I agree that looks pretty good.

I assume the room sounds pretty good now with that treatment?

your response is very good for a room that size. Lucky for you, your room dimensions are very close to being ideal ratios.

Another thing you might try would be moving your speakers around instead of your mic.

It is very hard to get rid of your 60hz peak and 95hz null.

I haven't started mixing with them yet cos I want to try and nail the room as much as possible first before I start working in it again but I imagine there will be quite an improvement from that point of view.

I used a Radio Shack analogue meter, just to set things up with REW. The actual measuring was done with a Behringer ECM8000, the mic they recommend for using with that programme, and my Metric Halo ULN-2 pre-amp which is very high quality.

Yes I agree. I am experimenting with that; thus the graph posted here. Will try some other positions. What are the implications of moving out of the 38% position though? I suppose the actual room response ought to determine my final listening position, rather than a theoretical ideal(?)

They recommend using a target level of 75db with REW as I understand it, so this is why I measured at that level.

Actually I said move your speakers around. You moved your mic around.

I am confused by this statement.

Can you do me a favor and take the same measurement with your Radio shack SPL meter

38% seems to be one of those things you just shouldnt change.

So i would like to see how your speakers do at maybe 85db.

Well good luck

I am learning that this isn't always the case and may not be so in my particular room. Here is the explanation I have been given by Bryan Pape:

I'm probably being over-cautious but I don't want to play the sine wave any louder through my speakers than I absolutely have to.

So, this being an acoustics forum, I am concentrating here on that fine-tuning which will mean that when I do go back to working on the music, I'll be more confident that what I am hearing is an accurate reflection of what is really in the mix. Maybe that doesn't make sense to you but it's a bit like tuning a guitar carefully before playing it. At least it is like that for me. Plus, I am very interested in pursuing this and learning about it all.

To plot multiple plots just load the two measurements and go to all measured and select the two plots.

Here is what Bryan said in one of your previous posts.

Also something else for you to try is you could enable your 60hz LP filter on your Monitors.

Hi Jeff. Thanks very much for your detailed and helpful response. Glad you liked the graphs! Here's another one taken at 6¨ back from the 38% listening position. It shows some improvement with a tightening up of the response:






Getting better but still not quite there, plus I'm out of the 38% position..

To address your questions:

I used a Radio Shack analogue meter, just to set things up with REW. The actual measuring was done with a Behringer ECM8000, the mic they recommend for using with that programme, and my Metric Halo ULN-2 pre-amp which is very high quality.

They recommend using a target level of 75db with REW as I understand it, so this is why I measured at that level.



Good to hear, particularly re. the room dimensions. I thought I was dealing with a worst-case-scenario given the size.

Hard to pinpoint which actual frequencies don't sound right. The null at 100 Hz makes sense to me (though I might be wrong here) because the mixes were sounding bass-heavy which was making everything sound 'muddy'. I think I had probably been compensating partly for that null and skewing the overall eq balance which sounded right in my studio but then pretty awful in the car, on the various stereo sound systems in the house, ghetto blaster etc.

Can you tell now that you old(BAD) mixes were not done right?

Sorry I had to vent. I wish I could make a nice padded room. They have padded rooms at crazy houses right? I wonder if I could bring my speakers.

you have some serious issues with ringing

The only way to deal with the ringing is to add more low frequency attenuation

it looks a lot better in the extended range with the new set-up.

the ringing - the continuation of a signal - that adds to your modal issues with peaks and nulls...... it's an artifact of the room itself......

I've decided to go ahead and fill the areas behind the floor-to-ceiling bass traps with loose rockwool. Sounds like that's bound to improve things at least to some degree. One question though: I can fill two of them completely but the other two, one at the front and the other at the diagonal to that one at the back have gaps in them. The front one has a window behind it and the back one has a door. What I do is I made some free-standing panels the same thickness as the fixed ones which I put in place whenever I am mixing or doing other important work. So all 4 corners are fully treated when necessary but the gaps are there the rest of the time. Obviously I can fill the fixed sections of those two corners but not the sections where there are free-standing panels. Will that create some sort of imbalance in terms of the overall effect? Will the fact that some traps will be more filled than others skew the response in a problematic way? If that's the case, would I be beter not to fill them at all?

I feel that I should probably make my own calibration file, especially since your mic sounds a bit knackered

I'm now also on edge of seat waiting for your question to be addressed

Will the fact that some traps will be more filled than others skew the response in a problematic way?

I do happen to have a small diaphragm condenser mic (not a great one though). I am interested to know why that is more suitable?

I did some research to make sure about this one.

Bass traping is less sensitive to symmetry.

Are there any corners left where you can add bass traps?

I think this shows how good your response and reverb time are.

This may well mean that your top end winds up too dry - and you could possibly have to add some (mid and high frequency) reflective material back into the room in order to add a little reverberation to the mids and highs......

Nolan,

You don't need an SPL meter - any small diaphragm condenser microphone will work. If you don't have one of those, why not get one? Every studio needs at least one if not two!

An omni is preferred because it has no proximity effect, and it responds to sound arriving from anywhere as do your ears. Small diaphragms are preferred because they generally have a flatter HF response.

--Ethan