Jump to content
  • The Computer Audiophile
    The Computer Audiophile

    A New Listening Room Part Two: Acoustics, Speakers, DSP

    When I last updated everyone on my new listening room, I said "The sound right now is definitely livable" and "However, I am nowhere near satisfied with the sound." I wrapped up part one of this series by stating, "As it stands now, I really like the new listening room. I can't wait to get the acoustic panels installed to bring the sound quality up quite a bit. The room is a giant instrument and has the biggest affect on the sound quality of music. Forget about MQA, lossy, lossless, bit perfect, upsampling, music servers, or even speakers. If the room isn't good, the sound isn't good no matter what one does to the system."

     

    Quite a bit has changed since I wrote that. My room sounds spectacular right now. This is the best sound I've ever had, period. What follows is a description of what has changed and what was done to get my room to its current level. 

     

     

     

     


    Step One - Acoustics

     

    As I said in Part One, I worked with Vicoustic to come up with a plan for room acoustics. Vicoustic delivered a very detailed proposal (PDF 5.6MB) with predicted results, if I followed its recommendations. I bounced the recommendations around to a few friends in the industry and based on their input decided to order 2/3 of Vicoustic's recommended package as a starting point. I didn't purchase the recommended Super Bass Extreme Premium bass traps because I wanted to make sure any bass issues I had, once measured, would be remedied by these traps. 

     


    I purchased 24 Cinema Round Premium absorption panels and 6 Multifuser DC2 diffusion panels. Each product obviously serves a different function as can be seen in the images below.

     

    cinema-round.jpg multifuser.jpg

     


    When the Vicoustic panels arrived, I installed them myself according to Vicoustic's recommended placement. I didn't want to put holes in my new walls, so I opted against a traditional mounting bracket type of installation. As funny as this might sound, I've had great luck hanging items on my walls using the 3M Command products. It was only logical that I tried mounting the acoustic panels using products from 3M's Command lineup. 

     

    My first attempt using only four Large Picture Hanging Strips (17206-ES) was a quick failure. Even though the strips have a weight limit of 16 pounds and the Cinema Round Premium panels weigh somewhere around 2 pounds, it wasn't meant to be. The panels fell off the wall shortly after I finished mounting them. 

     

    I switched to plan B, adding Rapid Fuse all purpose adhesive to the parts of the Command strips that touched the Vicoustic panels and my walls. The panels have been hanging on my walls without an issue for seven months. They didn't have an issue when the Summer heat made it very uncomfortable in my room, and so far the Winter cold hasn't effected them either. My room temperature gets down to about 60 in on the coldest Winter days, before my heater kicks in to warm things up before start working for the day. I don't expect my temperature fluctuations to effect the Rapid Fuse very much. 


    After installation of the absorption and diffusion panels, my room was immediately transformed. Prior to the panel installation I had a hard time talking on the phone while sitting at my desk because the sound bounced off the walls like an echo chamber. After the installation, everything was perfect. Not too much absorption, but just enough to make the room sound great for phone calls and even more important for listening to music. 

     

    This was a larger sound quality improvement than any piece of electronic equipment I've ever placed in my system. Even those with bronze ears could tell the difference in sound was night and day. From my listening chair, the harsh reflections were gone and the room's effect on the music was incredibly reduced. I can't recommend acoustic treatments enough to everyone who values good sound. 

     

    I held off fine tuning the sound of the room because at the time, my TAD CR1 speakers were about to be sold and shipped off to their new owner. I figured I'd need some bass traps, but thought I'd cross that bridge when I go to it. 

     

    Vicoustic Cinema Rounds Mounting Supplies Rapid Fuse Command Strips Back of Room Side of Room Front of Room

     

     

     

     

     


    Step Two - New Speakers

     

    IMG_1867.jpgIn My New Speakers Have Arrived article I finished by saying, "Once the speakers are moved into my listening room, a representative from Wilson will fly out to set them up using the Wilson Audio Setup Procedure. I'm sure I will give this procedure a shot on my own just to start listening. I'm like a kid on the night before Christmas. I'm really excited and there's nothing I can do about it until the new Alexia Series 2 speakers are setup. Look for much more about the speaker setup, my first impressions, and room measurements in the following weeks." 

     

    As usual, things took longer than I'd hoped. Getting the speakers into my listening room wasn't a task a guy like me could handle on his own. In fact, I don't think any one person should attempt to bring Wilson Audio Alexia Series 2 speakers up 14 stairs through a narrow, freshly painted stairwell. 

