Room Correction With Convolution Plugin Room Eq Wizard Tutorial

Summary

このビデオでは、ルームエコーウィザードを使ってステレオインパルス応答にエクスポートできる補正フィルターを作成する方法を紹介しています。マスタバスに畳み込みプラグインとしてロードして、ミキシングやマスターリング中により平坦な周波数応答を得られるように監視する方法も説明されています。専門的なマイクを使用した測定方法や、周波数の範囲と補正の推奨、そしてインパルス応答のエクスポート手順について詳細に解説しています。

Takeaways

• 🎥 このビデオでは、Roomie Cue Wizardを使ってステレオインパルス応答にエクスポートできる校正フィルターを作成し、それをコンヴォリューションプラグインで使用する方法が紹介されています。
• 🔍 校正フィルターは、ミキシングやマスターリング時により平坦な周波数応答を得るために使用されます。
• 📝 ビデオの説明欄には、校正の利点と欠点、および議論に関する情報があります。
• 🎤 ビデオでは、UM'Qという測定マイクを使用していますが、詳細は後ほど説明されるとのことです。
• 👂 高周波数の校正は特に問題があり、複数の測定を通じて一部のソフトウェアが補正を試みています。
• 🛠️ 校正の範囲は個人により異なり、一般的には1000ヘルツ、特に500ヘルツ以下を推奨されています。
• 🔧 Roomie Cue Wizardを使ってフィルターを作成し、エクスポートする手順が説明されています。
• 📉 校正フィルターのスムージングレベルは、作成されるフィルターに影響を与えます。
• 📈 校正フィルターの適用前後で、部屋の周波数応答の変化がデモンストレーションされています。
• 💻 校正フィルターを使用する際には、音量レベルやマスタリング時の注意点が警告と共に提供されています。
• 🔗 ビデオでは、Roomie Cue Wizardの使用方法やデジタルルーム校正に関する詳細な説明へのリンクが提供されています。

Q & A

ルームイック・ウィザードを使用してステレオインパルス応答を作成するプロセスを説明してください。

ルームイック・ウィザードを使用して、校正フィルターを作成し、それらをステレオインパルス応答にエクスポートして、コンヴォリューションプラグインにロードします。これにより、ミキシングやマスターイング時により平坦な周波数応答を提供する校正フィルターを通して監視できます。

測定マイクとは何であり、なぜ必要ですか？

測定マイクは、ルームイック・ウィザードで使用されるマイクで、周波数応答を測定するために使用されます。スクリプトでは、u m'q Oneというマイクを使用しています。

高周波数の校正で直面する問題とは何ですか？

高周波数の校正では、特に10,000ヘルツ以上では、より多くの問題が生じることがあります。マイクの移動が頭の移動を表すため、高周波数の変化に注意を払う必要があります。

何がRCとSonarworksで行われている自動的な補償手法ですか？

RC（iZotopeの自動ルーム校正）やSonarworksは、複数の測定を行い、平均値を通じて補償を試みる手法を使用しています。これにより、高周波数の校正における問題を緩和しようとしています。

周波数のどの範囲まで校正を推奨されるのですか？

一般的に、1000ヘルツ、さらには500ヘルツ以下の範囲まで校正を推奨されます。これは一般的な推奨であり、異なる人々から異なる答えを得る可能性があります。

ルームイック・ウィザードでフィルターをエクスポートする際の重要な注意点は何ですか？

エクスポートする際には、ステレオ形式を選択し、32ビットの形式を使用し、使用するサンプルレートに注意する必要があります。また、コンヴォリューションプラグインに合わせてサンプルレートを選ぶことが重要です。

EQフィルターのスムージングオプションはどのようにフィルターの作成に影響を与えますか？

EQフィルターのスムージングオプションは、フィルターの作成に大きな影響を与えます。スムージングを1/3に設定する場合と1/24に設定する場合では、異なるフィルターが作成されます。

ルームイック・ウィザードの設定でサンプルレートを選ぶ理由は何ですか？

ルームイック・ウィザードの設定でサンプルレートを選ぶことで、エクスポートされたインパルス応答が使用されるセッションのサンプルレートと一致するためです。これにより、インパルス応答の品質が向上し、湿度-ドライ度シグナルに影響を与えることがありません。

