Это всё же лучше, чем вообще не корректировать.
Это точнее
)
Статья не совсем об эквализации ("room equalisation cannot perform miracles") а о зарождении адаптивных систем корректировки, (хотя их тоже можно назвать эквалайзером, пожалуй), но вот через 17 лет F.Newell пишет следующее:
"11.5.4 Summary of correct applications of equalisation.
Corrective equalisation of a conventional form can be applied to room/loudspeaker response irregularities when those effects are of a minimum phase nature and are
time and space invariant, such as loudspeaker roll-offs and rises, or room loading effects.
It cannot be applied to irregularities that are the result of effects which are separated temporally or pacially from the initial event, such as reflexions or resonances. As the latter are the principal culprits in room response problems, they can only be dealt with by treatment of the rooms themselves.
In such cases, the use of electrical filtering, other than of the digitally adaptive type,
is a total misapplication of equalisation. The failure to appreciate this point has led to the ruination of many natural sounding loudspeaker systems in an alarming number of rooms.
Equalisers cannot fix rooms; only acoustic control measures can do that."
Тема эквалайзеров на мэйнах давняя, оттуда же:
"By the mid 1970s, the majority of top studios around the world were using monitor equalisation to try to achieve a more standardised frequency response at the listening position. ... The fact is that there is no effective electronic fix to the floor dip problem, because even digitally adaptive flattening can introduce unwanted artefacts. The saving grace is that such response dips are usually of quite narrow bandwidth, and that the ear’s sensitivity to them is low. In many ways, however,
the ear’s sensitivity to the effects of attempts to correct the problem is such that many solutions are subjectively worse sounding than the problem itself.
In reality, there are three bona fide uses for monitor equalisers:
1 To correct for minor discrepancies in the loudspeaker drive units when these are of a minimum phase nature.
2 To compensate for any acoustic gain caused by the proximity of boundaries.
3 To apply a desired curve the monitor response (such as the gentle high frequency roll-off which many studios employ, or cinema standard equalisation, or when high SPLs are normal)."
Выбирай, но осторожно, но выбирай (с)