     

    I called a few moving companies in Minneapolis who thought I sounded like Charlie Brown's teacher talking when I said I needed my 260 pound, $60,000 speakers moved from my garage into my upstairs listening room. Fortunately, a nice lady at one of the companies told me to call Manny's Piano moving. One phone call and $300 later, I had two guys at my door ready to carefully move some speakers. 

     

    The speakers arrived in wooden crates that caused one of the movers to comment on the very solid build quality. "Those were made the right way." Said the guy who'd been working at the company for decades. He's seen a few packages and crates in his time. 

     

    After watching the duo carefully bring the speakers up to the second floor listening room, it was time to peel off the protective layer of plastic. Wilson speakers ship with a thick protective plastic layer covering all the paint. This makes the speakers appear to be white before the real color is revealed under this layer. 

     

    I peeled the protective layer off and opened the 60 page Alexia Series 2 user manual (PDF 2.7MB). A lengthy user manual isn't what one wants to read before listening to new speakers for the first time. However, I knew that if I didn't at least attempt to install the speakers correctly, I'd only hear a fraction of their quality. 

     

    I read the manual and adjusted the speakers according to the measurements and charts. Wilson makes this part fairly straight forward. The difficult part of placement within the room and fine tuning this placement was beyond what I wanted to attempt and I new someone form Wilson was coming out to help with the setup anyway. 

     

    I finished speaker setup, connected my amps, and pressed play on my new Alexia Series 2 speakers. As an audiophile who has had a few pairs of new speakers in his life, I must say this is one of the funnest things to do after a new speaker setup. Listening to all of one's favorite tracks again for the first time. It brings out more in each track and identifies differences between old and new speakers right away. 

     

    I absolutely loved what I heard through the Alexia Series 2 speakers. I was apprehensive to sell my speakers with beryllium tweeters and beryllium midrange  drivers and replace them with soft dome tweeters and Cellulose/Paper Pulp Composite midrange drivers. Not that either material in and of itself is better, but I was used to the sound of beryllium after seven years of listening through TAD CR1s. To my delight, the sound was fantastic. 

     

    It took several weeks before schedules aligned and Wilson's John Giolas could make it out to Minneapolis to run through the Wilson Audio Setup Procedure with the speakers in my room. Given that John's official title is Director of Marketing at Wilson, I was skeptical and I told him as much. What does a marketing guy know about placement of speakers? It turns out, John is a master at speaker setup. 

     

    Every step of the setup was documented by John and verbally relayed to me as he made adjustments. John told me everything he did along the way and why he did it. Moving the speakers as he talked also enabled him to hear the reverberation off the side walls and find the perfect general position for the speakers. 

     

    John then took over the iPad and listening chair to fine tune speaker's position down to the smallest of fraction of an inch. Once the final position was settled, the spikes went in the speakers and it was time to listen to my 100% fully setup speakers for the first time. I was impressed with John's work throughout the day and equally impressed with the results at the end of the day. John noticed I'd mis-configured the tweeter housing, causing a slight timing issue (that was later verified by measurements) and moved the speakers only a couple inches from my initial placement. But, the end results were dramatic. I'd never had a better "first listen" than later that evening. 

     

     

    Alexia Series 2 Crates Alexia Series 2 Crates Manny Manny Alexia Series 2 Crates Alexia Series 2 Crates Alexia Series 2 Protective Film Alexia Series 2 on Casters Alexia Series 2 on Casters Alexia Series 2 on Casters Alexia Series 2 on Casters Wilson Audio Setup Procedure Wilson Audio Setup Procedure Alexia Series 2 Final Position with Spikes Alexia Series 2 Final Position with Spikes Alexia Series 2 Final Position with Spikes Alexia Series 2 Final Position with Spikes Alexia Series 2 Final Position with Spikes

     

     

     

     

     

     

     

    Step Three - Bass Traps

     

    Once the speakers were in their final resting places and I'd had several days to play all types of music, I noted a couple bass humps in my listening room. Like all rooms, these are expected. I pulled out my miniDSP umik-1 USB Measurement Calibrated Microphone and used Room EQ Wizard to take some basic measurements of my room. Indeed, I had a large bass hump and suck-out that was easily heard by my ears and seen by my eyes on the graphs. 

