ABSTRACT
For the entire history of sound recording and reproduction, a flat and smooth on-axis frequency response has been the dominant performance target for loudspeaker designers. Addressing the sound-power modification can be done with spatial averaging and equalization. The "room correction" process is based on the belief that a room curve is the definitive statement of sound quality. "Room correction" processes are widely dispersed throughout the audio industry. They are the basis of cinema sound calibration and have found their way into receivers and surround processors, and some exist as stand-alone devices. Movie soundtracks make their way into our homes and personal devices with increasing frequency, and some cinemas stimulate business by exhibiting programs generated in the music and television contexts. Consumers spend considerable time listening to music in their cars, through audio systems that nowadays can be quite good.