マイクロフォンのキャリブレーションファイルとは何であり、なぜ重要ですか？

マイクロフォンのキャリブレーションファイルは、マイクロフォンで測定された値を正確に補正するためのファイルです。これは、ルームイック・ウィザードで正確な測定を行うために重要です。

ピンクノイズジェネレーターを使用する目的は何ですか？

ピンクノイズジェネレーターは、ルームイック・ウィザードで使用され、ルームの周波数応答を測定するために使用されます。ピンクノイズは、ルーム内のすべての周波数帯を均等に刺激し、周波数応答を測定するのに役立ちます。

コンヴォリューションプラグインを使用する際の注意点は何ですか？

コンヴォリューションプラグインを使用する際には、完全にウェットに設定し、ドライ信号をオフにすることが重要です。また、ゲインやプリデレイ、フェード、ハイパスフィルタリングなどを調整しないでください。

ルームの周波数応答を分析する際の推奨される監視レベルは何ですか？

ルームの周波数応答を分析する際には、80から85デシベルの監視レベルが推奨されます。これにより、周波数のよりフラットな表現を聞くことができます。

デジタルルーム校正の次のステップとして何が予定されていますか？

次のステップでは、デジタルルーム校正デザイナーソフトウェアの使用方法と、ルームイック・ウィザードを使用してその機能をバイパスする方法が説明される予定です。

Outlines

00:00

🎥ルームコーレクションの基礎

この段落では、ビデオクリエイターはルームイークウェジェンを利用してステレオインパルス応答を作成し、それをコンヴォリューションプラグインにインポートしてマスタバスで使用する方法を紹介しています。このプロセスにより、より平坦な周波数応答を得ることができます。クリエイターは、異なる周波数帯の補正を試して、特に高周波数帯の影響について注目しています。また、異なるソフトウェアがどのようにこの問題に対処するかも触れています。

05:00

🔍周波数補正の詳細とマイクの使用

クリエイターは、周波数補正の詳細について説明しており、使用しているマイク（UM'Q One）についても触れています。補正範囲の推奨と、実際に補正フィルターを作成するプロセスについても説明しています。また、サンプリングレートに関する注意点や、インパルス応答をエクスポートする際の設定方法についても詳述されています。

10:00

🛠ルームイークウェジェンの使用方法

この段落では、ルームイークウェジェンを使用して左スピーカーと右スピーカーの周波数応答を測定し、フィルターを作成する方法について説明されています。クリエイターは、ノイーズジェネレーターを使用してピンクノイズを生成し、スピーカーのレベルを調整する方法も紹介しています。さらに、EQタブでフィルターを作成する際の設定方法や、補正方法についても詳細に触れています。

15:01

📊フィルターのエクスポートと分析

クリエイターは、作成したフィルターをエクスポートし、コンヴォリューションプラグインで使用する方法について説明しています。ステレオインパルス応答のエクスポートプロセスや、サンプルレートの選択、およびノルマライズの重要性についても触れています。さらに、インパルス応答の分析方法と、実際のルームサウンドを通じて補正フィルターの効果を確認する方法についても紹介されています。

20:01

🎛️コンヴォリューションプラグインの設定と注意点

この段落では、コンヴォリューションプラグインを使用する際の設定方法と注意点について説明されています。クリエイターは、プラグインをマスタバスに配置し、完全にウェットに設定することが重要であると強調しています。また、ゲインやプリデレイ、フェードの調整を避けるべき理由や、分析プラグインを使用してルームの周波数応答を確認する方法についても詳述しています。

25:02

⚠️ルームコーレクションの注意とヒント

最後の段落では、ルームコーレクションを行う際の警告とヒントについて述べています。クリエイターは、コンヴォリューションプラグインを使用する際に音量レベルに注意を払うべきことや、マスタリングやミキシングの際の監視レベルの重要性についても触れています。さらに、デジタルルームコーレクションデザイナーソフトウェアの紹介や、今後のビデオの予定についても言及しています。

Keywords

💡ルームイックウェザード（Room EQ Wizard）

ルームイックウェザードは無料のソフトウェアで、オーディオの部屋の測定とデジタルルームコレクトを行うことができます。ビデオでは、このソフトウェアを使って監視やマスタリングを通じてより平坦な周波数応答を得るための訂正フィルターを作成する方法が説明されています。例えば、スクリプトでは「ルームイックウェザードを使って訂正フィルターを作成する方法を示す」と述べています。

