![]() ![]() It would have been great to have had something that was automated. It was our final opportunity to determine which eq gave us the best sound quality. The band, producer, and I would huddle in front of the mixing console and monitors while I manually switched in/out various “premastering” 2 channel eq before the mix heads off to the mastering lab. The need for a Hang Loose type of convolver began when I was working as a recording/mixing engineer in the 80’s. Meanwhile, look for an upcoming Master Class video on Digital Room Correction on my website homepage, which will teach you about the process. If interested, I hope to publish the results of the anonymized data in the next edition of my DSP book. This is what made (and makes) my DSP calibration service unique. Interesting patterns began to emerge, not only from the measurement data, but from client preferences for corrected in-room frequency responses.ĭata analysis of the acoustical measurements pointed to a mathematical formula for applying the optimum amount of digital room correction to achieve accurate sound. I also accumulated independent measurement data from different loudspeakers in different rooms from around the world. Coming back to my audio roots after decades in the software industry was fun, and I learned a lot. Since then, 125 individuals have used my service to calibrate their sound systems. Just over a year ago was kind enough to announce my new DSP calibration service here on ASR. ![]()
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