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You should zoom in so you get 20 – 20khz range and maybe 40 to dB, It will make it easier to see. I change on Mac constantly between Audirvana and Roon.

Audirvana can include au-plugins, Roon does not. The convolution method in Посмотреть еще can in no case keep up with a room EQ of mathaudio. The sound quality is simply a class better. I now have some experience with REW … only 10 2019 update free achievable results even with this guide here, are not comparable to a audirvana room correction plugin free solution like RoomEQ.

Where is the problem? If the interface does not come I get out. First and foremost is the sound quality. And since Audirvana simply over the plugin interface sounds better. This reply from brian is relevant:. But later Brian had a brainwave about it… it seems no problem or barrier is too great for his genius. I have no experience with mathaudio, but I did compare this REW solution to Dirac, and the sound quality was to close to make and judgement what was best at least for me and my equipment.

Never tried math audio, but I dare say the primary aspect affecting SQ in the Roon setup is how the filters are created. Those that have tried more advanced filter creation tools like Acourate swear by the results with Roon. But something like Acourate involves a spend and some time investment. Maybe it would be worth posting your REW measurements? The only other pointers I can think of is the target 10 2019 free – perhaps the REW and mathaudio audirvana room correction plugin free are dissimilar?

At least in my setup anyway. Ссылка на страницу fact it could well have caused an increase in tinnitus. But when I get the window it goes loud and I smile.

They have a very warm and pleasant sound. Naturally I wanted something similar from my speaker, so I experimented with house curves and found something I like. For example, if the room correction reduces your sound in the hz area, acoustic guitars will sound less warm and more clinical. Remember to set LF and HF slopes to zero at step 11 so you generate a pure flat response, and then you can apply the house curve like below in Roon.

This is probably not for the audio-purists though house currve with warmth. With each of those systems you place your microphone on a stand, run a sweep and take several measurements. The software then averages it all out. But I digress … I guess you could sit in the listening position and have the mic on a stand and be very quiet…but Ideally most procedures suggest being out of the room or at least far away from the mic.

Close windows and try to do it when there as little external noise interference подробнее на этой странице possible like passing traffic audirvana room correction plugin free construction work. Also, you are present when listening normally, and your body influence how the sound reacts in the room, so audirvana room correction plugin free that perspective you should sit in your listening position when doing measurements.

I would guess its different when doing very precise measurement in quite rooms like a studio, maybe for phase adjusting speakers etc. But for normal room correction in a home environment, I would say its better if you are at the listening position than outside the room. Using the moving-mic with Pink PN sound makes the reading audirvana room correction plugin free reliable, since it automatically averages the measurement over an area.

My suggestion then would be to use the positions Dirac uses see picture :. Measure for each channel for spotand one measurement for both channels on position 1. When I last measured, I put myself well back behind the mic audirvana room correction plugin free mic on an arm, and took measurements with me in several different positions to see what the effect was – it was negligible – they were all essentially the same.

Ok they may move slightly, but why correct for theoretical Room when you have the exact one at your disoosal.

I think it also depends on what kind of room correction you want to perform. For example, if you measure a big couch in a living room, and want room correction to cover a wide area, then its probably best to stay out of the way or at least behind the mic. But for a specific listening position, I think you should be at the listening position.

But it also depends audirvana room correction plugin free how you measure. I use the moving mic, 2 spirals in opposite directions outside each ear, and one spiral in front of my face, which is much easier to perform with some accuracy if you sit at your listening position. I audirvana room correction plugin free the Dirac measurements earlier, and by using windows xp professional freeproduct key free 90 degree microphone correction it was easy and convenient to do that when sitting at your listening position.

The central one I did by leaning the head back a little and measure at the nose tip. The result was to close to tell apart from the moving mic method, but took much longer to perform in REW a total of 17 sweep measurements vs 2 60 seconds measurements. If there is a Roon Award contest, magnus you have my vote! The cost is ridiculous against the benefits. STEP 0 is of course to ensure proper placement of the speakers and listener, as well as room treatment is feasible. I recommend to try it if you listen a lot of acoustic recordings, percussions, guitars… The dynamic and clarity should improve.