💡ステレオインパルス応答（Stereo Impulse Response）

ステレオインパルス応答とは、音響空間の特性を記述するデジタルシグナルであり、ビデオではステレオ形式でエクスポートされることで、コンヴォリューションプラグインにロードされ、監視時に使用されます。スクリプトでは「ステレオインパルス応答をエクスポートする」という文脈で使用されています。

💡コンヴォリューションプラグイン（Convolution Plugin）

コンヴォリューションプラグインは、音声信号にインパルス応答を適用するデジタルオーディオエフェクトで、ビデオではマスタバススルーコンビネーションプラグインを使用して、ルームの訂正フィルターを通じて音声を監視する方法が紹介されています。例えば、「コンビネーションプラグインにロードする」という文脈で触れられています。

💡周波数応答（Frequency Response）

周波数応答は、音響システムが周波数に対してどのように反応するかを示すグラフであり、ビデオでは訂正フィルターを適用することで、より平坦な周波数応答を得ることが目標とされています。スクリプトでは「より平坦な周波数応答を得る」という文脈で使用されています。

💡デジタルルームコレクト（Digital Room Correction）

デジタルルームコレクトは、音響空間の特性をデジタルで調整する方法であり、ビデオではルームイックウェザードを使って、音響空間の不規則な部分を訂正するプロセスが説明されています。スクリプトでは「デジタルルームコレクト」という用語が頻繁に使用されており、その重要性が強調されています。

💡マイク（Microphone）

マイクは音声や音を検出するためのデバイスで、ビデオでは測定用に使用されるマイクについて詳しく説明されています。スクリプトでは「測定マイク」として「u m'q one」というモデルが使用され、その特徴や利点について触れられています。

💡ピークノイズ（Pink Noise）

ピークノイズは、周波数に対して等価なエネルギーを持つホワイトノイズの種類で、ビデオではルームの周波数応答を測定するために使用されています。スクリプトでは「ピークノイズジェネレーター」を使用してルームの周波数応答を分析する方法が紹介されています。

💡EQ（Equalization）

EQは、音声信号の周波数成分を調整するプロセスであり、ビデオではEQタブを使って訂正フィルターを作成し、音響空間の不規則性を訂正する方法が説明されています。スクリプトでは「EQタブ」や「EQフィルター」という用語が頻繁に使用されています。

💡サンプリングレート（Sample Rate）

サンプリングレートは、デジタルオーディオで1秒あたりのサンプル数を表す単位で、ビデオではインパルス応答をエクスポートする際に、使用されているサンプリングレートに合わせて設定する必要があることが強調されています。スクリプトでは「サンプリングレート」について「44,100」や「48,000キロヘルツ」という具体的な値が使用されています。

💡マスタリング（Mastering）

マスタリングは、音声トラックを最終的な製品に仕上げるプロセスで、ビデオではルームコレクトを適用することで、マスタリングプロセス中により良い音質を実現する方法が紹介されています。スクリプトでは「マスタリング」や「マスタバス」という用語が使用され、そのプロセス中に訂正フィルターを適用することが示されています。

