And crossover
Equalizer in a Hi Fi system
Just curious to hear everyone’s opinions on using an equalizer in a high end hi fi system. Was at work tonight and killing time and came across a Schitt Loki max $1500 Equalizer with some very good reviews. What are some of the pros / Benefits and cons in using one. Just curious. BTW. I’m talking about a top of the line. Hi end equalizer. Mostly to calm some high frequencies and some bad recordings.
- ...
- 680 posts total
@tlcocks wrote:
"Special color sauce" pretty much tells it like it is, and whether such a flavor is a benefit is obviously system dependent, a matter of synergy or personal taste instead of being a desirable trait or character sought in every case and system context. If it works for you (and others), great. I know how much work has gotten finding into a proper tonal balance in my setup, and suddenly introducing a component with a distinct sonic flavor of its own would tip that balance and likely necessitate a re-tweaking in several areas. Which is also to say: you may need an analog-based studio mixer to provide the sonic juice to make things fall into place for your ears; others - preference and all in mind - can make it happen via other means.
To them these consoles are a necessity in the first place, and where they can will get the best. I take it they're mostly digital by now for a number of reasons, though analog mixers are no doubt easier/more intuitive to use.
And again, lots of factors can be at play here for whatever sonic impressions you may have had with these setups and their different tone curve implementations that isn't necessarily reflective on the use of DSP itself.
Optimizing acoustics and speaker placement is always an important and necessary outset. As for digital room in both the amplitude and time domain, try it out (the DRC FIR software comes recommended, and works well via Convolution in JRiver, though I don't currently use it). Myself I have no passive crossovers between the amps and speakers to mess up proper interfacing between them, so having crossover duties done actively prior to amplification on signal level with a quality DSP and direct connection between dedicated amp channels to their respective driver sections is a very transparent/sonically benign way that leaves vital sonic parameters to be intricately worked out here. As for your idea with analog-based tone curving to top it all out - well, why not? You only get the wiser with experience. I'd opt for less layers in the signal chain presently with only a digital crossover that handles it all, i.e.: sans digital room correction and passive crossovers.
No arguing here.
On this we don't agree however. It depends on the implementation and DSP device. |
- 680 posts total