     

    It was time to look closer at bass traps. I talked to more friends in the industry and settled on a pair of ATS Acoustics Corner Bass Traps (24x48) in the Guilford of Maine Snow color, for the two corners behind my speakers. I really liked these bass traps for two reasons, first the price was right (although shipping can be a killer), and second ATS offers them in both full range and low range. I selected the low range version that absorbs low frequencies and reflects high frequencies. I didn't need any additional high frequency absorption.

     

    Here are specs of the bass traps and difference between the full range and low range traps, and an image of one in my room. 

     

    IMG_0735.jpg ats.png

     

     

     

    I installed the bass traps without much fanfare. They just sit in the corner without any hardware installed to couple them to the wall. Such hardware is available if desired. The overall effect of the bass traps was minimal but a positive for my listening enjoyment. The lowest frequencies can be hard to tame due to the length of the sound wave. I found this out through personal experience. This lead me to step four in my effort to fine tune the room even further. 

     

     

     

     


    Step Four - DSP

     

    I've been interested in DSP / room correction since hearing a wonderful demo at an audio show many years ago. In the years since, I've read a bit about it and dabbled with a couple apps, to see what I could do in my own system. Once I had measurements of my new room and confirmed them with what I heard, it was time to get serious with DSP. I talked to Mitch Barnett @mitchco of Accurate Sound, who literally wrote a book on DSP and is well versed in the writings of almost all the industry experts. Mitch gave me enough information to get going on my own, but I soon realized I was in way over my head. If I was interested in messing around and getting decent results, I would've been fine continuing on my own. However, I wanted the best results money could buy. I asked Mitch to continue helping me because I was out of my league. 

     

    I discovered that there are so many facets to DSP / room correction that the average guy has little chance of getting the best out of his system without help. Heck, I even committed the cardinal sin of thinking a flat frequency response at the listening position was desirable. Turns out listening to the experts and trying different industry standard curves is the route most traveled for good reason. 

     

    Mitch coached me through taking measurements of my room. For the most part this was easy, but when things go wrong, it helps to have Mitch. In my case he knew what options to enable or disable and even worked with the creator of Audiolense, Bernt Rønningsbakk on a couple possible issues. 

    After sending Mitch my room measurements, taken through Audiolense with the umik-1, he delivered a couple convolution filters to me via email. I added these filters to Roon, where I could easily switch between them to determine sonic differences. It was equally as easy to disable the convolution filters for comparison to bit perfect playback as well. 

     

    At first I wasn't thrilled with the results. I believed the transients were rounded at the edges far too much for my taste. This coupled with the fact that I was used to listening without any DSP for my entire life, made me frustrated. I reported back to Mitch everything I heard, liked, and disliked. His response to me was very reassuring. He said not to worry because there are many industry standard curves to try and many small adjustments he can make to the filter. 

     

    Over several weeks Mitch sent me more filters to try. I was traveling much of this time, so I assume we could've hammered out my issues pretty quick if I could dedicate more time to the effort. Mitch sent filters based on ITU, B&K and Bob Katz target curves before sending the EBU 3276 target curve. I liked the direction he was taking my system with the ITU curve, but when I pressed play with the EBU 3276 curve enabled, I was sold. My system was really singing. My room was out of the picture, and the music was right there in front of me. 

     

     

    roon-convolution-filters.jpgThe beauty of DSP is that I can enable or disable it with the press of a finger. I don't have to use it all the time and no physical component changes need to take place for me to use my system either way. In Roon or JRiver, or any app that supports convolution filters, it's as simple as tapping the option. In addition, all of the DSP takes place on my Roon core running on a QNAP NAS. This means that any changes to the audio happen (obviously) in the digital domain before the audio reaches my DAC. This is critical for a guy who reviews DACs for a living. If the changes took place after the DAC, reviews would be a much harder thing to accomplish. 

     

     

    In terms of where DSP ranks on my list of things that change a system's sound the most, I believe it's right up there with acoustic treatments. And by change, I mean a change for the better and more accurate to the source. As a hard core, knuckle-dragging audiophile I used to be anti-DSP. Now that I know the benefits of a professionally calibrated system, I'm all for it and think people are crazy for not trying it. As audiophile we obsess over the smallest details and spend tens of thousands of dollars (or more) on equipment. This equipment may never have a chance to show us what's its got if our rooms aren't perfect. DSP is cheap. If you try it and don't like it, you aren't out much money and you don't even have to worry about an extra component on the shelf collecting dust. It's all software. But, if you like it, DSP can change your life.

     

     

    Chris-Alexia-Series-2-inroom-response-before-and-after-DSP.jpg

     

    My in-room response before (top) and after (bottom) DSP / room correction using the EBU 3276 target curve.

