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 (nobody)...and 296 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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Members 8025Messages 2613460 Today 3 Topics 127500 |
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"nope, how i can tell you.. i can cut the high by myself, so yes, mid/bass is where i want the work done. is this of any relevance to the headphone.speaker calibration issue? " this is in relating to your speaker within your room, yes. |
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i mean, there is also difference in the high frequency range from headphones to speakers and in the room itself geographically but that's a fun part to play with, the melack way (listening both on the headphones and speakers and discovering new tones by trying to collimate) |
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owuld be an example of the 'reflection points' in a 5.1 setup |
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"i mean, there is also difference in the high frequency range from headphones to speakers and in the room itself geographically but that's a fun part to play with, the melack way (listening both on the headphones and speakers and discovering new tones by trying to collimate) " much is different. are you mixing or are you just listening? |
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the both of them! thanks for sharing, all is incredibly understandable. not easy to go though posts like that. i had to cut a bit where i didn't understand for lack of experience, hopefully this thread gets me ears where they want to. give me some time to measure, hopefully not years. anyway the eq method is ideally right, for a fixed point in a reflection-free space |
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install room eq wizard statically setup your mic at the listening position run ETC (0-300ms resolution) run waterfall plot (0-300hz, 0-1000ms) run frequency response (no smoothing) and upload |
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generally, absorbing (or redirecting) the early reflection points will solve most of the issues in the room regarding specular energy (e.g. sound that functions like a ray). 500-20khz, depending on room dimensions. below that, the bass/low freq modal region... well. that will take a lot more effort. |
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yes sir! |
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told ya that for the bass you have to be realistic |
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"told ya that for the bass you have to be realistic" there are inexpensive, DIY solutions. it will take up some real estate in your room, though! but very realistic and quite an easy task. |
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i like easy tasks everything, unless i don't have to took walls down room is not mine, i am just the occupier |
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yeah. post measurements. all this is nonsense until we have measurements. |
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whatever, you will have measures |
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cant plot solutions until you know what the problems are, ya? |
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i know exactly what you mean, clear specs are needed to get the job done. i'll have to buy the mic first yo, these days i have tons of shit in my mind to manage that i use all 'energy' to stay ok. priorities :) |
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mohamed, about your second link, has anyone recommended using a |
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to use while doing music? i don't think anyone suggested to use it 'real-time' yet, otherwise yes, peeps have suggested the use of it to be able to permorm calibration and measurement tasks |
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this is going out of my knowledge... elusive wise! invite us in your studio when done, moh ;) |
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you are all invited, i am always desperate for new friends! the only one i got is a bit tired to listen to me, these days i understand him |
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you got that ETC yet? waterfall plot? |
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im waiting for payday to start checking for the mic |
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I freqy sweep speakers vol 95 % then eliminating audio inperfections with EQ. |
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i'll have to calibrate the levels in which i do my crap, too the levels between the devices with the heaphones, making shit that sounds low, with the volume of the computer maxed out, is just stupid. i always forgot to work at medium, 3/4 of volume for more balanced tunes same shit for the speakers. with the computer volume at max, i keep turning the levels down and down to keep making for hours without being noticed by the neighbours. makes it that the music almost vanishes just for a start |
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"I freqy sweep speakers vol 95 % then eliminating audio inperfections with EQ. " what does that even mean. |
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nightex may mean : sweep a sine wave with amp volume at 95 % and flatten with an eq. |
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what do you mean by flatten in stupid-proff words? i might need that sine wave to calibrate the level of the speakers, since i don't have a numerical value to set their volume. not the level of the computer, the one of the actual speakers. luckily the sub has a knob behind it that i always keep in the middle. but the speakers have two little metal plates with a + and a - on them with some sensors on the inside i suppose. i want to set that exactly in the middle, same of computer level. they're always maxed out cos after all these years they suck a bit, sometimes they low down by themselves and i have to push the + sensor a lot before sound comes again. does that make any sense for 'flat response'? |
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i'll check you out elusive i still hear a lot of difference from the headphones to speakers, while listening to my own shit at least. i suspect that those motherfuckers are just good to 'measure' pressure, and but unreliable for all the rest. the room makes a important role in the negative, as well. too different. thus the need to start there, to give some layer of medium-bass and refinishing it later on headphones. i have some extra cash for the mic this month, it's mostly lazyness. i hate to look for equipment shit. beart with me |
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how do people out of the loudness war record their shit? |
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There's tons of dynamic range to be played with, by balancing perceptive loudness with actual dB levels. I'm totally against the loudness wars and want to jumpkick every inconsiderate and tone deaf motherfucker who makes overly multiband-compressed fucking bullshit, but at the same time, my tracks tend to be pretty "loud" due to balance with how sound is perceived. Again to those who think they're fucking Daft Punk Dub Step Clark flat bullshit fuck: Fucking learn how to hear you fucking asshole- your music is shit and your skillz are shit, and if I see you in person I will serve you so hard with my choonz, you sonovabitch-- your momma- in hell or not- is gonna think you're a fucking lobster cuz you smell like fried cunt, you lame ass hipster wannabe musical fucking wanker with no sense of style or subtlety fuck. How about you put your ears in a blender and maybe you'll actually be able to feel something that isn't garbage, and maybe you should spend your time learning how to play an instrument "or something", instead of hiding behind some sense of oddity and abstraction to cover up your lack of aesthetics. Fuck you- you're not helping anyone and not even yourself. You notice how easy it is to make your fucking bullshit? It's not because you're good- it's because you suck so hard, you make my momma look like an amateur. AAANYWAY--- For example, super-flat compressed parts can be turned waaay down and still be perceived as loud, which leaves room for pop for the parts that actually do need to kick. Also enhancing the "voice" freq in music tracks (most audible), allows those tracks to be turned down as well- again- leaving tons of air for the parts that actually should be explosive and liquid to give a sense of WHOA. Electronic music tends to have a problem with trying to actually recreate sounds, instead of giving a relative sense of them. Like if they sample a gunshot, it's like they're trying to fucking blow your ears. Listen to 80's Michael Jackson and turn up the volume, a |
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...Listen to 80's Michael Jackson and turn up the volume, and that shit pops like POP. |
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Does that work? By the way, how do u think of this Gaming Headset for xbox? My last headphone was dead. Wanna move on to a new one. Any good advice? |
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Electronic music tends to have a problem with trying to actually recreate sounds, instead of giving a relative sense of them. well, you can't give wahtsoever sense of something you can't recreate |
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wrong thread, mate |
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thanks for the explanation. i used to know what compressors do but nowadays i just stick a compressor preset called 'analog tape compressor', when i hear that preset pads are too high already. and just cos it's called that way |
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