Request: Advanced Room Correction & Bass Control Features

Hello ROSE team,

I would like to share some real-world room measurement results from my current stereo + dual subwoofer setup based on REW measurements.

Your hardware and streaming platform are already among the best in the Hi-Fi world, and the RS151 is an excellent device for serious music listening.

However, modern high-end audio systems increasingly require advanced room optimization and bass integration features — especially for users running stereo speakers together with one or multiple subwoofers.

After extensive measurements and acoustic experiments, it becomes very clear how important the following functions are for achieving truly accurate and controlled bass response:

  • advanced room correction
  • room mode control
  • bass management
  • independent dual / multi-subwoofer integration
  • adjustable crossover settings
  • phase and delay alignment
  • automatic room calibration via microphone
  • parametric EQ
  • future support similar to Dirac Live Bass Control (DLBC)

Many modern competitors such as NAD, Trinnov, Lyngdorf Audio and miniDSP are becoming extremely attractive because of these advanced DSP and bass control capabilities.

ROSE already has:

  • outstanding hardware quality
  • beautiful industrial design
  • one of the best streaming user interfaces
  • excellent sound quality

Adding advanced acoustic DSP and room optimization features in future firmware or future-generation products would make ROSE one of the strongest all-in-one audiophile platforms available.

I am attaching REW measurement examples from my own setup as reference and feedback from a real user experience.

Thank you for your continuous development and support.

photo_2026-05-25_16-07-36photo_2026-05-25_16-11-55

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I already have an Accuphase part corrector, I don’t want to have to pay for software that doesn’t interest me. There are more advantageous external solutions, especially when you change streamers

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Hmm, but the Accuphase DG-48 cost €13,000, and today it’s still traded privately for between €2,800 and €7,250 because the unit is quite old.

The same applies to its smaller sibling, the Accuphase DG-28, which is still traded today for between €850 and €1,500.

Now let’s take the current Accuphase DG-78, which can be bought for just under €15,000.

Now let’s compare that to:

For example,

Dirac Live:

The total cost for the “all-inclusive” package (full version, Bass Control & ART) is around €500 to €700.

Or let’s take Acourate!

The full version costs €495.

Isn’t that a contradiction to
“I don’t want to have to pay for software that doesn’t interest me”?

The software can contain so much uninteresting stuff, who cares? The main thing is that I get good room correction for, say, €1000 and not €15,000 like with the DG-78.

Or is it perhaps because you can’t really use it?

Anyone who’s lazy and doesn’t want to bother with anything beyond just listening to music buys devices with integrated room correction, like Trinnov (Optimizer), Lyngdorf (RoomPerfect), or Macs. Some Mac devices are licensed from Lyngdorf’s RoomPerfect.

Here, people are blathering on about external clocks that differ in nanoseconds and spending a ton of money instead of actually understanding their room. Proper room treatment and proper room calibration are more effective than posting that I can hear a difference between external clocks.

Cheers

I would also like to ask the community:

Has anyone here replaced a HiFi ROSE streamer with the NAD M66?
Especially in a stereo system with subwoofers.

I am very interested in real user experience regarding:

  • sound quality differences
  • bass integration
  • room correction performance
  • usability and software stability
  • streaming experience compared to ROSE
  • overall improvement (or disappointment)

My current impression is that the M66 may offer much more advanced DSP / Bass Control functionality, while ROSE has one of the best interfaces and display experiences.

I would really appreciate feedback from users who actually switched from ROSE to the M66.

I also have another question for the community:

Are there any high-quality devices that focus mainly on room correction and advanced bass management only?

I really like the HiFi ROSE streaming platform and user interface, so I am also considering keeping ROSE as the streamer and adding a separate processor only for:

  • Room Correction
  • Bass Control
  • dual/multi-subwoofer integration
  • crossover management
  • phase and delay alignment
  • PEQ / DSP

Something similar to Dirac Live Bass Control, Trinnov, Lyngdorf or miniDSP solutions.

I would be very interested in recommendations from users who already use a separate DSP/room correction processor together with ROSE.

@bonte

Because there are effective part corrections at 1000 euros?

There is only to see on the Eversolo it is very disappointing

It would increase by how many euros our devices for an effective correction

I personally have a DG68, it’s expensive but excellent

There are already so many things to correct on our devices and application that getting this kind of thing that works makes me think

I can certainly imagine that. Accuphase wouldn’t put any junk out under their brand name!

I use RoomPerfect, and I would be genuinely interested to see how these two systems—your DG68 and RoomPerfect—would stack up against each other. Unfortunately, I suppose I’ll never get to find out.

