Fuzzmeasure crack4/2/2023 Try listening at spots in the room where the graph is flattest. Be careful of bass decisions in the 100 Hz zone. The frequency plot does deliver some clear and solid advice though: review the speaker positions. Perhaps the curves don't do justice to the great sound and the great change. All aspects averaged, the room scored 9 out of 10. A poll of 7 professional sound engineers was done in this room. Now, consider if you were to EQ a full mix with such a broad 6 dB boost. Let's look closer, with focus on the one big issue the musically crucial 100 Hz zone. Sadly, the After curve has a very similar shape to the Before. We did the lot four corners, alcove corners, ceiling cloud, RFZ. The green Before curve shows the room with elementary treatment the red After curve is with much more considered treatment, of considerable quantity and quality. Mix and match heights if you like, but remember to use fully descriptive labels. If you use a mixing desk and like to prowl around, then use standing ear height. Mount the microphone or SLM on a stand or tripod. Eight spots seems appropriate in a small room. Establish your own system and stick to it. My software uses one speaker at a time during measurement sweeps, so I use names like 元8FC (Left Speaker Front Centre), 元8BL (Left Speaker Back Left), and so on. Use descriptive names and numbers for your chosen spots. ![]() Using masking tape, label the floor at all significant listening spots such as the engineer's seat, the producer's seat, and the rear couch. However, measurement always trumps theory. These are useful, often correct, guidelines. Another rule of thumb suggests there is little bass at the room centre. These zones mathematically have the best balance of room modes and should sound best. Identify the zones at 3/8 (38%) of room length from the front wall and ditto from the back wall. I am assuming a rectangular room, with speakers at the narrow front wall. This 3-dimensional picture is worth a thousand words to the experienced eye. An ideal room would have very even decay, longer at low frequencies, gradually shortening towards the highs. The 'slices' coming towards the viewer are spectra taken at later instants. Consider the spectrum at zero as the instant when the noise is suddenly turned off. The third axis describes time passing starting from zero at the back. Positioning the dangling weight over the marked floor spot guarantees repeatable location and height.' ![]() 'I tie a thread with a small weight to the microphone. 'A sound absorbent panel, temporarily held in place can nuke these problems, also showing exactly where to put treatment.' 'I recommend an omni studio recording microphone, or a Sound Level Meter (SLM) with a line level audio output socket.' This behaviour can be seen very graphically on the waterfall plot in Figure 1 at left which has three axes. Particular frequencies or bands of frequencies which ring on longer than their neighbours will cause particular notes or tones to stick out, blurring music or speech. Frequency response is the most common and easily understood graph. It excels at comparative jobs, such as finding the best speaker and listener positions by trial and measurement. I find the software is best at showing changes rather than describing a static situation. No miracles! It is unlikely that you will get beautifully flat frequency response curves.
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