     

     

     


    New Room Wrap Up

     

    It seems like forever ago that I was in my basement listening room with a pair of TAD CR1 speakers and a 6.5' ceiling bouncing. Moving my listening room up to my attic has turned out terrific. I finally went through the right steps to get my room sounding great and it has paid off immensely. Enlisting Vicoustic through its online Acoustic Treatment Project was the first step and it did wonders for my room. It set me on the right course, and set me up for success further down that course. Getting new Wilson Audio Alexia Series 2 loudspeakers has been a dream come true for me as an audiophile. I've never been happier with a set of speakers in my life (sorry Andrew Jones). Adding the bass traps as a touch-up passive method of taming the bass was another step forward although the smallest step of the four I've taken on this journey. The final step of having my room professionally calibrated and convolution filters created was likely the easiest, now that I know to let the professionals handle the tough parts, and right up there for most effective. Hands down DSP is the most cost effective way to get a system and room sounding better. 

     

    I feel like I'm not giving my speaker much credit in this wrap up. I must say, without the acoustic treatments and DSP, these speakers wouldn't have been able to perform at their highest levels. The thing to remember is that I'm not DSP'ing the speaker or any of my components, I'm DSP'ing my room. No speaker has a chance of sounding good without the proper environment. Now that my room is in order, the Alexia Series 2 shines like no other speaker I've had at home. I don't know where I'd go from here, and I'm not even entertaining the thought. These feel like end-game speakers to me.

     

     

     

    Current Equipment:

     

     
     


    User Feedback

    Recommended Comments



    Earlier this month, I purchased 6 of the Vicoustic DC2 Multifuser Panels (same as those purchased by Chris).  I am located in USA.  I found a reputable seller based in the U.K., Gear4Music that is an authorized seller.  Shipped to me in the USA, the 6 panels cost $438.  Dealers in the USA charge $650.  

     

    One nice thing, these panels are thick so you can stack them, as I have done in the picture below.

    IMG_0056.jpg

    Share this comment


    Link to comment
    Share on other sites

    What are the materials in these panels?

     

    It strikes me that with the availability of photos printed on fabric, if these panels use non-exotic materials and we have a few members who know how to design them, decor- and wallet-friendly acoustic panels might be a very nice DIY project.

    Share this comment


    Link to comment
    Share on other sites
    1 minute ago, Jud said:

    What are the materials in these panels?

     

    It strikes me that with the availability of photos printed on fabric, if these panels use non-exotic materials and we have a few members who know how to design them, decor- and wallet-friendly acoustic panels might be a very nice DIY project.

    The Vicoustic DC2s are made of expanded polystyrene.

    Share this comment


    Link to comment
    Share on other sites

    Mitchco/Others: Specific to the discussion regarding DSP - I have a very nice pair of Focal Sopra 2’s in a bit of a challenging room that has been nicely treated.  As a typical audiophile, I am always wondering if I can improve the sound.  Since I use Dirac (which significantly helps), I occasionally wonder if getting a different pair of speakers would actually make any significant difference.  If a speaker of this level has solid measurements (see “Soundstage!” National Research Council of Canada measurements) would another speaker that measures well (and after the application of room correction) actually improve things? Bringing a pair of Magico’s, Wilson’s, JBL’s, Vandersteen’s, etc., into my room to test out is really not an option. I would like to hear your thoughts.  I do wonder if once a speaker is mostly full range, with solid measurements, if diminishing returns, becomes no returns with DSP/Room correction.

    Share this comment


    Link to comment
    Share on other sites
    22 minutes ago, Richard Dale said:

     

    I got some 5mm MDF panels cut, painted them black and then glued the black DC2s to the panels. Then I could mount them on the wall with sawtooth hangers just like I've done with the GIK absorber/diffuser panels on the side walls.

     

     

     

    Good idea.  I am still playing around with positioning of the panels.  Once I settle I will use your same method.

     

     

    Share this comment


    Link to comment
    Share on other sites
    11 minutes ago, Jud said:

    What are the materials in these panels?

     

    It strikes me that with the availability of photos printed on fabric, if these panels use non-exotic materials and we have a few members who know how to design them, decor- and wallet-friendly acoustic panels might be a very nice DIY project.

    A couple dealer friends told me to just make the absorption panels myself. Not confident in my ability to do any such thing, I obviously purchased them. 
     

    There’s really nothing to the panels. Just correct materials selection and a look if needed. 

