Thank you guys for all your constructive comments and further ideas on this new procedure on the mic placement scheme.
Let me do some more brainstorming for further discussions and to keep the ball running.
We all know that this procedure is not an EQ'ing procedure, just serves the purpose of "mapping" our listening area in order to rule out abnormalities like heavy peaks & dips in the bass region and diminishing highs in order not to feed MultEQ any junk that will skew up the filters.
Now comes the simplification of matters for determining the proper mic spots after #1
at MLP. Well, having a bunch of graphs will all different kinds of wierd shapes may look a bit scary at the beginning, but again, nothing to be afraid of, coz this is just a drill.
The key to success here should lie in the shape of the graph, nothing but the shape. At this stage we need not worry whether we found a narrow dip at 65 Hz or a huge peak at 45 Hz, doesn't really matter. What matters IMHO is how the shape of the curve looks like at each measurment point and to what extend it deviates from flat. Yeah, flat from 10 Hz to 24 kHz, coz now we have a visual of each spot in front of our eyes we didn't have before when we had to do a lot of trial'n'error based calibrations, even with strings hanging from the ceiling for the mic spots (I remember Jerry doing that) and also remember some guys running Audyssey on a weekly basis experimenting endlessly.
And now in order to determine which mic spots to use and which ones to avoid, we can call "fuzzy logic" into the game as follows:
Set up three groups based on the flatness of the curves:
1. Group 1: Slight deviation from flat
2. Group 2: Medium deviation from flat
3. Group 3: Strong deviation from flat
Remember, here we really don't need to care about exact deviations, we do not need to worry about that crazy dip at a certain frecuency. The most important thing is that now we have a group of three different kinds of deviations from flat. We can omit Group 2) and Group3), select 6 points for MultEQ or 8 points for MultEQ XT and MultEQ XT32 from Group1) and run the Audyssey setup routine as usual.
Even though some might already have a calibrated mic (UMIK-1 or the like) used for REW, but I think at this early stage of acoustical mapping of our seating area this can even be done with the little Audyssey mic. We are not calibrating, just looking at relative differences among the curves and for that purpose the Eiffel tower Audyssey mic should be just fine. No surgical precision, no mathematical exactness, and finally no sweat needed here at this initial stage.
Further to all the above I've been thinking on how to simplify the measurement part of this scheme. Probably instead of doing a myriad of spot measurements around the seating area it might be more practical to do it with REW's RTA feature.
It would allow to simply pull the mic about and watch how the FR changes and take note of those spots where the diviation from flat becomes more and more apparent.
This might not be so troublesome when repeatedly done with the three front speakers (LCR).
Probably I'll have time over the weekend to do some initial testing of this method.
Your thoughts are appreciated and welcome, as always.