Highlights

使用Room EQ Wizard创建校正滤波器，并通过立体声脉冲响应导出，用于在混音或母带处理时监控更平坦的频率响应。

讨论了使用校正滤波器的优缺点和相关争议，并将详细信息放在视频描述中。

演示了通过校正滤波器监控时高频的变化，以及麦克风移动对频率响应的影响。

提到了自动路线校正软件如ARC和Sonarworks，它们通过多次测量来尝试补偿高频问题。

建议在创建校正滤波器时，频率范围应保持在1000赫兹以下，最好是500赫兹。

快速展示了如何获取校正滤波器，并将详细解释创建过程和使用的设备。

介绍了使用Room EQ Wizard测量扬声器并创建等化滤波器的过程。

解释了导出滤波器脉冲响应为WAV文件，并注意左右声道的日期标记。

强调了样本率的重要性，以及它如何影响卷积插件和湿干信号。

讨论了在EQ滤波器选项中选择平滑程度对创建的滤波器的影响。

演示了如何在主输出上使用卷积插件加载校正滤波器，并监控房间的响应。

提供了关于Room EQ Wizard软件的简要说明，以及它如何用于测量和创建滤波器。

讨论了使用不同设备进行测量时的注意事项，包括麦克风的选择和校准。

展示了如何使用Room EQ Wizard生成滤波器，并解释了“无增益”方法。

解释了如何将创建的滤波器导出为脉冲响应，并在卷积插件中使用。

讨论了在使用卷积插件时的监控级别和可能的音量变化问题。

提供了关于监听级别的建议，以及如何设置以获得更平坦的频率响应。

预告了下一个视频将涵盖数字房间校正设计器软件和Room EQ Wizard的高级应用。

Transcripts

how's it going everyone dough's are here

today I'm going to be showing you how

you can use roomie cue wizard to create

correction filters which can then be

exported to a stereo impulse response

and load it into your da W into a

convolution plug-in on your master buss

so that you can monitor while you're

mixing or mastering through the

correction filters which are giving you

a more flatter frequency response such

as this now information regarding the

pros and the cons and all the debate

will be in the video description I'm

just here to show you how to create the

filters and how to use the impulse

response and stuff like that now you

will need a measurement microphone I am

using the u m'q one i'll go into more

in-depth on that later

but first a demonstration regarding

correction of the higher frequencies now

what you're about to see is me

monitoring through the correction

filters with a flatter response and me

moving the microphone a couple of inches

I want you to pay attention to the

changing of the higher frequencies the

movement of the microphone is going to

represent the movement of your head

now as you can see I attempted to

correct up to 10,000 kilohertz over here

and what you're seeing is the higher

frequencies pose even more issues now

some measurement software does attempt

to compensate for this by taking

multiple measurements I'm referring to

stuff like a RC which is the automatic

route correction by I K multimedia and

then you have sonar works and there's a

couple of other ones out there so they

do multiple measurements and the attempt

to correct that by averaging and there's

other things that they're doing now

you're free to experiment and correct a

range of frequencies that you want I

recommend you stay below 1000 Hertz and

even better 500 Hertz now if you ask a

whole bunch of different people you're

gonna get a whole bunch of different

answers that's just a general

recommendation so for those that just

want to know where and how to get the

correction filters I'll show you quickly

then I will follow up with a more

in-depth explanation about creating the

correction filters and the equipment use

for those that want to stick around and

see how everything was done so for the

people that just want it real fast here

we go so what you want to do is you want

to make sure your left and right studio

monitors are matched and if you're using

a sub their special consideration I'll

leave a link later on for that stick

around you're going to measure your left

and your right separately you're then

going to go to your eq tab and most you

are you had to create the equalization

filters if not stick around once you

create your correction filters you'll

simply go to file export filter impulse

response as WAV you will then select

stereo and you will take note of the

date for your left speaker and your

right speaker this is your left channel

your right channel so my left channel is

720 326 there we go and my right channel

is 720 547 you will then select whatever

you want I usually select 32 bit you'll

normalize and you will select your

sample rate special notes regarding

sample rate if you're going to be put it

into a convolution plugin if you're

using a sample rate of 44 100 as your

impulse response but you're in a session

of 48,000 kilohertz what's going to

happen is it's going to the most

convolution plug-in scan up sample but

you need to take special note that that

can affect the wet-dry signal so I

recommend exporting an impulse response

at the sample rate that you're going to

be working at

you'll hit okay and then you will name

it and then you will save it as you can

see I named this Sony correction and

I've already done that now real quick

important note and that is that the

amount of smoothing that you choose on

your EQ filters tab will change the

filters that are created if you choose

like a one third you're going to have a

different filter creation than if you

chose 124th smoothing so just so you

guys know now you can dip it on your

master buss your convolution plug-in and

then load your impulse response that you

created with the correction filters now

this is just a quick demonstration I

have some pink noise here where there

was I exported my actual room sound I

got to import it into this and I'm going

to so this is basically my room over

here and my room is going to go through

the correction and we're going to see

the response I'm now going to remove

correction

I will now enable correction what you're

seeing is a theoretical correction of my

room you've already seen the actual

trace that I did when I actually scanned

in my room

or measured my room

now as I've said this is not a full room

EQ wizard tutorial however if you feel

