[Slow_Hand]

I would advise against systems that apply complex EQ curves on the outputs to compensate for distortions caused by the room. These systems can only optimize for a single listening position in the room (the sweet spot).

The problems are multiple;

1. When you move out of the sweet spot to listen anywhere else in the room, the music becomes distorted because you can are now hearing an EQ curve that is compensating for the sweet spot, but has nothing to do with the frequency response in the other listening positions.

2. These automatic systems tend to apply dozens of small EQ bands to the output, which smears the phase relationships of the record and dulls transient response. The feeling is of the record being mushy and dull.

3. These systems cannot account for time-domain ringing issues in the listening room. So a corrective EQ boost to compensate for a dip in the sweet spot will become a loud ringing at that frequency elsewhere in the room.

4. Corrective EQ cannot compensate for the deepest frequency nulls, no matter how much of a compensatory boost you make. A heavy handed boost to compensate this way will cause massive ringing elsewhere in the room.

I could go on.

These automatic room correction devices cause far more problems than they solve. There are ways to apply some EQ correction, but you will get 10x larger returns on performance by addressing acoustic issues introduced by the room, rather than trying to compensate on the speaker outputs.

Source: I design and build high-end recording studios for working audio professionals and tune speaker rigs for Grammy-winning artists.