DSP box for room correction, maybe also ‘loudness’ correction

Whilst treatment of rooms is the acoustically ideal way to improve/optimise the final part of a music replay system, and the only way to fix some issues like cancellations or near reflections, DSP can also be a valid tool, particularly in a domestic environment where physical treatment may not be practicable. DSP used for room correction has the added advantage of evening out frequency unevenness caused by any part of the system, not the room in isolation.

It has been said that DSP causes audible artefacts, but in my view it is a matter of balancing those artefacts against the distortions of sound caused by the room, in many or even most cases I suspect the latter may be more significant.

I know some forum members use or have used the facility within Roon to apply convolution filters for room correction, reporting satisfaction with the outcome. The processing in that case is within the computer running Roon (‘Roon Core’ IIRC).

I also know some forum members have used Dirac Live, with a number reporting beneficial effect, though I don’t know what boxes have been used to do this.

Audirvana allows, or did allow, Dirac as a ‘plug in’, and when first facilitated I tried it, running on my Mac Mini, though was unconvinced at the time, and that would tie me to Audirvana, whereas I don’t see that remaining in the long term.

In my active driving of speakers, my digital XO had spare DSP capacity, which I used to good effect to even out some of the worst peaks in my room, with two settings to accommodate two different speaker positionings (one optimal, the other not but fitting with other room use). Compensation was determined manually using REW to analyse.

The thread title mentions “loudness” correction - compensating for reduced ear sensitivity to frequency extremes, particularly bass, at low listening levels. I have written about this before in other threads - it occurs to me the if a DSP box allows selection of more than one room correction filter, a second (or more) could be prepared with target curves compensating for the difference in ear sensitivity at a lower level compared to whatever level is used for the standard room correction.

Having just changed speakers I am now not driving actively, but would like to continue to benefit from DSP room correction. I could potentially continue using my active XO box (modified Behringer DCX2496) setting up as single driver with no crossover): But that comes after my DAC and I think it would be beneficial to shift the DSP to the digital path before my DAC, removing the extra ADC-DAC from the signal path.

So I’m into the idea of a DSP box to put in the digital signal path before the DAC. No analogue output is needed. An analog input may have value - at present when I play analog sources (for music making) I swap my power amp input from DAC to a preamp, but instead they could benefit from the same room correction, provided that latency isn’t too great.

MiniDSP do a box that on paper sounds possibly suitable, their SHD Studio. Apparently it can run Dirac, or use REW created filters, or can be programmed by the user. However, despite inputs accepting up to 288KHz sample rate internally it runs at 96, which would appear to be a possible limitation to higher res recordings - though whether any different audibly is another matter.

Has anyone else made use of a DSP box for such a purpose? If so what box, and what was your conclusion?

Views on other DSP room correction solutions are also most welcome.


Hi IB, the Accuphase DG-68 has digital in/out and seems to have good reviews.

Thanks, Bigboy! (I’m not sure I like saying that!) However it is incredibly expensive, even secondhand - perhaps partly because it has an unnecessary DAC, and perhaps because it appears to be so very versatile

Call me BB …. These boxes are very interesting and you need a good one that doesn’t inject noise in the process. The DG-68 can also replace your DAC as you can have digital input and analogue output. I’d like to have one but it’s a bit too expensive at the moment. Maybe Naim will produce its own version one day.

Anyone else have any relevant experience or knowledge to contribute?

I use a DSP in my system…


It only filters the drive to the sub. This leaves the more critical signal to the midrange unaffected by the DSP artefacts and yet neatly deals with issues caused by the room modes.

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Yes, I was aware that you use a MiniDSP product for that. The limited frequency range using just for subs inherently limits negative effects, which is good, but as you recognise I’m considering the possibility of putting the full range signal through a DSP box.

Out of curiosity which of their products do you use?

I have used Trinov (studio and amethyst) in the past. Both very natural and I could not detect any downsides- apart from the fact it digitised my turntable. Ultimately this is why I do not use it any more.

They are not cheap but the studio, I think will go before your dac if you wish

I’m using the Space Optimisation offered by my Linn DSM. It works by modelling the room (you need to input a fair amount of spatial data) and only affects frequencies below 80Hz. For me, it simply made the music more realistic and the musicians more present. If there are any adverse artefacts, my hearing is not good enough to detect them.

I believe there are others on the forum who also use SO, although not all Linn owners are as enthusiastic, I understand.


DSP is the only tech in Hifi these days that’s worth it’s salt to me and it it’s future. Been using it via Roon for a number of years and I can’t say I have heard any artefacts from it at all. It just sounds better balanced and I can listen indefinitely unlike without it.

I use Home Audio Fidelity to help me create the filters, I take my own readings about 9 in total using his own app. Then supply him readings and give him an idea as to what your after. You supply a piece of music your very familiar with and he will bake it in to that so you can try it out before committing and he will tweak it for you until your happy. For me it takes the hassle out of it as I don’t want to mess with REW. Subsequent filters for other rooms if you need them or just for changes to components, moved speakers etc are pretty cheap and Thierry is so good to deal with. I have made him work for the money.

I don’t currently have hardware that does DSP, although I am possibly looking at alternatives to Naim amplification that does but software solution is more flexible as I use Roons DSP in my office and main system. The office is awful without it, it’s a small almost square space with and Apex ceiling and it’s made it pretty decent.

There are other software routes such as HQ player which from what I gather is the best software solution but does require its own player and server software but the results it gives everyone seems to rave about.


DSP of course cannot resolve all room issues - in particular cancellation (and trying to is a rapid path to speaker destruction), nor early reflections, so it is not a substitute for physical acoustic treatment, but beyond that can certainly can provide benefits.

Nothing will remove all issues in the home but what DSP does do is make it more workable for anyone, where room mods don’t and are not generally practical for the majority of homes. They are not for me as I am not the only one who lives here nor can I dedicate a room purely for music listening, something I don’t find appealing anyway if I had the space.

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There are probably more suitable solutions. This is what I know and used.

Audirvana is the only one using a plugin-standard even if AU:s are macOS-specific, AU v3 is also iOS-compatible. There are also apps that just run AU:s (intended for stage-use or using something like a Mac-mini as a stand-alone hardware synth/fx). Finding at least 192 i/o should be easy.

An even simpler model is using Sonarworks (the headphone correction people). I use it in my home studio - complete package with testmic around EUR 250. You get instruction on the screen and measure at 37 points around the room (a bit like the Lyngdorf system). It installs in the system sound on a Mac mini.

Sonarworks also include an AU-plugin so it may work in Audirvana (I have not tried). But I have used that plugin with both Cubase, Logic Pro and Sonnox Monitorsystem.

There are also DSP-toolboxes where you develop DSP-code visually (code runs as AU, on Raspberry and so on). The only ones I use is Max/RNBO and Max/Gen from Cycling74. They are mostly geared toward building instruments/fx.

I do think the preferable model is only working with the LF and leave the sensitive midrange alone, you don’t want to mess with the midrange frequency response that is often flat anyway. The direct sound is important, what you hear first.

This is what Linn SO does, eliminating LF modes that masks high up in the midrange will clean up the sound. I used SO a lot last year until I changed to speakers that allowed me to bypass Linn SO - sounds best.


Sorry I’ve only just noticed the question at the end…

I use a miniDSP 2x4
2 channels used for stereo input, 1 for output to the sub.
Room mode reduction filters and the sub crossover are both handled by the DSP.

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