    Share this comment


    Link to comment
    Share on other sites
    12 minutes ago, The Computer Audiophile said:

    A couple dealer friends told me to just make the absorption panels myself. Not confident in my ability to do any such thing, I obviously purchased them. 
     

    There’s really nothing to the panels. Just correct materials selection and a look if needed. 

    GIK use rockwool in their panels, and they don't cost all that much. I think you'll find if you work out how much a DIY panel would cost compared with the GIK panels it wouldn't save all that much and probably wouldn't look as good.

     

    Vicoustic and Artnovion have a higher standard of finish than GIK (although GIK are pretty excellent), and the Cherry wood in my Vicoustic Super Bass Extremes looks lovely - unless you are some kind of cabinet maker by trade I can't see how you could get anywhere near that standard of finish with a DIY project.

    Share this comment


    Link to comment
    Share on other sites

    all types of panels and tube traps as well can be made DIY from inexpensive materials - for QRD you need an online calculator

     

    but it takes time to do so, and some space for at least a chop saw

    Share this comment


    Link to comment
    Share on other sites
    40 minutes ago, Richard Dale said:

    GIK use rockwool in their panels, and they don't cost all that much. I think you'll find if you work out how much a DIY panel would cost compared with the GIK panels it wouldn't save all that much and probably wouldn't look as good.

     

    Vicoustic and Artnovion have a higher standard of finish than GIK (although GIK are pretty excellent), and the Cherry wood in my Vicoustic Super Bass Extremes looks lovely - unless you are some kind of cabinet maker by trade I can't see how you could get anywhere near that standard of finish with a DIY project.

     

    I have a couple of neighbors with reasonably extensive home wood shops. And if the fabric is photo printed, then that becomes the highlight and you can pull it over the wood frame.

    Share this comment


    Link to comment
    Share on other sites
    4 minutes ago, Jud said:

     

    I have a couple of neighbors with reasonably extensive home wood shops. And if the fabric is photo printed, then that becomes the highlight and you can pull it over the wood frame.

    Photo printed similar to this?

     

     

    Share this comment


    Link to comment
    Share on other sites
    4 minutes ago, Jud said:

     

    I have a couple of neighbors with reasonably extensive home wood shops. And if the fabric is photo printed, then that becomes the highlight and you can pull it over the wood frame.

    OK, but note that tuned membrane panels such as Vicoustic Super Bass Extremes, GIK Scopus Bass Traps and GIK Tri-Traps with a range limiter membrane are not as easy to reproduce in a DIY project as just stuffing a filling into a decorative box. Compared with other audiophile tweaks, acoustic treatment, even designer level acoustic treatment, is much cheaper than say fancy interconnects.

    Share this comment


    Link to comment
    Share on other sites
    Just now, The Computer Audiophile said:

    So awesome!

     

    She (our Chocolate Lab) is 10 years old and her personality hasn't changed a bit. 🙂

    Share this comment


    Link to comment
    Share on other sites

    @mitchco Seeing as you have the KEF LS50 and also your comparison of the KEF LS50 with the JBL, I am curious if you have tried the BACCH DSP system from Princeton?

    https://www.audiostream.com/content/bacch4mac-3d-audio-playback-system

     

    It is also very favorably reviewed by Soundstage.com a few times recently. They test out the $25k+ hardware version. There is a $5K MacMini software even slightly more powerful than the $25K-50K versions. They demo with KEF LS50's.

    https://www.theoretica.us/bacch4mac/

     

    It would be very interesting to hear your take on this new cutting edge tech.

     

    I hope to buy the $5K MacMini variant in a few months and use in my second LS50 system.

     

     

    Share this comment


    Link to comment
    Share on other sites
    5 hours ago, yyz said:

    hope to buy the $5K MacMini variant in a few months and use in my second LS50 system.


    Would love to see another audiophile going for XTC. Please post your review when you get yours.  

    Share this comment


    Link to comment
    Share on other sites
    On 12/14/2019 at 1:17 AM, mitchco said:

    Hi @Matias, not directly: https://www.hometheatershack.com/threads/linear-vs-minimum-phase-filters-in-rew-for-minidsp.151513/ 

     

    Have a look at @SwissBear article on using rePhase and REW together: 

     

    Also have a look at: https://yabb.jriver.com/interact/index.php/topic,87538.0.html

     

    Kind regards,

    Mitch

    Hi Mitch, Swissbear’s article you point to and the tuto linked herein make me wonder about your operational protocol.

