I own that book since 2010. Yes, it's a thick/heavy book, but worth its weight in gold. Great minds think alike.
Thank you for the PDF though! Now I can read it on my phone instead of hauling a brick around. :D

 

Last edited: Jan 9, 2016

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So how do these softwares work guys...do you use this in addition to your room treatment? Or it is intended to be a replacement for those who don't have any treatment to correct the room they're in? Let me know, I will be buying some room treatment soon.

 

This is mindblowing but expensive: Trinov..........http://www.trinnov.com/pro-products/. I had a demonstration and the room acoustics were really terrible, but when the Trinov was active all sounded great.

There is a discussion on Gearslutz but it is rather old.

 

Fact:

Nearfield monitores DO have room calibration settings, unless your fact is more accurate and truer than the calibration settings for my Genelecs 8020.

Non-fact:

Those calibration settings may not be ornamental.

 

Last edited: Jan 9, 2016

@superliquidsunshine Thanks for the pdf link. That's all the stuff concerning acoustics that I had to learn as part of my pro audio guy career. Can't tell you how happy it makes me feel to see it all again.

You made my day, dude.

 

We are far off topic. question was: is there a software or something to analyze how far off i am from the best possible result?

It is true that near field monitoring will minimize the effect of the room. However not all people use near field exclusively, It is still hard to have a lot of people listen accurately to near field monitors, Especially when musicians like it loud, Try tracking Bass guitar in a control room with small monitors.

Not here to argue, Just to help others out.

 

Last edited: Jan 10, 2016

I have been fortunate to have worked in several quality studios designed by well respected acoustic architects. As good as these rooms are every one of them uses a filter set or 1/3 octave graphic eq on the far field monitors tuned with a RTA real time analyzer.

 

In the 15 years of audio engineering I have, I worked mainly on nearfields monitors, many times using the same pair in different rooms, as studios/workspaces changed over time.

All of them sounded VERY different in any new room they were in. All the rooms needed treatment and change of the speaker positioning for proper placement. And let me tell you something. I have an ASC Attack Wall (google for that) that I take everywhere with me. Even with the Attack Wall there was almost always needed more treatment.

The only monitors that don't need acoustic treatment are headphones (but those would surely benefit a lot from proper equalization since most of them are a mess).

Keep these in mind.

Cheers.

 

To anwser the TS:
the approach to mixing is more or less tempering the frequency's that stand out in a bad way, or the opposite for wanted frequency's.

I think 'reliable' in this case is relative to the work you are planning to do,
questions are, are you going to mix the final products yourself?

how high do want to raise the bar for yourself ?
and on what point is it good enough ?
I think this are questiosn you only can answer yourself.

In my opinion when you start with arc devices that are permanently installed in you chain is rather risky.
everything you add to fix one thing has a down-side on the other,
devices like this alter the (G)ain (T)ime and (F)requency. which when monitoring is undesirable.

Monitors sometimes come with built in eq's. If done right by the manufacturer, have crossover and tilt spots in the optimal position.
for instance, smartly chosen within the bi/tri Amp circuitry.
this has been done and tested in optimal environments (or purposely bad envoirments). so I wouldn't argue with that
You don't see me mess around with this type of devices, I rather spend more on monitors next time I have the chance.

 

hey

Do i need sound absorbers of different kind of thickness? I have read the thicker they are, they lower the frequency they can deal with.....but do thick ones automatically deal with high frequencies as well or do i need thin sound absorbers for that?

if i don't need thin sound absorbers then why can't i just fill the room with bass traps only?

Sorry trying to learn...if this sounds too newbie, cheers

 

I have posted it here many times. Even if you do not buy their products, Auralex has tools and info on line to help with questions like these. http://www.auralex.com/ I do use their products, because their foam is fire retardant.

 

same goes for http://realtraps.com/

 

@superliquidsunshine Thank you for that link. It was like a memory refreshment

 

Generally, the thicker the absorbers are, the lower they go in the frequency range. Think of different absorbers as EQ bands, where basstraps are suited to attenuate lower frequencies (especially in corner where they accumulate). Thinner foam pads are more suited for higher frequencies, aswell as most of them have diffusers which makes them look cool. I'm not really fond of foam (I've gone for DIY rockwool/glassfiber absorbers instead), but some people swear by them. You could place these at reflecting/mirroring (to the sound source) surfaces, such as side-walls, behind the monitors and ceiling.
As with everything, it's about finding a balance. If you put up alot of basstraps you might make the room "dead" or make it un-balanced.

You can also use long curtains hanging from the ceiling and a bit off from the wall, making both the curtain and the air between the curtain and the wall as an absorber.

Also, most rooms have standing waves that linger/reverberate longer at certain frequencies, compared to other frequencies. You can dial these frequencies in with Helmholtz resonators to attenuate them. Sometimes your listening position can be in one of the nodes (null) of a standing wave, and you will not hear it. Other times you can sit at the peak/maximum amplitude of a standing wave and that frequency will be dominant. If you do a slow "frequency sweep" with your voice (saying aaah) in a a tiled bathroom you will notice this pretty quickly, as you will find a note that is super-strong. The same thing (but not as dominant) happens where you are sitting listening/mixing/producing.

There are also diffusers, which scatter sound (and breaks the energy up). These help in reducing standing waves.

This was a short rundown. Check out the book The Master Handbook of Acoustics by F. Alton Everest if you want a thick book on the subject. Superliquidsunshine provided a link in another thread (not sure if it's against the forum rules though):

 

To respond to the original question, yes, a broadband absorber will absorb all the frequencies, absorbind more in the lower area as the thickness increases. That's why, if heavy absorbtion is involved in a room, there will also be some diffusion done.

 

Last edited: Jan 10, 2016

For those interested, @Demon , a member here did a tutorial on making your own Acoustic treatment panels. Well worth the read, and there are numerous tutorials on YouTube as well

https://audiosex.pro/threads/video-...wn-acoustic-panels-by-demon.14252/#post-95282
Here is his Video Tutorial;

Some Other Tutorial References;
http://acousticsfreq.com/how-to-build-your-own-acoustic-panels/
http://ehomerecordingstudio.com/acoustic-foam-panels/

 

If you are using near field monitors, you do not need to do anything. Near field monitors do not require room treatment. That is how and why they were developed. That's a fact jack.

Auralex is one of the biggest ripoffs going. They are one of the biggest perpetuators of the room treatment myth, which was started by the studios.

Good Luck @samsome, navigating the morass of misinformation. there is a salesman on every corner. I recommend you start working immediately, and save your money for audio equipment.

 

Last edited: Jan 10, 2016

ever been in a room with only that cheap foam on every wall?
it sounds horrific,

ps please don't feed the troll

 

@Kwissbeats Are you talking about homemade treatments?