I don't think we're disagreeing anywhere!
Not sure what there is to disagree about. You've said yourself, we make choices based on compromise. I am still interested to see the specifics of what you're actually doing.
And I do get what you're suggesting about 16 bits being limiting when against large amplitude response. though the tradeoff 16 to 15 or even 14 bits can be practically small (music tastes, background noise... I'm not going to doubt that in an ideal listening scenario + a nice glass of red that they don't matter).
Ever used a digital volume control that bit stripped, and compared it to an analog volume control? The degradation in sound due to loss of resolution with the DVC is shocking, and these losses shouldnt be understated. I dont believe we are on the same page WRT the practical losses associated with 16bit vs 14bit. We could argue the analog VC is influencing our perceptions (making it sound nice), but the interesting thing is what happens to the sound when you knock off volume on the DVC, it becomes coarse.
There's not quantitative measure to compare loss in SNR against linearisation effects... the question really is 'does it sound better'? Depends on the listener, depends on the install.
Depends how you compare, we can easily fool ourselves with a flawed approach to validating the changes in sound/perceptions.
A bit like suggesting that I have 24-bit DACs, though I like the sound of this 16-bit item a good bit more, and even more when it's corrected. Some 24-bit material (I have some 2L stuff) on the right DAC gives a really impressive 'black', and 24 bits is probably overkill enough to sacrifice 1 or 2 bits to linearisation against what my ears can actually hear... though again... I like the compromise I have now much more. As you suggest, pros vs cons.
Yes, but, let me throw a wild thought out there. Perhaps digital equalization is a lazy mans tool, to fix the flaws in a system and room ??
It's a question, not statement. I dont mean to ask it in an inflamatory way.
Some will tell you, that it's impossible to fix room issues without EQ. I'm not convinced about that at all, it's just easier to EQ.
Are we still agreeing?
Perhaps the pros of setting up a system in the traditional way (the hard way), using manual methods to tame room/system issues, far and away outweigh the cons of relying on digital equalization? I ask this question, having experimented with both (and acknowledging that digital EQ in the 16bit space does have compromises).
1 of the fantastic things about the Killerdac, is it allows me to easily make any number of changes (to the dac) to tailor the sound. I've run my Kdac in 4 different homes/rooms now, each time I have moved, I have had to retune my 2ch hifi system around the new room. Retune can mean any number of changes, but can and has included tweaking the source (the dac).
It's not just a great sounding dac, it's a flexible one, that can be bent to suit what your system/room needs. This is the real beauty and strength of it. Now we could say, yeah but we could do the same to other dacs. Not really, they are not typically built in a way where the user expects to make changes. It's bloody difficult to work on most dacs.
You can get around the headroom space argument (e.g. clipping) simply by limiting amplitude gain in linearisation. Fixes the peaks, keeps the troughs.
Is that what you are doing? Not all that interested to discuss what is possible, I'm more interested to discuss your process, and what equalisation modifications you are actually trying. It's still unclear. Your config file doesnt tell me.
Lets say you are limiting. This doesnt mean everything is fixed. Limiting just helps avoid digital clipping. e.g. If your room requires a 6db boost at 200hz, and the limiting prevents your equalization tool giving you 6db boost at 200hz, because the material has loud music in that range, then you are still faced with a room issue (i.e. the practicality is, you still have a dip in the room response at 200hz).
A potentially better approach, is to figure out why there is a 200hz room response dip in the first place? Repositioning speakers, or applying room treatments to minimise reflections, are techniques to tame room nodes.
An interesting experiment might be to write a filter that corrects phase response only, and leaves amplitude response alone.
Why? A phase filter will fix anomalies introduced by amplitude changes, when changing the amplitude of some frequencies, but not others.
i.e. an amplitude change only at 100hz, will impact the phase accuracy of the frequencies around 100hz that havent had (the same) amplitude change.
Make no amplitude changes, the phase filter has nothing to do.
Tools are good, provided we have a good understanding of why we are using them.