that the videos on YouTube are not

adequate enough I could make one in the

future

what I will tell you is that you want to

ensure that your preferences are set to

the correct sample rate that you're

going to be doing in your sessions if

you do 48 kilohertz sessions make sure

you have 48 kilohertz selected because

it's going to make a difference when you

export your impulse responses with the

correction filters also make sure that

you have the correct calibration file

for your microphone and if you're using

SPL

all right so a quick run out of what

we're using here these are the speakers

that I measured I put them in a spot

that's not very optimal so I can get a

pretty bad response so we can do some

correction this is the microphone I'm

using it says $75 but it's really about

98 because you got to pay $20 shipping

because they're in Hong Kong it's the

you make one USB microphone however I

got mine from Amazon from this place

right here I'm not getting paid by them

to show you this but here's why I chose

you make one I do have an ECM 8,000

however I'm having issues with my mu

1820 M with some low noise and stuff

like that so why do I this one I'm

choosing this one because first off you

don't need a preamp you can use it on

your laptop it's powered by USB it's got

a built-in SPL meter that's built into

the calibration file you can download a

calibration file specifically for your

microphone using the serial number so

that's a very big thing you're going to

need because you can load that

calibration file into room EQ wizard so

you have that this is a free software

room EQ wizard that we are using to

measure alright so this isn't a room EQ

bezoar tutorial I can create a separate

video for that but there are some things

I did offline that you didn't didn't see

now first off a warning you're playing

with some high decibel levels here you

can ruin your speakers or you can damage

your hearing a lot of things like that

so you got to be careful I use my mu

1820 M to handle all volumes and routing

and everything it's pretty advanced ok

so what I did was I brought up my

generator

I turned down all my sound first okay

you got turned out all your volume on

your main master fader wherever that may

be you're going to want to bring up your

pink noise generator so you're going to

bring up the generator and you're going

to want select full rage pink noise and

when you press this play it's going to

play pink noise if you're using the

gimmick wall microphone it has a

built-in SPL meter so you can just go

here and monitor your SPL and you'll be

set however if you're using something

like an ECM 8000 microphone you're going

to need to calibrate it however like I

said the unique one is already

calibrated so you will see your actual

SPL meter I don't have a microphone

connected right now actually you're here

seeing my voice and this is inaccurate

now so what you're going to play I'm not

going to play it here but you press the

play button here and it plays the the

pink noise you're then going to

increase your volume slider up now you

head it turn down because when you turn

it on you don't want it to be super loud

you slowly bring it up until you start

to get the pink noise you watch your

calibration over here and you get to 80

dB 80 DB is a good level because it

it's your signal signal-to-noise ratio

is really good you can do 75 but 80 to

90 is a pretty good range now when

you're calibrating your SPL what you're

going to need to do is when you're

playing your pink noise you're going to

have to calibrate your SPL meter for one

speaker at a time not both speakers at

the same time you want to set with just

your left speaker playing by itself a

level of 80 DB and then once you take

your measurement by using the

measurement right here once you do your

measurement then you're going to

recalibrate the sound to your right

monitor however it should be if your

monitors are masked or your speakers the

Sony they play at the same volume anyway

there might be small differences because

of where they're positioned in the room

but I didn't have to worry about that

once I set my left level I was able to

just move on and do the right

measurement okay so once you do that

you're going to want to save it you can

click on here and save your your

measurements okay but I've already done

I got my left Sony and my right Sony so

my left Sony here is the green and my

right Sony is the purple those are the

measurements that we took now here's

what we're gonna do we're going to

create the filters let's move on so

you're going to press this EQ button

it's going to bring this up let me set

this to the size now there are million

different variations you can do when you

do this however I'm gonna show you one

method and that is going to be the no

boost method we're basically going to

decrease create filters that only do

cuts so I'm going to look at my thing

here for my left and we can see the

about 72.7 so I'm going to go about 73

we'll go 73 I'm looking at this little

number over here on the left so this is

the bottom I'm going to do about 73

decibels so my equalizer I'm going to

set to generic my target settings I'm

going to set it to full range this blue

curve is basically showing you what is

going to create filters for but we want

to create a full range okay now this is

you

create a house curve which is pretty

cool they added that function I'm going