I have implemented this correction in my difficult room and got a terrific improvement in the soundstage despite the absence of any room treatment. The walls have disappeared, the soundstage is super-wide goes well beyond the walls!

These recordings are fine when listened to via headphones. But when listened with speakers, what comes from the left speakers goes to your left ear AND right ear, same for right speaker!

This is the X-talk. Quite strangely it is not proposed in standard by DSPs even though it is not that difficult to implement. In my case going through STEP 3 provided a lot of benefits on most of my records, with no negatives. It would be good if bigger players like Dirac could provide such advanced features! We discuss it here and also here. I love that statement. Of course the trial and error to find the right combination is probably worse than needle in a haystack.

I paid a hefty price with kit changes that were never going to fix the problem. Now I say it to everyone! Most likely a silly audirvana room correction plugin free but did you have to change your DSP settings because the gaia footers raised the audirvana room correction plugin free somewhat? A guide how to do room correction and use it in Roon Roon Software.

Nice guide thanks. My suggestion then would be to use the positions Dirac uses see picture : Measure for each channel for spotand one measurement audirvana room correction plugin free both channels on position 1.

Most guides will also say you should be out of the way, if not out of the room. Out of the room is pretty impractical.

 
 

 

Audirvana room correction plugin free.

 

Pressing the help button will give you the necessary information on how to proceed with your calibration. For example, the help text for the Select recording device page can be seen below:. Yellow indicates an error. Green indicates that the procedure was successful. Black and blue are general notifications. The sidebar presents general information about the connected device, such as manufacturer, logo, model, and system name. The filter available on the unit can be seen under “Filters.

Note: Depending on your device, changing the configuration may clear the filter list or switch to a configuration-specific filter list. You should never change device configuration while performing a Room Correction. At the bottom of the page, you will find two buttons for navigating forward or backward in the application. The navigation bar at the top of the page shows where you are in the application. You may also navigate directly to a page you have visited previously by pressing one of the black circles.

After you have selected a device, you will need to select a microphone to record the stimulus, or test tones, played by your device. All microphones connected to your computer and your device will be listed on the “Select Recording Device” page. Select the microphone that you wish to use for measurements—usually the one you connected during setup.

Click the bottom of the microphone’s box to load the relevant calibration file. Selecting “No calibration” after clicking the context menu bypasses any compensation to the raw input stream and is not recommended.

Make sure that the microphone calibration file is created for degree measurements. After choosing the calibration microphone and loading a calibration file, you want to proceed to the “Volume Calibration” page by pressing the navigation button in the lower right corner.

Since the filter design algorithm requires that the speakers be measured with a moderate sound pressure level and a noise level as low as possible, it is crucial to do a level calibration of the system before measurement. The microphone should first be positioned in the center of the listening area. This is the “sweet spot. Remember that volume of the stimulus should never hurt your ears. There is a lock on the Master output slider for safety reasons. However, if you need to raise the volume into the red zone and are positive that your system can handle it , press the red lock that appears above the slider.

You should now be able to drag the slider into the red area. In the “Select Arrangement” view, select the arrangement that best matches the arrangement to be measured. The variations we offer act as a guide to positioning the microphone. The core difference between the arrangements is the number of measurement points that are allowed. The first measurement should always be taken in the center of the listening region, in the desired sweet spot, as this will be used for aligning levels and delay between speakers.

An arrangement can be chosen from the arrangement menu. In the arrangement menu, the home section has three different arrangements: Tightly focused imaging, Focused imaging, and Wide imaging, which provide 9, 13, and 17 measurement points, respectively.

This measurement arrangement represents a well-defined listening area from which the listener rarely moves. Note: The tighter the measurements are placed, the more extreme the correction. The measurement arrangement represents a listening area with one well-defined listening position that should still accommodate a degree of flexibility.

