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Digital room correction may involve minimum phase algorithms, to maintain wavefront coherence over the intended frequency range.. The use of analog filters, such as equalizers, to normalize the frequency response of a playback system has a long history; however, analog filters are very limited in their ability to correct the distortion found in many rooms.
An equalizer for professional live sound reinforcement typically has some 25 to 31 bands, for more precise control of feedback problems and equalization of room modes. Such an equalizer is called a 1/3-octave equalizer (spoken informally as "third-octave EQ") because the center frequencies of its filters are spaced one third of an octave apart ...
The oldest method of system calibration involves a set of healthy ears, test program material (i.e. music or speech), a graphic equalizer, and a familiarity with the desired frequency response. One must then listen to the program material through the system, take note of any noticeable frequency deviation or resonances, and correct them using ...
For example, in Europe, for many years recordings required playback with a bass turnover setting of 250 to 300 Hz and a treble rolloff at 10,000 Hz ranging from 0 to −5 dB, or more. In the United States, practices varied and a tendency arose to use higher bass turnover frequencies, such as 500 Hz, as well as a greater treble rolloff such as ...
The recommended reverberation time is always a function of the volume of the room. Several authors give their recommendations [10] A good approximation for broadcasting studios and conference rooms is: TR[1 kHz] = [0.4 log (V+62)] – 0.38 seconds, with V=volume of the room in m 3. [11]
Room modes are the collection of resonances that exist in a room when the room is excited by an acoustic source such as a loudspeaker. Most rooms have their fundamental resonances in the 20 Hz to 200 Hz region, each frequency being related to one or more of the room's dimensions or a divisor thereof. These resonances affect the low-frequency ...
Here especially, impedance-matching volume controls can be used to protect the amplifier from overload. This system design is otherwise the same as a single source, single zone in that all zones must listen to the same audio source, though volume control is independent in each room (and audio can be turned off in rooms, as desired).
In music and film/television production, some typical effects used in recording and amplified performances are: 75 millisecond echo Flanger Phaser Chorus Equalizer. echo – to simulate the effect of reverberation in a large hall or cavern, one or several delayed signals are added to the original signal. To be perceived as echo, the delay has ...