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8.The design constraints for MultEQ were that it (1) must fit within a small portion of the DSP so that other processes can also run and (2) it must use FIR filters because of the well-known artifacts that IIR filters cause particularly in the time domain response. As it turns out, these two requirements are contradicting. In order for FIR filters to be effective and capable of correcting to low frequencies, they must consist of several thousand coefficients (taps). The problem is that the CPU power required increases with the number of taps, hence the dilemma. What we did at Audyssey was to come up with a different way to partition the frequency axis so that we can use fewer taps and yet not completely give up on low frequency resolution (and therefore low frequency correction). This allows us to take a 512 tap filter that would normally have a resolution of 94 Hz (meaning that any peak or dip narrower than 94 Hz would be missed) and significantly improve its resolving power. The resolution of the filter actually varies continuously with frequency and starts at around 10 Hz. Does this mean that MultEQ can correct an arbitrarily narrow peak or dip at 30 Hz? Of course not. The reality is that in the MultEQ XT version found in receivers, we can correct broader features below 100 Hz better than narrow ones. For example, a lump that is half an octave wide at 50 Hz can be fixed. A narrow dip or peak that is 1/3 or 1/6 octaves wide and centered at 30 Hz will be improved, but not eliminated.
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A good guideline is to look up the frequency response of your speaker and find its lowest frequency (or the point where it drops off -3dB), then add about 20Hz to that to use as the crossover setting. That said, the crossover's slope (i.e. how quickly it transitions) is pretty steep, so you might be able to get away with adding as little as 10Hz to your speaker's lowest reproduceable frequency. Start with 20, then tweak to preference to get the best transition.
9.ÎÒÓ¦¸Ã¸Ä±äAudysseyËù²âµÄÀ®°È¾àÀëÂð?
AudysseyËƺõ¿ÉÒÔÕì²âÀ®°È¾àÀëÓëʵ¼Ê¾àÀëÏ൱½Ó½ü£¬µ«ÓÐЩÈËÈÔÈÏΪÕâ²»ÊÇÀ®°ÈÖмäÒôÏñ×î¼ÑÉ趨¡£Äã¿ÉÒÔÓÃDigital Video Essentials²âÊÔµúÖÐһϵÁвâÊÔÒô£¨ÕâЩ²âÊÔÒôÒô³¡¶¼ÊÇÔÚÀ®°ÈÕýÖÐÑ룩£¬Ò»´Î¸Ä±äÉ趨¾àÀëÔ¼°ëÓ¢…ÕÂýÂý¸Ð¾õÒô³¡¾Û¼¯ÔÚÖÐÑ루Òâ¼´ÔÚÕâÑùÉ趨ÏÂÀ®°ÈÏàλÕýÈ·£©¡£Èç¹ûÉùÒô±äµÃÔ½·ÖÉ¢»òÕßÄÑÒÔ¾Û½¹£¬ÄDZíʾ¸Ä±ä¾àÀëÉ趨ºóÈÃÀ®°ÈÓëÆäËûÀ®°ÈÏàλ²»ÕýÈ·ÁË¡£
While Audyssey does seem to properly detect speaker distances close to their actual physical distances, some have found that this is not the best setting for between-speaker imaging. The calibration disc has a series of test tones that are placed equally between channels. Using these tones, you can tweak speaker distance a half-foot up and down to listen for the setting that makes the sound "hang" in space between the speakers (which means it is in phase at that setting). If the sound becomes more diffuse or harder to pinpoint, it is because changing the setting is putting it out of phase with the other speaker.
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B)ÔÚÓÒÇ°ÉùµÀÓëÓÒ»·ÈÆÉùµÀÖм䲥·Å²âÊÔÒôƵ£¬È»ºóÉÏϵ÷½ÚÓÒ»·ÈÆÀ®°È¾àÀ룬ÕÒ³ö²àǽÀ®°È¾àÀëµÄ×î¼ÑλÖã¬ÒòΪ»·ÈÆÉùµÀλÖÃͨ³£¸ßÓÚÖ÷ÉùµÀÀ®°È¡¢»òÐíÎÞ·¨ÕÒµ½Ò»¸öÍêÃÀµÄÉ趨£¬µ«ÄãÓ¦¸Ã¿ÉÒÔÕÒµ½Ò»¸ö´Ó²à·½ÏòÀ´½Ï¼ÑµÄÒô³¡Î»Öã¡
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D)For 6.1/7.1 setups, put your receiver into DPL-IIx Movie mode and play the tone between the right surround and the rear surround (since DVE only has 6.1 tones), or change DVE to the DTS track and use DTS-ES Matrix mode, then bump right rear surround distance up and down slightly until you hear solid placement of the sound between the two. Then repeat using the tone between left surround and rear surround, changing the distance setting for the left rear surround. If you only have 6.1, bump your rear up and down to listen for the setting that works best with both tones.
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