Select this arrangement if the listening area is a two or three-seat sofa. This measurement arrangement represents a larger listening area for multiple listeners. This setting works for both corner sofas and for listening areas that are distributed across two or more sofas. Tip: It is recommended to spread out measurement points evenly across the whole listening area.

However, for the “Wide” and “Focused” listening arrangements, measurements can be taken more densely at a specific position to emphasize it more strongly. Ensure there is a clear line-of-sight between the microphone and speakers, no background noise TV, air conditioning, construction work, etc. A sweep will be played through each speaker, and a final sweep will be played through the first speaker again. With the measurement done, we have all the information to correct for any distortion in the system.

The frequency response itself shows how much energy the speaker can produce for a certain frequency. For example, in the figure below, the room resonance has caused a 10 dB energy boost at 60 Hz and dB attenuation above Hz.

A sharp peak like this at 60 Hz will amplify some bass notes more than others making the bass reproduction of the system uneven. The valley above Hz will reduce the feeling of warmth of the system. Tip: You can zoom in and out by using the wheel on the mouse. Speakers with similar physical attributes are automatically grouped.

Speakers within a group will have the same target curve and, in turn, also have a similar frequency response. If you want individual target curves for the speakers within a group, you can separate the speakers by dragging a speaker from within a group to the empty area shown in the figure below.

The target curve is a tool to edit the frequency response of a speaker or a group of speakers. These curves can be adjusted to your preferences. The handles to the left and right side of the Filter Design window will let you adjust bass and treble response, respectively. Simply drag the handles up or down to tune the curve to your liking. The old system of managing the target curve with control points can still be accessed by clicking the control point button in the speaker groups panel:.

The target curve can be modified and emphasis on a particular frequency increased or decreased by dragging the control point. Control points can be added by right-clicking on the target curve and selecting “Add control point.

Choose between loading the target curve to a specific group or all groups. Tip: A minor change to the target curve can dramatically change the perceived sound quality. It is therefore recommended to edit the target curve with care and awareness. You can play around with some different target curves by exporting different filters to your device and finding the one you prefer. Save your project often to give yourself the latitude to make adjustments without committing to any potential negative side-effects.

If you experience phase issues from an exported filter, you may have measured too few measurement points or measured in too small an area. You can always go back to the Measure page and re-measure points or measure more. The default target curve often attenuates the bass response of the room.

Many users prefer to amplify the bass region to mirror the room’s natural response. This can be done by adding a 6 dB bump under Hz, as shown below. Curtains can be used to restrict the area that is going to be corrected. The light grey area on the curtain’s right is going to be corrected in contrast to the dark grey area left of the curtain, which will not be corrected.

Hovering over the curtain will highlight it in light blue. The curtain can be dragged by pressing the left mouse button over the curtain. The dashed line is the detected lower cutoff frequency for the speaker. It is not recommended to drag the curtain below this point since the speaker is not designed to produce energy at these low frequencies.

The average frequency response of all measurements for a speaker can be seen if this box is checked. Shows the spread of the frequency response for a speaker. For a specific frequency, the highest and the lowest measured energy is shown. Each speaker’s impulse response can be seen by pressing the “Impulse response” tab in the upper left corner. Pressing “separate curves” in the view options under Impulse response will split the impulse view horizontally.

The corrected impulse is then seen below, with the measured impulse on the top. The measured impulse’s detected peak is positioned at 0ms and the corrected impulse peak is positioned a few milliseconds later—typically around 7ms.

This is the true latency of the filter introduced to the system and is needed to correct for the mixed-phase behavior of any speaker. In the figure below, we can study the drivers’ misalignment in the speaker, where the energy is spread out over time. The purchase of Bass Control gives you access to new features and optimizations designed to bring out the best in your system’s low end through fundamental improvements to timing, response, and roll off.

After selecting “Full Bass Optimization” or “Upmix Only,” several magnitude response plots will be shown in the graph. These plots present the average magnitude response of the selected speaker highlighted on the right panel and all subwoofers. Once you have designed your ideal crossover frequency and target curves for each group, press “Calculate” in the lower right corner. The bass control filters will now be calculated. After the Bass Control calculation is done, select the “Corrected” checkbox in the plot options to show the resulting input magnitude response for the selected channel.

