUT Room Perfect, it is also my preferred set-up with Room Perfect, even though the Room Perfect recommendation is to put the speakers against the front wall. Tried it, didn't like it.
The Room Perfect set-up took about 20 minutes. Set-up is accomplished by putting the Lyngdorf calibration mic and mic stand (included with the 2170) at your listening position and starting the calibration cycle. Calibration sweeps will begin and when finished, the listening position will be set. After establishing the listening position Room Perfect asks you to randomly position the mic around the room at various heights with the mic pointing towards the ceiling or towards the floor or to one of the walls or directly at a speaker. Again, positions must be random. Forget about symetrical positioning. Random measurements get a comprehensive image of the acoustical properties of the room. After each position has been input into the 2170, Room Perfect asks you to continue calibrating until you reach at least 95% room calibration knowledge. I continued calibrating until I reached 100% room calibration knowledge. The process was simple.
The 2170 lets you establish low pass/high pass filters, delays, filter types and too much more to detail here. I don't feel a need for room treatments. The bass is clean and not boomy. Bass instruments have the right amount of low resonance. Synth bass hits you and decays smoothly. In the mids and highs there is no smearing or edginess. The music is detailed with real sounding instruments. Vocals are not too "large" and imaging is correct. Trumpets have the right bite and piccolos are shrill like they should be. Of course, much depends on the recording. Room Perfect is not a fix for bad recordings. Room Perfect is for the room. I like it.
I'm currently using a McIntosh MEN220 that uses room perfect by Langford. It's also my crossover as I am bi-amping it really has made a difference.
Lots would probably appreciate it.
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