Originally Posted by mthomas47
I think the Audyssey graph is a little better, particularly above about 65Hz, and below about 25Hz, but neither one strikes me as extremely good. Have you experimented with moving your subs around to find the best overall placement? Is this about as smooth as you can get?
I agree that the Audyssey curve is a little better, and it's good enough below about 95 Hz, even with the peak at about 75 Hz, which, while weird, might be heard as a little extra "punch." The curve above about 95 Hz is more erratic, though. The good news is that the greatest deviations cover narrow ranges of frequencies, so may not be noticed by ear (anomalies less than 1/3 octave wide tend to be ignored by most listeners -- the ability to ignore minor problems is important to happiness). How much smoothing did you use? 1/6th octave? 1/3 octave? The bad news is that some of the lesser deviations above 95 are larger than we would like to see. Others may give you specific advice, but I suspect that your speakers &/or MLP(s) need to be moved around some.
EDIT: I agree with Mike and Feri that using multiple positions for your REW mic would be better, at least in evaluating the final frequency response, after Audyssey, once you have found the best positions for your subs, and mains. Your mains may benefit from being moved nearer or
farther away from the wall, regarding the uneven response above 95 Hz. Are you crossing over your subs at 80 Hz? I'd determine the best positions by ear
, at normal ear height, from the single MLP (you could
try all seats, if
you want to go crazy). then confirm
it by a cluster of REW mic positions in, or near, the MLP seat. Now that there is less work for Audyssey to do, run Audyssey using all of its 8 mic positions, with the final two where Feri suggested. Or, if you are going to listen alone, or with just one or two people, cluster the mics in the area of that one, or those few, seats, with most (including #1)
at ear level, and the last two somewhat above &/or somewhat in front. There is a lot of alchemy to this;
it's not that psychophysics wouldn't be better, it's that you won't get a complete model of your room, as heard from the seating positions, with 8 microphone positions, and the best use of information from even those 8 positions awaits the future. We are miles ahead of where we were in the 1980s with Crown Parametric equalization, or the 1970s with 1/4 octave Altec Acoustovoicette graphic EQ. When you're done, listen for about a month, and see what you think. Then use 8 REW mic positions in the same positions as your 8 Audyssey positions were in, ask REW to average the curves, and compare your subjective impressions to the graph, both of which I hope you will share with us.
In my case, two mic positions that are in front of the MLP (by a bit) acknowledge a disturbing reality -- the sound is clearly different if I lean forward. I sit about 16 feet away. Last time I ran Audyssey I took the leaning forward thing into account in positioning two of the mics. It was my best run, and I don't care to do another, unless there is an equipment change. The sound is good for all seats in our HT, is good closer, is good farther away. That wasn't true before Audyssey, with all other equipment the same. Although good in all those locations, it is different in all, as expected.