The corrected curve should conform to the target curve, as illustrated below. Click “Proceed to Filter Export. Select a slot and save under the desired name there may be an auto-generated name, which can be replaced. When the export is complete, the application will return to the Filter Design view. Do not forget to save your project before closing the application.

Thank you for reading this manual. Dirac Live Support. Pages Blog. Page tree. Browse pages. A t tachments Page History. Jira links. Created by Jordan Matthiass , last modified on May 31, Why Room Correction? End user benefits Enhanced clarity : Enjoy the transparent and uncluttered sound you have never experienced with your current sound system. More accurate imaging and staging : Hear how vocals and different instruments fill a wider space, as if you were experiencing the song being performed live.

Larger sweet spot : Enhanced overall sound experience in an expanded space, free of resonance throughout the entire listening area. Deeper, tighter bass : Hear beats more accurately as each note starts and ends as quickly as it is supposed to.

Richer details : More fine details emerge where you have never heard them before. Listen to your favorite song with new ears. There is simply no other solution on the market that can achieve the same performance while maintaining ease of use.

All in one. Our solution has more than , delighted users worldwide. Today, the technology has helped premium auto brands such as Bentley, BMW, Rolls Royce, and Volvo to lift their sound systems to the next level. Why Bass Control? Bass Control vs. Bass Management Bass Control is fundamentally different from traditional bass management solutions. What is an omnidirectional microphone? Why can’t I use my cardioid or bi-directional microphone?

Where should I connect the microphone? Windows Go to “Sound Settings. Speaker placement Before you begin calibration of your system, it is important to ensure that your speakers themselves are in a suitable arrangement and position.

Check your speaker manufacturer’s recommendations for setup and follow these first. They might suggest steps that conflict with our guidance below and are to be followed first and foremost. Maximize distance between your speakers and the wall, if possible.

This will reduce the interference of high energy wall reflections, which often affect lower frequencies. Do not place objects in front of the speakers. If possible, position the normal listening spot in the middle of the room. Place your speakers at the same height as your ears. There is no maximum limit on the number of speakers in the system.

There are no real requirements of where the subwoofer s should be placed in the room. One of the main goals of Bass Control is to let the user position their subwoofer s anywhere in the room and still get a good result.

Each subwoofer should have its own logical channel. Connected two subwoofers via Y-split is not recommended. The volume or phase controls should not be touched after a Bass Control calibration since it will affect the results. There should be no external up-mix in the audio path. If the user wants to add additional filters or effects, it should be applied to the input of the target Bass Control device. Microphone placement The basic principle of microphone placement is that any additional measurement improves the correction.

The measurement points should have a distance of at least 30 cm 12 in between one another. Avoid making measurements in too small a space. Even for the “Tightly focused” listening environment, it is important to spread out the microphone positions in a sphere of at least 1 meter in diameter.

Too small space will result in over-compensation, which sounds very dry and dull. Measure some points outside the listening area. Remember that you are measuring a three-dimensional volume rather than a two-dimensional plane , so be certain to take measurements in different vertical positions instead of in a single horizontal line.

Consider depth as well. The positions specified in the “Select Arrangement” view the act as a guide. You may deviate from them as needed to emphasize particular spaces.

Here is our guide to fixing it: Windows: Problems with Kaspersky Common user interface items Once you have selected a device, you will enter the Select recording device page, which starts the calibration procedure. Menu button The menu is found by pressing the Menu button in the left upper corner. Accessibility settings In Accessibility, you can adjust the application design to fit various forms of color blindness.

Auto-save After each measurement is taken, the project is auto-saved. Sidebar The sidebar presents general information about the connected device, such as manufacturer, logo, model, and system name. Select Recording Device After you have selected a device, you will need to select a microphone to record the stimulus, or test tones, played by your device.

