How to think about room correction settings like frequency range and gain?

[Musician]

Interesting to read. I was a bit hesitant about using room correction with these speakers at first. Given their orthoacoustic design, I was concerned that applying correction might actually work against their intended purpose.

That said, I did end up trying it, and in my case, I found that room correction made a positive difference. I stuck with the default setting, which applies correction up to 4000 Hz, and that worked well for me—helping to clean up room interactions while still preserving the speakers’ natural character.

Out of curiosity, I also experimented with limiting the correction to just 400 Hz just now after reading your post, but unfortunately, that was a disaster in my setup. The treble became almost unbearable—harsh and piercing to the point where it was really uncomfortable to listen to. So for me, the broader correction up to 4000 Hz turned out to be the better approach. Did you change any other settings like Gain and Max Q. I am still struggling to understand all this.

Would love to hear your thoughts and experiences on this! Have you tested different correction and limits yourself and compared? How did the default setting sound?

Try upper limit to 10 KHz, max Q=6 , gain=10, smoothing 1/6, Harman target, one single sweep for both speakers from listening position, -it might sound even better.

You also need some boosting below 100 Hz to not sound unnatural. I first do the room correction, then go in manually and use shelving set at 60 Hz , +3 dB , Q=1. Apparently this boost is in line with Tooles/Harman research. ( see graph )

Its easy to compare the sound with or without correction.
Carlson did his research at -70 so Im sure he would have been delighted to have room correction dsp at that time.

 

[kjell.bjornfors]

Interesting to read. I was a bit hesitant about using room correction with these speakers at first. Given their orthoacoustic design, I was concerned that applying correction might actually work against their intended purpose.

That said, I did end up trying it, and in my case, I found that room correction made a positive difference. I stuck with the default setting, which applies correction up to 4000 Hz, and that worked well for me—helping to clean up room interactions while still preserving the speakers’ natural character.

Out of curiosity, I also experimented with limiting the correction to just 400 Hz just now after reading your post, but unfortunately, that was a disaster in my setup. The treble became almost unbearable—harsh and piercing to the point where it was really uncomfortable to listen to. So for me, the broader correction up to 4000 Hz turned out to be the better approach. Did you change any other settings like Gain and Max Q. I am still struggling to understand all this.

Would love to hear your thoughts and experiences on this! Have you tested different correction and limits yourself and compared? How did the default setting sound?

We're going to rearrange the furniture a bit in the living room where I have the Wiim Ultra, so I thought I'd redo the measurements after that. Unfortunately, it is the case that the room node problem will become greater after that, but it is not always that the practical goes hand in hand with the technical. Also thinking about lifting up my Yamaha AVR from the cinema room in the basement and testing it, but it feels difficult to disconnect all the cabling and then put it back again.
The microphone I use belongs to the XTZ Room Analyzer Pro and it gives much better results than the iPhone or iPad mic. In addition, I will also make measurements with REW.
I have experimented a little with the settings and what has suited me best so far is max gain=3dB and max Q=5. Then I screwed it up a bit afterwards until I thought it sounded good. But I have a phase problem between the OA2212 and my XTZ Sub. That's why I want to try the Yamaha AVR, because I used the OA2212 as a front speaker in the bio system before with a similar Sub and then there were no phase problems.

 

[Musician]

We're going to rearrange the furniture a bit in the living room where I have the Wiim Ultra, so I thought I'd redo the measurements after that. Unfortunately, it is the case that the room node problem will become greater after that, but it is not always that the practical goes hand in hand with the technical. Also thinking about lifting up my Yamaha AVR from the cinema room in the basement and testing it, but it feels difficult to disconnect all the cabling and then put it back again.
The microphone I use belongs to the XTZ Room Analyzer Pro and it gives much better results than the iPhone or iPad mic. In addition, I will also make measurements with REW.
I have experimented a little with the settings and what has suited me best so far is max gain=3dB and max Q=5. Then I screwed it up a bit afterwards until I thought it sounded good. But I have a phase problem between the OA2212 and my XTZ Sub. That's why I want to try the Yamaha AVR, because I used the OA2212 as a front speaker in the bio system before with a similar Sub and then there were no phase problems.

Try plugging the port on your OA2212. If you use the crossovers for HP and LP inside the WiiM ultra, you must bypass the inbuilt crossover in the XTZ sub.

Perfect integration is not easy to do, regardless of what people say . Its always the acoustical slopes that matters ( not the electrical ) , and a closed box and ported speaker behaves very different below tuning point, i.e. they have different rolloff orders. Its very uncommon a 24/24 HP/LP electrical filter gives a perfect integration in the acoustical domain.