Hi, this eq's settings are too much in this eq for room correction?

 

Lol, yes. Just don't do it.

 

If you can t really do anything to the room, I mean basstraps, panels, try a tonal eq, broad curves, not those drastic curves
That s really too much, you can t mix like that, sorry

 

I am going to disagree with the other responses. In my personal experience, an EQ plot like that for rooms is absolutely not uncommon (Peaks and troughs of over 20 Db can be common in smaller mixing rooms) and I have been able to make good mixes with similar rooms, with and without room EQ.

Long, detailed response:

Look, one of the purposes of EQ'ing your room is to try to hear an equal or balanced frequency spectrum so that the room does not alter the sound. But the thing is you don't NEED eq to be able to discern a flat frequency or a pleasant frequency in which to shape and balance your mix. You just need a baseline reference!

1) Use room EQ to listen to music that you want your mixes to sound like *this will allow you to hear the frequency balance closer to what the mixing engineer wanted the song to sound like*
2) Now listen to it WITHOUT the EQ.
3) Memorize internally the differences between with and without ( that is the shape of the compensation you must make to your mixes for a pleasant sound spectrum) -- the mix sound much muddier in the low mids with the EQ off? Memorize that amount of muddiness -- that is the level of muddiness you will want to mix your music to (when not using ROOM EQ)
4) Profit

The reason why you want to do it the way above is because that muddiness most likely translates to balanced in a properly treated room (It only sound muddy in your room but will sound 'balanced' in a better room. SO basically what you have in effect done is you have internally adjusted your OWN expectations of how your room will color different parts of a song's sonic spectrum. THAT is much more useful than room EQ.. why?

Because equalization affects phase!!! And that phasing WILL affect your judgments, as they might make your song sound smeared, which might make you correct for that issue... an issue that is only there with the ROOM eq on..
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TLDR; It's not exactly essential to know your room has a flat spectrum.. it's often more useful to know the shape of your room's spectrum; with that knowledge you can compensate internally without having to deal with the sound distortion issues of room equalization - but mixing with that type of EQ is not 'wrong'.

Another tip if you don't have room treatment.. mix at a low volume!! Lower amplitude of sound waves clashing means less sound cancellation and other 'coloring' interactions.

DIRAC does it best of all the ones I have seen though, and even the phase sounds natural 00 expensive as heck though.

 

Strongly disagree with the first two posts. MOST small to medium projects studios that were built initially without acoustics in mind have peaks & nulls anywhere from 20-30db (this is totally normal). You should measure your room with programs like Room EQ Wizard, generate a waterfall analysis file - which will show you frequency response measured over time. An even decay time across the frequency spectrum is just as important as a room's frequency response. DO NOT add any octave smoothing to the measurement - all you're doing is throwing away info that can tell you allot about what, where & how much reinforcement you should put up in your room. You want to shoot for peaks & nulls no greater than 10db. Keep in mind rectangular & square rooms are next to impossible to tame 1st octave standing waves, modes & nodes without a tremendous amount of bass trapping - which unfortunately takes up a large amount of space in the room to even achieve its function. Look up Ethan Winer or Rod Gervais on Gearlsutz or realtraps. Ethan has many Youtube clips you should check out too. They are veterans in the acoustics field & damn good at what they do!!!

 

This is the frequency response in my room and waterfall monitors yamaha hs5.

 

Thank you for the tips and the info!

 

Good. Make sure you turn averaging off completely & you're measuring both speakers at the same time from the listening position I'm a bit suspicious of those measurements... Follow this to a T & repost your results brother - http://realtraps.com/art_measuring.htm


If you need help setting up & calibrating REW feel free to ask.

 

I belong to another school of thought. just that. There are many powerful tools to eq a room, Arc, but I prefer to move the hands and build panels. To me in any case, solving the negative resonances and ringings, modes, a drastic eq is just the worst solution.

about Winer, how to calculate modes and stuff like that:

https://audiosex.pro/threads/basstraps-and-acoustic-chamber.22948/

it s just another kind of equing

This ETF graph shows how bass traps reduce ringing by making it decay faster and lowering the Q of the resonances View attachment 2549 View attachment 2550

 

Last edited: Dec 30, 2016

I Follow the instructions for mesurements:

 

Looks pretty typical to be honest. Broadband bass traps at least 4-6" thick made of OWC 704, hang broadband clouds in between you and the listening position and make as deep as you can afford tri-corner super chunks made from pink fluffy. I made my super chunks out of OWC R-38 34"X24" in wood frames covered with cheap bleached muslin. Why pink fluffy? Because gas resistivity flow is greater in pink fluffy insulation than ridged fiberglass insulation or Roxul which results in a higher coefficient when trying to tame those massive 1st octave sub frequencies. Studies consistently show pink fluffy tricorner super chunks performs better than OWC 704 6" (corner straddled with air gap) broadband traps. Remember to cover all 12 corners of the room. Just look at some of the build pics of what Rod Gervais has done. Again this is a general recommendation as it's impossible to give any real advice without physically being in the room and knowing the dimensions. Your room according to your measurements isn't horrible, however for professional critical listening it isn't ideal either. Unless your listening position is impossible to be moved, I would first experiment with speaker placement with the room cleared of gear and all movable furniture and make as many measurements as you have the patience and time for. You can try calculating speaker and listening points here http://noaudiophile.com/speakercalc/ . Once you've found the most balanced and preferred spot in your room, start building your reinforcement. Keep in mind, if your rooms rear wall (the one facing the back of your head) is less than 10ft, diffusion panels are futile and broadband traps covering the majority of that wall would make more sense (in theory)... any questions feel free to ask.