The microphones over the “Local System” section will show all microphones connected to your computer. A selected microphone will have a thin border surrounding it. Volume Calibration Since the filter design algorithm requires that the speakers be measured with a moderate sound pressure level and a noise level as low as possible, it is crucial to do a level calibration of the system before measurement.

If it is not already set to a low volume, drag the indicator to the lower part of the slider. Press the play button beneath the speaker located furthest to the left. The speaker should now play a stimulus in the form of a pink noise or, if the speaker is a subwoofer, short sine sweeps. If you cannot hear the stimulus, slowly raise the “Master output” level until you hear it. Repeat this procedure for all speakers.

If there is no noise playing from one or more speakers, make sure that your device is configured to the correct speaker configuration and that your speakers are connected to the device. Put simply, each subwoofer is tuned as part of a complete unit in your listening space, leading to a consistent and realistic response, no matter the arrangement.

If not using the Dirac Processor Plugin, skip this section. Compatible hosts include but are not limited to:. This is for two reasons: to access the license server and because part of the filter design is calculated on a cloud server.

Therefore, it is important to make sure that the firewall does not block the connection from the application. An omnidirectional microphone is equally sensitive to sound from every angle.

An omnidirectional microphone’s polar pattern is a circle, indicating that gain is equal for any inclining angle relative to the microphone. In contrast to a bi-directional microphone, the omnidirectional microphone has only one side open to sound pressure.

A cardioid or bi-directional microphone will measure the sound with different gain depending on sound waves’ inclining angles to the microphone. Measuring a surround system with a cardioid microphone pointing at the front speaker will measure lower gains for the speakers behind the microphone, preventing the system calibration from being robust. Applying proper calibration to your microphone is crucial to creating a reliable measurement. Go to “Sound Settings. Click “Properties” and then choose the Advanced tab.

Make sure that both checkboxes under “Exclusive Mode” are selected. If visible, uncheck the box under “Enable audio enhancements. Before you begin calibration of your system, it is important to ensure that your speakers themselves are in a suitable arrangement and position.

Below are a few guidelines to follow when determining the physical arrangement of your setup. The basic principle of microphone placement is that any additional measurement improves the correction.

However, depending on your room’s acoustics and equipment, the benefit from more measurements may diminish faster.

We recommend completing every measurement point in your chosen arrangement. Open the downloaded file and follow the steps in the installer. After installation, make sure your device is connected to the same local network as your computer.

Your computer also needs to be connected to the internet for licensing purposes. Unless you specify a different location during installation, the Dirac Processor Plugins will be placed in the following folders:.

If not using Dirac Processor Standalone, skip this section. Make sure that your computer is connected to the internet for licensing purposes. Open the files and follow the installation procedures. Restart your device before continuing.

Depending on the host application, it might be under the subheading “Dirac Research. In this case, consult the documentation for your chosen host application for full instructions. Once you have added the DiracLiveProcessor to your host of choice, open it. Log in to your Dirac account in the sign-in window. Start a gapless audio stream inside your DAW or plugin host by looping an instrument or playing a long track, such as this gapless minute test mp3. It is extremely important that the audio stream is active during the whole calibration process.

Open the Windows Control Panel and select Sound. This opens Windows Sound Settings. The Standalone is not active until the application Dirac Processor Standalone is started, which comes later. Select your default sound device and click Configure. Select the configuration that you want to use. Note: For some sound cards that use ASIO, it is not possible or necessary to select a Multichannel configuration here.

Open the Dirac Processor Standalone. Log in to your Dirac account if necessary. The Processor window will look empty the first time you open it. After Starting Dirac Processor Standalone, the new sound device will be active and selected as the default sound device.

Select the number of channels relevant for your system. The audio pipeline does not take full control of the driver. Instead, it shares system audio resources with other applications. Windows Audio Exclusive Mode dedicates all system audio resources to Dirac Processor Standalone and takes over Windows’ audio pipeline. Low Latency Mode uses the latest available Windows audio interface in a shared mode, but supports low latency.

