Dynamic Room Correction

Dynamic Room Correction (DRC) ® is new technology developed by Tact Audio Inc. over past two years. This groundbreaking brings the science and art of Room Correction, and speciﬁ cally Tact room correction products, to yet another level.

When we introduced our ﬁ rst RCS system (the Tact-2.2 in the late 90’s) we were fully aware that we were embarking on a long term research process in the new exciting ﬁ eld of room acoustics correction. As a result of this research effort we

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brought to the market products such as Tact-2.0 S two channel RCS preamp, the Tact-2.2 X two channel preamp with RCS on two main and two subwoofer chan- nels, and the TCS MKII ten channel theater correction system. All these systems offer RCS technology not found in any other product on the market. Our contin- ued research combined with enormously valuable feedback from our customers has resulted in this new technology that we named Dynamic Room Correction (DRC)®.

Why do we call it Dynamic Room Correction (DRC)?

The reason we call it DRC is that the target curve used to compute correction ﬁ l- ters dynamically changes with the master level control. In another words, for every

0.1dB of level change the system uses a new target curve to compute room cor- rection ﬁ lters. What makes this dynamic is that all computations and adjustments are done on the ﬂ y without any interruption to the music you listen to.

Why do we need Dynamic Room Correction (DRC)?

It is well known fact that humans do not here all frequencies at the same level. It is also known that our ears are more sensitive to frequencies between 2000 and 5000 Hz than to frequencies bellow 2000 Hz and above 5000 Hz. In addi- tion to this our hearing sensitivity changes with sound pressure level (SPL). This human hearing property was ﬁ rst discovered and experimentally conﬁ rmed by Fletcher and Munson at Bell Laboratories in 1933 and later reﬁ ned by Robinson and Dadson in 1956. Their work resulted in a family of equal loudness curves (contours), widely known as Fletcher-Munson equal loudness curves. A sample of Fletcher-Munson loudness curves is shown in the ﬁ gure bellow.

On the graph there are 12 curves numbered from 0 to 110. These numbers repre- sent the loudness level in phons. A Phon is a unit used to describe the loudness level of a given sound. The reason for introducing the loudness unit is that two sounds with the same SPL (dB) do not necessarily have the same perceived loud- ness. Phon is equal to SPL in decibels at 1000 Hz. For example, 80 phons means as loud as 80 dB, 1000 Hz tone.

Equal loudness curves represent the SPL that different frequencies need to have in order to be perceived as two tones of equal loudness. For example, a 200 Hz tone at SPL of 50 dB will have the same perceived loudness as a 1000 Hz tone at SPL of 40 dB. In this case both 200 Hz and 1000 Hz tones have a loudness of 40 phons, and they both belong to the 40 phons equal loudness curve.

As it can be seen from the graph, in comparison to frequencies between 2000 and 5000 Hz, it is intrinsically harder for us to hear very low frequencies (below a few hundred Hz) and to a lesser extent very high frequencies (above 7000 Hz). At higher listening levels this difference gradually becomes smaller and smaller and curves become ﬂ atter.

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RCS 2.2 XP specifications

TacT Audio RCS 2.2 XP is a state-of-the-art Room Correction System that enhances audio playback by employing advanced technology to optimize sound quality. It is designed to address common acoustic issues in listening environments, ensuring that you experience your music and movies as the artist intended.

One of the main features of the TacT RCS 2.2 XP is its sophisticated room correction algorithm. This technology analyzes the acoustics of your room and makes real-time adjustments to the audio output. By measuring the room's response at various frequencies, it can compensate for unwanted peaks and dips, resulting in a balanced sound profile. This enables listeners to achieve a high-fidelity experience regardless of room characteristics.

The RCS 2.2 XP includes a high-resolution digital-to-analog converter (DAC), which plays a crucial role in maintaining audio clarity and detail. The device supports multiple digital input formats, ensuring compatibility with various audio sources. The DAC also enhances the overall signal-to-noise ratio, allowing for a cleaner and more dynamic sound.

In addition to its room correction capabilities, the TacT RCS 2.2 XP features a user-friendly interface that allows for easy navigation and customization. Users can adjust settings according to their preferences, tailoring the listening experience to their specific needs. The setup process is simplified with an included measurement microphone that assists in analyzing room acoustics and generating optimal correction profiles.

Connectivity options are extensive, as the RCS 2.2 XP supports both analog and digital inputs. This versatility allows users to integrate the device seamlessly with their existing audio systems. The unit also provides multiple analog outputs, enabling connection to various amplifiers and speaker configurations.

Another noteworthy characteristic is the elegant design of the RCS 2.2 XP. Its sleek appearance not only complements modern audio systems but also reflects the high-quality craftsmanship inherent in TacT Audio products.

Overall, the TacT Audio RCS 2.2 XP stands out as a premier room correction solution. Its combination of advanced technology, intuitive user interface, and high-quality components makes it an ideal choice for audiophiles seeking to elevate their audio experiences. With the RCS 2.2 XP, listeners can enjoy music and movies in a way that is truly faithful to the original recording, free from the limitations imposed by their listening environment.