I have no experience of the Lyngdorf products, though user reports on other forums in respect of the RP-1 room correction unit (for insertion between analogue pre and power amplifiers) are mixed. Some are highly enthusiastic about how well it addresses the problems of muddy and boomy bass which can be so frustrating for audiophiles who, like me, crave bass that's deep and crisp and even, as well as clarifying the midrange. Others have said that it just kills the music, which suggests a home audition to be essential.
My experience is with the TacT 2.2, 2.2X and now the 2.2XP, the latter the best yet. It really is a devil to get just right and has taken me literally years to achieve truly satisfying results, though the Auto Target Curve Adjust facility in the XP has been a major advance. (The Auto Target Curve is the one created by doing a room calibration via the microphone from a sequence of anything up to 250 pulses across the frequency spectrum).
After having created your raw RC file, use the ATC Adjuster, which operates in visually displayed half Db increments at a range of preset, mostly one octave apart, frequencies from 20Hz to 20Kz, to get close to a tonal balance you find acceptable.
Then, and only then, set the frequency points on the parametric equaliser to exactly the same as those on the ATC Adjuster, again with a one octave spread (so that any adjustments you make here don't overlap with one another) and you can fine tune the tonal balance to taste in increments as small as a tenth of a Db. That's how I did it anyway and for me it worked.
You'll need patience, even with this methodology, believe me. It still took me weeks (or has it now been months?) to get the system sounding right with just about anything I may play on it, using a wide range of music at different times of the day and night.
I also found the charts on page 11 of the user manual for the Behringer DEQ1024 immensely helpful. Knowing what adjustments to make at what frequencies provides invaluable assistance. The TacT manual ought to include something similar, but it doesn't. Whilst the TacT manual tells you how to operate the unit's various functions and settings, it offers no guidance at all on how to actually get it sounding right ~ and that's the nub of it. Without such guidance, getting the TacT 2.2 on song is very tricky indeed and even then the result is very finely balanced on a knife edge.
But patience and diligence have their rewards and the TacT can, ultimately, deliver the goods. It really is a remarkable package of features and facilities, all in a single, compact and not hugely expensive, aesthetically pleasing box.
Recognising the challenges that the TacT 2.2 presents to users, Lyngdorf have omitted virtually all of the fine tuneability of the TacT (some might say it has too much adjustability) and instead offer a choice of just six pre-programmed voicings. Most users seem to prefer neutral. That having said, the user manual suggests that if you really must tailor the curve to your precise preferences, you can hook it up to your PC and play around with it onscreen. For those attracted to this option, all I can say is that I hope the PC program in Lyngdorf's RP-1 is very considerably more intuitive and easy to navigate than its TacT counterpart, which I for one couldn't make head nor tail of.
The TacT 2.2XP can sound brilliant, but getting it there is no walk in the park. If you do decide on a home audition, it'll help to have on hand someone who knows how to get the best out of it and even then it's not a job for just one afternoon or evening. Definitely not a product for the faint hearted or those who like their audio components to be straightforward plug and play.
