Luke that is an even sharper house curve than what you listened to at my spot when you came through. I peaked out just under 15dB hot where you are surpassing that handily!
all it reveals is that a room has reflections. A default REW sweep in a room is completely unusable for a full range measurement. Variable smoothing in REW is too smooth IMV so if you want a listening position measurement then better to use Holm to get access to frequency dependent windowing.take off the smoothing. It's a lot more revealing. It will help you get it better. Smoothing is like makeup- less is more.
I do need to tame the 25hz region slightly, but not much more for my listening tastes.Dude that is steeper house curve than even mine! We start trailing up about the same area, but I peaked out at 15dB hot where you are surpassing that pretty handily
Makes me understand why you bother with the GHs at all. It is very interesting to see what others are intentionally EQing in their systems.I do need to tame the 25hz region slightly, but not much more for my listening tastes.
By 40hz I'm only ~12db hot, but then it takes off below that. That's what I like though, and is pretty much the same curve with the subs on.
I should clarity. With the subs on, the curve continues on that same upward path and starts to roll off below 15hzThe posted curve
Makes me understand why you bother with the GHs at all. It is very interesting to see what others are intentionally EQing in their systems.
I also would like to see the unsmoothed graphs if you have them for the full range response.
I boost the G's an additional 10db, and sometimes even a few more DB, for a demo every now and then...You NEED 6x more GHs if that is your actual curve for music/movies...
That particular track maintains the same frequency for 2-3 seconds at a time. All of those SPL numbers were without clipping, but were very close to the limits.Is that a continuous or peak measurement? What mic/software did you use to measure it?
Not a bad idea at all.one thing that you may wish to experiment with is taking a close mic of the woofer and the horn separately, then eq'ing those responses to be reasonably flat around the crossover region, then adjust levels and apply the crossover filter. from there, flip polarity and adjust delay until you get the big suckout at the crossover point, then flip polarity back. iirc, @mtg90 has worked with that horn/driver and created a very good looking response. he may have some eq advice/settings that may be difficult to see in the non-windowed response measurements taken indoors for the horn section.
The near field on the woofer will be helpful, but lower than observed the higher you get in frequency. You will get interesting and somewhat useful measurements at 2', but from a 2' wide horn you will see change in response shape as you move to at least 6' away, and I'd want to be at least 10' away, which is much more of a driveway project than in-room. There are some tricks you can do with boundaries by placing the mic against the ceiling, wall or floor which can give very good results under 5-10kHz which you can then splice with narrow gated measurements at mid-height in the room.Not a bad idea at all.
I did start with the MIC only about 2ft from the wave guide, and I was expecting to need a least a tiny bit of delay on the woofers, but adding any at all, even 0.02 ms, resulted in less SPL in the crossover region.
At this point I think I need to to reach the noise floor I'm after.Might be worth padding down the tweeter so you don't have to attenuate it digitally so much. Just a thought.