Great article Timo. Nice explanation all the way through. I'd never thought about working on the system with an inverted trace of the processors output visible. It sure makes calculating filter widths a lot easier!
Here's a question for you though: What was the physical setup here? I notice you have a wonderfully flat coherence trace in the region of interest in all your measurements (>= 95% I'd say). I presume this wasn't an "in-the-trenches" (on-site) thing, but in somewhat "lab conditions"?
Thanks,
Chris
Glad you liked it. The mic's were close to the D.U.T. I try to get a semi flat response first (and if needed a similar phase response between products so i can use all together if needed).
After that's done and the speaker is used on a install/production i tune it to get a response that's both technical ok but more important: does it still sound musical.
To achieve this means i have to use a lot of mic positions and take an avarage of those positions which is coherence weighted (a option in smaart when doing averages). I still check al traces together solo on screen against the average and overlay an inverted processor trace for eq points in a room. Doing this let's you see trends in a room and with a live average on screen while doing eq points you can see if the eq points are having the effect you want.
If there's little effect with the eq points check out what maybe the cause of that. Before eq'ing a system it might also be a "cool" thing to check the splay angles of an array position of loudspeakers etc.
Eq'ing is just a small part of the outcome of a system. First verify if all speakers are working correctly (polarity connected to the right amp etc.) verify positioning and if not act accordingly time align/adjust gains on all delay's and phase align acoustic x-overs in array's. There's a lot more that can be done before you do eq's.