    My ears told me the averaging method he suggests does not work for amplitude correction.

    IMHO Amplitude correction should be performed based on Moving Mic Measures.

     

    So, I suggest to start with a Vector average per Swissbear, create in REW a 1/3 smoothing roughly sketched 6dB correction, import it in RePhase and export Impulse Responses as Swissbear suggests. Follow his instructions to generate Excess Phase etc. 

     

    But then the fun begins. 

     

    One should them perform MMM with those Impulse Responses convolved in solution of choice, would have been Roon for Chris, HQPlayer for me. Then, create more precise eQ in REW, one per channel per target, then go back to Rephase, do more tweaking to the Phase eQ (we need the Vector Average recommended by Swissbear for that to get gorgeous Impulse and Step responses), and then check the exported responses by MMM and maybe add another round for even better results.

     

    BTW, my ears told me that Pink Noise, required for MMM, such as the one on old Stereophile CD is not good enough, one can generate one from https://ieeexplore.ieee.org/document/7395532 or consider https://www.arcaudio.com/node/245 good enough. 

     

    Or maybe one should call you to come and do that very time consuming process, Mitch !

     

    Your explanation about why Chris’ in room response should be almost flat read well.

    However, I’d like to stress that the choice of a target curve is not totally subjective.

    I think we should aim to have at Listening Position a Tonal Response matching the Mastering engineer’s. A guy who presents himself as “the best mixing engineer on the planet”, certainly with a grain of salt, writes here : https://www.gearslutz.com/board/studio-building-acoustics/521064-main-eq-curve-questions.html :” It is common to use a 'House curve' in professional studios. Digital processors are sometimes used with several curves. One for TV, one for CD, one for Download perhaps.

    There are many of us, Bruel and Kjaer included who subscribe to a curve which is very broadly speaking +3 around 100Hz, -3 around 10KHz, and falling. This has been found to enhance the translation of mixes to the outside world.

     

    The Bruel and Kjaer have been widely publicized since 1974. I tend to use it on classical/acoustic/consider it with older stuff/too bass heavy stuff. I use a bass rolled off (slightly : 20 Hz at 200 Hz level, much like Chris) out of respect to my Cabasse’s natural response) Harman (-1 dB/octave) too.

    Harman’s extended bass and accentuated treble roll off vs B&K might be a matter of choice/particular mastering ; but I’d recommend to anyone who wants to try DSP to consider +3 around 100Hz, -3 around 10KHz, and falling target.

    One can also look at the natural slope of his or her room before correction and see it's probably close to -1dB per octave anyway thus suggesting that even if there was no eQ at LP in the mastering room, there was a downward slope. As Sean Olive wrote( https://seanolive.blogspot.com/2009/11/subjective-and-objective-evaluation-of.htm ) : "The preferred room corrections have a target response that has a smooth downward slope with increasing frequency. This tells us that listeners prefer a certain amount of natural room gain. Removing the rom gain, makes the reproduced music sound unnatural, and too thin, according to these listeners. This also makes perfect sense since the recording was likely mixed in room where the room gain was also not removed; therefore, to remove it from the consumers' listening room would destroy spectral balance of the music as intended by the artist."

     

     

     

     

    Share this comment


    Link to comment
    Share on other sites
    On 12/13/2019 at 10:42 PM, mitchco said:

    HI @Jud Yes, for example Acourate and Audiolense can generate linear phase DSP filters that maintain linear phase throughout.

    Cheers,

    Mitch

    Hi Mitch, like Jud I also use linear phase filters when I do sample rate conversion (except if percussive sounds prevail). However, based ie on such reading :https://www.gearslutz.com/board/mastering-forum/782708-linear-phase-quot-pre-ringing-quot-audio-examples.html , I opted for the default Minimum Phase eQ banks in Rephase. What is your opinion ?

    Share this comment


    Link to comment
    Share on other sites

    Okay, dumb question, but I can't figure this out:

    How do I get a "live" (not simulated) measurement of my room sound with the DRC/convolution applied? I can't figure out how to apply the DRC to the test sweep in any of the measurement programs, and measure the result in real time. 

    Sorry if this is obvious and I'm just not seeing it. 

     

    Share this comment


    Link to comment
    Share on other sites



    Create an account or sign in to comment

    You need to be a member in order to leave a comment

    Create an account

    Sign up for a new account in our community. It's easy!

    Register a new account

    Sign in

    Already have an account? Sign in here.

    Sign In Now

×
×
  • Create New...