Source When using Windows Audio settings, you will use the Windows Sound Settings panel described above to change channel configuration and sample rate, etc. Select your “normal” sound device as output. Click “Test” to ensure sound playback is functional.

If so, close the Audio Settings window. Play a sound from your media player or web browser to make sure the level meters are moving and that the sound is audible. If you experience dropouts in the sound, experiment with different buffer-sizes. However, it is not available for some sample rates.

In some media players like JRiver, you need to select the output manually. In this case, make sure “Standalone Dirac ” is selected. You are now ready to perform a measurement and create your first filters. Start DiracLiveProcessor in Applications. On the first screen that appears after launching the application, you will enter your account details.

If you bought a feature from our webstore, you must log into your account in the application to access it. If you do not have an account, you may create one by clicking “Create or manage your account” on the login screen. If you have not bought any licenses and do not wish to log in, you can press the “Proceed without logging in” button. Make certain your device and the computer are connected to the same network and have full network access.

All found devices will be listed. If your device is visible but crossed out, you lack the proper license for using it. Purchase the proper license from our webstore and try again. If you have trouble with device discovery, see: Troubleshooting: No Devices Found You can also try using the “connect via IP” by pressing at the top of the application and entering the device’s IP, which can usually be found inside its firmware or included documentation.

Kaspersky on Windows can be particularly problematic. Here is our guide to fixing it: Windows: Problems with Kaspersky. Once you have selected a device, you will enter the Select recording device page, which starts the calibration procedure. This section describes the function of the common user interface items available during the whole calibration process. The menu is found by pressing the Menu button in the left upper corner.

The menu includes some standard user features such as saving and loading projects, application themes, languages, etc. Supported languages include English, Japanese, Mandarin, and Swedish. After each measurement is taken, the project is auto-saved.

The auto-saved project can be found in:. If you get stuck and do not know what to do during the application, you can always press the help button. Pressing the help button will give you the necessary information on how to proceed with your calibration.

For example, the help text for the Select recording device page can be seen below:. Yellow indicates an error. Green indicates that the procedure was successful. Black and blue are general notifications.

The sidebar presents general information about the connected device, such as manufacturer, logo, model, and system name. The filter available on the unit can be seen under “Filters. Note: Depending on your device, changing the configuration may clear the filter list or switch to a configuration-specific filter list.

You should never change device configuration while performing a Room Correction. At the bottom of the page, you will find two buttons for navigating forward or backward in the application. The navigation bar at the top of the page shows where you are in the application. You may also navigate directly to a page you have visited previously by pressing one of the black circles. After you have selected a device, you will need to select a microphone to record the stimulus, or test tones, played by your device.

All microphones connected to your computer and your device will be listed on the “Select Recording Device” page. Select the microphone that you wish to use for measurements—usually the one you connected during setup. Click the bottom of the microphone’s box to load the relevant calibration file. Selecting “No calibration” after clicking the context menu bypasses any compensation to the raw input stream and is not recommended.

Make sure that the microphone calibration file is created for degree measurements. After choosing the calibration microphone and loading a calibration file, you want to proceed to the “Volume Calibration” page by pressing the navigation button in the lower right corner.

Since the filter design algorithm requires that the speakers be measured with a moderate sound pressure level and a noise level as low as possible, it is crucial to do a level calibration of the system before measurement. The microphone should first be positioned in the center of the listening area. This is the “sweet spot. Remember that volume of the stimulus should never hurt your ears.

There is a lock on the Master output slider for safety reasons. However, if you need to raise the volume into the red zone and are positive that your system can handle it , press the red lock that appears above the slider.

You should now be able to drag the slider into the red area. In the “Select Arrangement” view, select the arrangement that best matches the arrangement to be measured. The variations we offer act as a guide to positioning the microphone.

The core difference between the arrangements is the number of measurement points that are allowed. The first measurement should always be taken in the center of the listening region, in the desired sweet spot, as this will be used for aligning levels and delay between speakers. An arrangement can be chosen from the arrangement menu. In the arrangement menu, the home section has three different arrangements: Tightly focused imaging, Focused imaging, and Wide imaging, which provide 9, 13, and 17 measurement points, respectively.

