REW has been around for more than 10 years already.
All DSP room corrections have limits to what they can do and only correct for 1 specific position. Still not perfect but mostly brings you closer to 'hifi' sound with speakers.
Get yourself a 2nd hand HD800 + Kameleon or a HE-6 or perhaps something like an Utopia (also with Kameleon) and you can really evaluate and disect recordings/music and, God forbid, lean back and enjoy some music. Still ... no spatial 'in front of you' experience though.
Actually I was quite lucky I measured the studio back home 14months ago, and looks like this...
Thanks to all the work on headphones using the same methodology over the last days, I could make a direct comparison. Not no way is any headphone going to beat this easily, especially the (monster) dynamic range.
It needs a lot of work on the bass frequencies now, (a jump of about 20dB below 50hz) but it's being done atm. + Now you know why the cross-overs are being junked for active ones.
I found more figures for more tests in the archive from 14 months ago. This was the one which interested me most.
I could plot out the stuff from the fabulously expensive Jadis+Westminister royale system which sounded so bad. This is a 100+ grand system... Interestingly, I think I mentioned, Tannoy sent me the original curves from their lab.
I think it goes to show the validation method above DOES WORK. You don't need an anechoic chamber.
The humps and bumps in the Tannoy curves show up large as life in the microphone measured curves,at 40hz, 100hz & 800hz + 7-10khz, and I could plot them against my own system. (I suppose Tannoy might be quite annoyed, if they knew I published their internal memo they sent to me )
Interesting and revolutionary conclusions and thinking there.
Did your tweeter burn out or is that your microphone ?
Tweeter is ancient, overdue for replacement, so it's getting some equally ancient but good Lomo units (horn type). Again, another reason for splitting the system down into active crossovers and 3 amplifiers.
Once I get that running it will probably take several days mucking about with crossover values, levels, matching sound signatures & tracing back waveforms from microphones to get it close
It's all going off topic but interesting, all about designing stuff to achieve a given result.
My theory is a sound system should not have a deviation in frequency response across the scale of more than 3-4dB from 30hz-10khz, and as low distortion as possible from 30-80hz. In reality it's almost impossible to achieve. Peter Walker had ideas of his own.
I got part of my result using a full range driver, which I deliberately cut off at 1.5-2khz where they normally get horribly harsh. (eg. you can think of Lowther!). Harsh speaker drivers+PP valve amps, you don't want to go there! I end up clapping my hands over my ears
Quad ESL manage to get this amazing flat response except in the bass, where there is a huge lump below 80hz* which is likely to trigger the safety (arc) cutout if you have an amplifier that generates large power down there.
The room bass response remains weak on ESL because the reflection from the rear cancels out the front in most smaller rooms. Later ones will still cut out with a powerful sound source, and the US Magnepan panels have weaknesses of their own.
Original Quads will flash up immediately when the voltage on the input terminal exceeds 33 Volt (peak-peak).
The BBC used to use ESL until they made their own speakers. Most UK, 50s and 60s recordings were made using them for mastering, so you have to have the right amp to drive them.
Below that* the drive impedance goes into the stratosphere (60ohm+). Distortion goes to pieces, then there's the weird behaviour at 10khz, and an almost dead short at 20khz!
Most decent large valve amplifiers will carry on regardless when presented with a near short from the safety system, and mine being repurposed industrial ones will carry on melting things down to 15hz or over 30khz, because they were designed to run shaker tables.
It's quite interesting sorting out hype from useful info. There remains really only a handful of really competent people in the world working on valve amps, people like the US guy, Tubelab, the Russian "Wavebourn", Gillespie, Elliano... proper research - years of experience.
I guess we covered mostly everything on this topic now. Gives me plenty to think about on my travels, and what to order when I can get around to it (including one of your kameleon to build in June, I hope). I look forward to that as it's a great idea to take on my travels and demo to people.