As I mentioned in my previous post, you have to be a bit lazy. I am lazy, so I had to shell out a bit more money for RP; but in return, it’s child’s play to use, and I can go back to focusing on the music. “Because I listen to music,” not to my equipment. But, to each their own.

RP isn’t just about room calibration; it also offers “voicings”— much like the DG68—that you can tweak to suit your specific needs and then save. You have access to PEQs, which in turn offer a multitude of adjustment options… and so on. Furthermore, there is the integration of subwoofers (I have two connected to my Lyngdorf), which are, of course, factored into the room calibration process. The TDAI essentially functions as an active crossover. You high-pass filter the main speakers (using either LR 2, 4, or 8-order filters, or BW 1, 2, or 4-order filters). (LR = Linkwitz-Riley filter / BW = Butterworth filter)
Furthermore, you set the distance for both the main speakers and the subwoofers, as well as the delay time for the subs. (You can either ask the dealer for these values ​​or measure them yourself.)
There is so much functionality included that covering it all here would go beyond the scope of this discussion.

It is also quite easy to mess things up if you just start tweaking random settings. Fortunately, you can save everything to the included SD card or a USB stick.

I recently tried to find out more about:

Accuphase DG-68 vs. Lyngdorf RoomPerfect.

First off:
Both systems are excellent, but they pursue completely different concepts. Which one is “better” depends on your listening habits and your technical requirements.

Here is what I found:

Accuphase DG-68
Focus:
Precision & Individual Control
Operation:
The DG-68 is a digital voicing equalizer (DSP) of the absolute highest class. It offers a highly precise automatic mode, but also invites the user to manually draw the desired frequency response—down to the millimeter—directly on the touchscreen using a stylus.
Advantage:
Ultimate flexibility. You can determine exactly which frequency ranges should be processed and precisely how your personal “voicing” should sound.
Disadvantage:
Requires more time to master and a deeper understanding of acoustics to achieve optimal results.

Lyngdorf RoomPerfect
Focus:
Automated Simplicity & Musicality
Operation:
The system operates fully automatically and is “foolproof.” It measures the room in three dimensions. Instead of ruthlessly flattening out the sound, RoomPerfect separates the original sound produced by the speakers from the room’s acoustic influences, correcting only the… Flaws.
Pros:
Extremely authentic, natural reproduction and outstanding spatiality, regardless of where you are seated in the room.
Cons:
There are hardly any options for manual intervention to tweak the sound to your own personal taste after the initial setup.
:arrow_up: (I say) is not needed. The sound is great for me if RP has done its job!

Verdict:
Choose RoomPerfect if you want to calibrate the device once and then simply focus on the music.
Choose the Accuphase DG-68 if you are an audiophile “tweaker” who wants to fine-tune the subtlest nuances yourself, save presets for different recordings, and appreciates the brand’s impressive high-end aesthetics.

My conclusion:

I’m lazy and don’t want to just tinker with the equipment (which I could do every day with the Lyngdorf, because it’s an egg-laying jack of all trades). But as I said, I listen to music, not the TDAI 3400.

Note:

This is all just my personal opinion. Anyone who’s really interested should try out a Lyngdorf.

P.S.
Claiming it is “foolproof” and requires only a single room calibration is nonsense. As soon as you change anything in your room, you really should recalibrate—which is only logical.

The only truly foolproof part is RP; however, all the custom voicings you can create yourself, along with the PEQs, are certainly not foolproof for everyone!

Thank you for this very detailed feedback

I am also lazy and especially unable to tinker with the sound at home. I simply did an automatic calibration (smooth mode) recommended by Accuphase and it takes 3 minutes '40 seconds to be precise. It works wonderfully

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Great—it really is the best option, and it comes closest to replicating the real-world sound.
The timing is impressive! :+1:t2:

With RP, the process takes a bit longer. The settings I described are already configured in the output settings; once I launch RP, you first have to perform the focus measurement—meaning you position the microphone at your primary listening spot. After that, RP requires room measurements. You then walk around the room with the calibration microphone and tripod (incidentally, both are included in the package). You vary the height of the tripod and the angle of the arm where the microphone is mounted. You need to keep a distance of at least 50 cm from the corners of the room, as well as from the speakers and subwoofers—presumably to avoid feedback issues. Once RP reaches 94% “Room Knowledge,” you can save the profile. I usually manage to achieve 100%, though this requires performing more measurements and takes more time. All in all, it takes me about half an hour to reach 100% Room Knowledge.

The video explains it better than I can. :tired_face:

These equalization issues are comprehensively addressed in the EverSolo DMP-A10, priced around €3500. It works really well, and the user interface is very user-friendly and superior to RoseHiFi.

The room equalization feedback with the optional microphone is extremely bad on the Eversolo.

Yes there is a manual equalizer that works but it’s not the same.