This measurement arrangement represents a well-defined listening area from which the listener rarely moves. Note: The tighter the measurements are placed, the more extreme the correction. The measurement arrangement represents a listening area with one well-defined listening position that should still accommodate a degree of flexibility.

Select this arrangement if the listening area is a two or three-seat sofa. This measurement arrangement represents a larger listening area for multiple listeners. This setting works for both corner sofas and for listening areas that are distributed across two or more sofas. Tip: It is recommended to spread out measurement points evenly across the whole listening area. However, for the “Wide” and “Focused” listening arrangements, measurements can be taken more densely at a specific position to emphasize it more strongly.

Ensure there is a clear line-of-sight between the microphone and speakers, no background noise TV, air conditioning, construction work, etc. A sweep will be played through each speaker, and a final sweep will be played through the first speaker again. With the measurement done, we have all the information to correct for any distortion in the system.

The frequency response itself shows how much energy the speaker can produce for a certain frequency. For example, in the figure below, the room resonance has caused a 10 dB energy boost at 60 Hz and dB attenuation above Hz.

A sharp peak like this at 60 Hz will amplify some bass notes more than others making the bass reproduction of the system uneven. The valley above Hz will reduce the feeling of warmth of the system. Tip: You can zoom in and out by using the wheel on the mouse. Speakers with similar physical attributes are automatically grouped.

Speakers within a group will have the same target curve and, in turn, also have a similar frequency response. If you want individual target curves for the speakers within a group, you can separate the speakers by dragging a speaker from within a group to the empty area shown in the figure below. The target curve is a tool to edit the frequency response of a speaker or a group of speakers.

These curves can be adjusted to your preferences. The handles to the left and right side of the Filter Design window will let you adjust bass and treble response, respectively. Simply drag the handles up or down to tune the curve to your liking. The old system of managing the target curve with control points can still be accessed by clicking the control point button in the speaker groups panel:.

The target curve can be modified and emphasis on a particular frequency increased or decreased by dragging the control point. Control points can be added by right-clicking on the target curve and selecting “Add control point. Choose between loading the target curve to a specific group or all groups. Tip: A minor change to the target curve can dramatically change the perceived sound quality.

It is therefore recommended to edit the target curve with care and awareness. You can play around with some different target curves by exporting different filters to your device and finding the one you prefer.

Save your project often to give yourself the latitude to make adjustments without committing to any potential negative side-effects.

If you experience phase issues from an exported filter, you may have measured too few measurement points or measured in too small an area. You can always go back to the Measure page and re-measure points or measure more. The default target curve often attenuates the bass response of the room. Many users prefer to amplify the bass region to mirror the room’s natural response.

This can be done by adding a 6 dB bump under Hz, as shown below. Curtains can be used to restrict the area that is going to be corrected.

The light grey area on the curtain’s right is going to be corrected in contrast to the dark grey area left of the curtain, which will not be corrected.

Hovering over the curtain will highlight it in light blue. The curtain can be dragged by pressing the left mouse button over the curtain. The dashed line is the detected lower cutoff frequency for the speaker. It is not recommended to drag the curtain below this point since the speaker is not designed to produce energy at these low frequencies.

The average frequency response of all measurements for a speaker can be seen if this box is checked. Shows the spread of the frequency response for a speaker. For a specific frequency, the highest and the lowest measured energy is shown. Each speaker’s impulse response can be seen by pressing the “Impulse response” tab in the upper left corner.

Pressing “separate curves” in the view options under Impulse response will split the impulse view horizontally. The corrected impulse is then seen below, with the measured impulse on the top. The measured impulse’s detected peak is positioned at 0ms and the corrected impulse peak is positioned a few milliseconds later—typically around 7ms. This is the true latency of the filter introduced to the system and is needed to correct for the mixed-phase behavior of any speaker.