Search results

  1. T

    Audyssey Manual Calibration “OCA’s REW + Audyssey Awesomeness”

    Even without any frequency domain corrections, the quality of the perceived surround field is hugely impacted by the time domain. The claim was that the false speed of sound factor used by Denon was too small to matter. The automatic measurements by Audyssey can be avoided, too (this thread is...
  2. T

    Audyssey Manual Calibration “OCA’s REW + Audyssey Awesomeness”

    There are a several psychoacoustic phenomena involved and they ar enot all equal. For example our brain is easily compensating different speaker distances when listening in 2.0 or 2.1. It's not necessary to sit exactly between the speakers, to avoid that the image falls apart, or the phantom...
  3. T

    Audyssey Manual Calibration “OCA’s REW + Audyssey Awesomeness”

    I played around with @OCA 's tips for ex- and import of values (I used ratbuddyssey for a quick check without using the AVR, if the speaker data was readable by MultEQ) and when ratbuudyssey loaded .ADY and displayed the "measured" speaker response as the wanted EQ curve correctly, I measured...
  4. T

    Audyssey Manual Calibration “OCA’s REW + Audyssey Awesomeness”

    I think there is a misunderstanding. My approach is to replace the SPEAKER MEASUREMENTS impulse responses, with the inverted wanted EQ filters impulse response. So instead of using a dirac impulse for a perfect speaker and applying the correction with the "custom target curve", the impulse...
  5. T

    Audyssey Manual Calibration “OCA’s REW + Audyssey Awesomeness”

    I did a few tests and just wanted to let you know that it works and they were successful: It is indeed possible to use Audyssey FLAT calibration setting with a free personal custom target curve (and without any hf-rolloff applied by Audyssey), and additionally use the Audyssey Reference mode...
  6. T

    Audyssey Manual Calibration “OCA’s REW + Audyssey Awesomeness”

    I know. Therefore my idea to use speaker measurement as an inverse target curve to make Audyssey create the wanted target curve, when it corrects torwards "flat". :cool:
  7. T

    Subwoofer for music

    Before you decide to go the "minimal" LF extension route, this may be of interest: In the music studio our main monitors only go down to 35. That's enough for music, indeed. But: The room is big and optimized and almost flat. In contrast my HT-living room, due to its smaller size, its almost...
  8. T

    Audyssey Manual Calibration “OCA’s REW + Audyssey Awesomeness”

    No interest in a flat-mode user-curve plus reference curve with a 2nd user target curve on top of the "flat"-user-correction?
  9. T

    Audyssey Manual Calibration “OCA’s REW + Audyssey Awesomeness”

    Did some initial tests and the part with REW involved, works as expected. I attach a dirac impulse wav file, with 16384 samples (the length MultEQ seems to use in ADY files?). It's normalized to -50 dB which shows 75 dB SPL in REW. This WAV can be imported into REW as impulse response and REW...
  10. T

    Monitors that work for you

    May I ask you, what your hearing, listening and production experience is? Most beginners make the mistake, that they do not learn properly, how certain instruments in different songs (should) sound. What does that mean? You could start with kick and bass and you need to learn to hear (and how it...
  11. T

    Audyssey Manual Calibration “OCA’s REW + Audyssey Awesomeness”

    OCA, have you tried, if it is possible to trick Audyssey into applying a target curve in Audyssey "flat"-mode, by replacing the pseudo perfect speaker measurement (Dirac-impulse) with the impulse response of an (inverted) EQ target respose curve? If REW allows to export parametric EQ filters...
  12. T

    Best Very-Nearfield monitor for bedroom mixing

    Be warned and do not be surprised if the mixes will not translate very well and will always sound very different in the car or in the club. Beginners always pay attention to a "full" sound, preferrably lots of "bass". But that's exactly the totally wrong approach: the less experience one has...
  13. T

    Audio plugins, DSP software that imitates the sound character of some Reel-to-Reel Tape Recorders

    Great video. The snare from the tape sounds smooth as it should, while the one through the Waves J37 plugin annoyingly pokes the ears, not enough transient smoothing. Watched the video to the end. This is a gem. At the end the vocal part I find even more impressive than the drums example. The...
  14. T

    120 hz hum-- not from my audio gear but from my house-- what to do about it?

    1. One difference: natural radiation is not pulsed. 2. The dose makes the poison.
  15. T

    Which Selection and Types of Studios Monitors For Mixing?

    Interesting idea. Audified Mix Checker comes to mind. A flat speaker with very good transient behaviour should indeed be able to reproduce the "magnifying glass" effect (depending on how good the sim model works). I have never tried Mix Checker for mixing, only for quick checks, but it may be...
  16. T

    How Do YOU Monitor A Mix?

    I check my mixes on different speakers, for a simple reason: flawless mixes sound astonishingly similar on all kind of different systems. The better the mix, the less the sound is changing in comparison to worse mixes. The reason why mixes are checked in cars, on handys, boomboxes, bluetooth...
  17. T

    Which Selection and Types of Studios Monitors For Mixing?

    The reason why IMO that is not the case, is human perception: the quality of the sound of a mix is determined probably by 80-90% in the midrange. But human hearing is easily fooled and distracted: rooms with room modes, and even flat speakers, are making it more difficult to hear details in the...
  18. T

    The ultimate low cost solution for room correction?

    Hey cool! I also have Neumanns. Yes, that's the Audyssey mic I used. Mine has a significant drop off in the treble range.
  19. T

    Extending bass response with the help of dsp

    You discovered that on your own? Respect. Resonant highpassing is common practice in mixing to achieve a big and defined bottom end. Audyssey's LFC also works with that principle (at varying cutoff frequencies IIRC).
Back
Top Bottom