response, and some microphone positions will obscure problems instead of showing them.
>The audible effect of response problems is a product of both the magnitude of the error and its width. A
9-dB “hole” one/third octave wide | is | less | audible than |
a 2-dB “dip” two octaves wide. | Try | for | an average |
response equally above and below the desired response over each octave span.
> The human ear averages the overall sound-field response by complex physiological and psychologi- cal processing. A single microphone only hears at one point, which must be selected to represent as closely as possible the overall sound field. Since tonal perception is most influenced by the nearest source, we usually equalized each side separately. The mike is set up at the driver’s listening location, facing forward, and the left channel is equalized Then the mike is set up at the passenger’s location and the right channel is set up to match the left. This procedure usually gives good results
EQUALIZATION GOALS
The primary goal of the MAQ-104 is to produce a smooth response approaching a desired curve, eliminating or reducing peaks and valleys in our system response
A system can be equalized for a flat response but in most
cases | this | is a | dry and | flat | response. | | The | best | equalization |
is the one that fits your style of music | For | example: a | curve |
with the bass boosted would be more | realistic | to | a | Rock |
and Roll type of person, where a partial | boost in | this | section |
would | be | more | natural | to | Symphonic | | Music | | | |
Figures 2-5 show some typical “good-sounding” system response curves. Curve “2” is a good general-purpose goal. Curve “4” with increased bass will give more impact on Rock-and-Roll, while “3” would sound more natural for Symphonic Music. Curve ”5" illustrates reduced roll-off rate in the mids and highs. These curves are only examples, and the best curve is the one that suits your listening style
