Mal wieder eine neue Box in Planung 2x GF200 + AL130 + KE25SC WG

[Timo]

Ich fange keine Grundsatz Diskussion an. Ich habe geschrieben wie ich es mache. Die Box muss in sich stimmen und dann kommt unterhalb 300 oder 400 hz der bassbereich hinzu.

Ich halte es sogar für vollkommen falsch, wenn man eine konzeptionell schlechte Box am hörplatz entzerrt.

Gruß Timo

[Slayer667]

Ich habe aber die Weiche so gestaltet, das es am Hörplatz passt! Was bringt es mir wenn sie auf Achse passt, aber am Hörplatz schlecht klingt?
Meine Möglichkeiten zur Aufstellung der Box ist leider extrem begrenzt, deswegen muss ich passiv darauf hin arbeiten, das es am Hörplatz trotzdem gut klingt! Wenn ich einen Raum hätte der größer ist, und ich die Boxen verstellen könnte, würde ich es natürlich anders machen! Aber die Box muss eben in meinem Raum, und bei meinem Hörplatz gut klingen, der Rest ist mir eigentlich egal!

[Timo]

Lese bitte meinen letzten Post nochmals. Ich habe sicher nicht geschrieben dass es nur auf Achse passen muss. Ich habe geschrieben dass die Box im nahfeld in sich stimmen muss.

[walwal]

Wie Timo schon schrieb (und auch andere vorschlagen) sollte man am Hörplatz nicht alle Abweichungen glätten, wenn die Box konzeptionelle Fehler hat. Mein Vorschlag, den MT etwas anzuheben, bezieht sich auf die 1 m-Messung. Dann am Hörplatz (wie Timo schreibt), den Bass vorsichtig korrigieren. An Ende entscheiden die Ohren.

Generell ist die Aufstellung der Boxen und Hörposition beim TE sehr kritisch.

https://archimago.blogspot.com/2026/07/room-target-curves-then-now-and-options.html

5.1 Start with good speakers and hopefully a good room


No target curve can fix a fundamentally flawed loudspeaker in horrible echoic and noisy rooms! We want transducers capable of "accurate" sound reproduction, characteristics of which would include a flat, smooth anechoic frequency response with smooth, gradually narrowing directivity as we get into the higher frequencies. Speakers with severe directivity errors (eg. off-axis tonality grossly different from on-axis) cannot be fixed by just a change in the electrical frequency response (what we're doing with EQ or more precise FIR DSP filter) because what amounts to a improvement in the direct sound will not be beneficial to the off-axis energy.




Another characteristic of the loudspeakers we should consider is that it's capable of good dynamic range while maintaining low distortion - at least loud enough for sound to fill the room size. This is dependent on the room noise floor and how loud you want to play. For example, let's aim for a quiet room with 30dB SPL noise floor and usable dynamic range of 70dB. This means it'll be nice when you're sitting at the sweet spot to be able to hear 30+70 = 100dB SPL peaks. Due to the inverse-square law, if we sit something like 9' (3m) away, this would mean that the loudspeaker would have to play up to 110dB SPL measured at 1m hopefully with low distortion (<5% THD at those 100dB transient peaks probably would not be objectionable). How well you achieve this will of course be a combination of your loudspeaker capability with amplifier of adequate power and low distortion - it should not be difficult to achieve this with decent modern amps.

5.2 Correct more aggressively in the Modal and Transition Zones


Below ~150–300 Hz (Schroeder Frequency), room modes dominate. Focus on reducing peaks. Deep nulls cannot be EQ'ed, and if you do want to add some correction gain, I would limit this to +6dB for the correction curve or EQ setting. If nulls are a major problem, consider: adjusting speaker +/- listening position, add bass traps/absorption at antinodes (reduce Q, dampen standing wave energy), try using more than one subwoofer.


You might want to be less aggressive in the Transition Zone (from Schroeder to ~2 octaves up) where things like physical room treatments such as first-reflection point absorption should be prioritized.


Target a gentle downward slope from bass to treble, reflecting natural room gain in the bass as you see in the curves above while smoothing out roller-coaster bass response.

5.3 Be more gentle above the Transition Zone


If the speaker has good directivity, the natural speaker-room interaction should already produce a gentle slope without much intervention as we enter the Quasi-Diffuse Zone. Many would recommend just applying partial frequency correction DSP (such as doing this) to affect lower frequencies only such as below 500-750Hz.


For me, I have not had any audible concern with modern DSPs applying full-bandwidth correction (ie. 20Hz to 20kHz). The correction systems I've been using (Acourate, Audiolense, Dirac) utilize Frequency Dependent Windowing (FDW), a sliding window technique that scales the analysis and correction progressively across the frequency range. For example, low frequencies having longer wavelengths, require the analysis window to be longer like say 750ms at 20Hz compared to only 15ms at 1kHz. Doing this correlates with how our ears/brain integrate frequencies based on the time window needed to perceive, mask, or extract for directional cues. These modern DSP applications also provide excess phase (time domain) correction to improve driver integration at the listening position.


Note that some other AV receiver correction systems such as Yamaha's YPAO, stock Audyssey, and Pioneer's MCACC are built on simpler parametric EQ techniques that do not implement FDW nor excess phase correction.

[Slayer667]

Jetzt verstehe ich euch....
Ich habe noch nichts am EQ eingestellt, habe lediglich auf direkt geschaltet und nochmal schnell am Hörplatz gemessen! Die neue Messung des Lautsprechers im Nahfeld folgt nächste Woche! Dann auch die rechte Box!