to set this to 1 this is not any

particular way you need to do this this

is up to you all right I'm going to set

this to 0 just flat on top and because

you can adjust your top end by you

listening to references while you're

listening to your mixes your masters and

then you can adjust by listen to other

songs that you like using just an EQ on

the master fader and use a high shelf

low shelf and adjust the high

frequencies yourself so I'm hit zero

there that's basically I just want to be

flat on the top end now my level that I

wanted to shoot for was 7373 decimals is

the target setting that we're going to

be using that wasn't the target member I

measure 280 but this is what I want to

correct to filter tasks now this comes

to in reality with these speakers again

I said I had them in a position that's

not optimal when I have them in an

optimal position there's not much

correction that I would need to do so

they sound pretty good and I don't

really do any correction to those

however if you're going to be doing

correction you you normally do not want

to go above 200 to 500 Hertz however you

can okay that's going to be up to you I

want you to experiment okay there's

links in the description to go over all

the pros and cons and how to do it and

stuff like that these numbers are just

arbitrary they don't really matter

because I'm not going to be doing any

boosting however it might attempt to

boost a little bit so you can set these

numbers here and you'll be fine

I'm going from 20 to 10,000 kilohertz so

all the way up to here it's going to

attempt to match to this little curve

you see here okay let's get rid of all

these and you see the target here which

is this line here it's going to attempt

to take all this and match it to this

it's going to create filters which we're

about to do so once you have all this

set you're going to want to do this for

the left and the right you're gonna want

to keep the same settings so don't worry

about nothing down here all you gotta do

is click match response to target it's

going to tell you oh no wait you're

below the target level that's okay it is

now going to start assigning its filters

depending on your computer this is a

slower computer my music computer it's

got like a quad-core 6600 Intel my other

computer which is

my video editing computer it's got like

an i7 4790k this guy's it's pretty

decked out right it's got like 16

gigabytes of RAM it's got all kinds of

stuff okay so it's going to be way

faster it breezes right through this as

you can see it's taking this computer a

little bit longer so it depends on the

speed of your computer how long it's

going to take as I was saying your that

we are doing a cut method we're

basically we're not doing any boost

we're basically just cutting all the

frequencies to create a response that's

basically not boosting many people feel

that there's a whole debate on it which

I'm not going to get on into as far as

boosting and cutting and what you should

be doing there's going to be like I said

links in the description that cover all

that so we're going to skip all this

we're going to come back and then I'm

going to move to the right we'll do the

right and then we'll move on so I have

created by filters for the left yours

may not look like this and the reason

why is because you need to come up here

and you'll have this checked these are

the filters but you want to invert them

and see what's actually happening

because we're doing a lot of cuts here

and you can use those settings there now

this is what it says that in the end

what we're going to be dealing with this

is going to be this is our predicted

what it thinks when we do it if we were

to measure this response using these

correction filters that this is

basically the response that we're going

to get okay these are the filters that

it's creating okay and this is the

actual measurement alright so we're done

with that now we need to bring up the

right so let's bring up the right and

you got to do the same thing so just so

you can get a quick overview again I'll

just do it real quick EQ button make

sure that we're set the full range come

up here make sure you select generic you

can experiment with these look these up

and see which one you think might

because they all create different types

of filters because each one has

different capabilities I'm gonna come

down here set this to 0 some of you may

want to do a like 1 dB at 4,000

kilohertz look at different house curves

research house curves what people like

what people don't like what people you

know expect or whatever but I'm just

going to say 0 for the high frequency as

I said you typically do not want to go

above I would say 200 to 500 Hertz you'd

really don't wanna be jumping up here

but

tell us a lot comb filtering and some

other effects I'm not going to get into

so we're going use the same once you

choose what you were going to use which

I believed on my other one if we look at

my other one over here

it was 73 so we're gonna use the same

sorry

we're gonna use the same one so we're

going to come over here to the right

we're going to use 73 as well and as you

can see 73 this fall is a little bit

below because like I said they're going

to have different responses for the left

and the right but we're still going to

make sure you still use the same level

okay not 7375 but 73 there we go

everything down here should be the same

so all I changed was those numbers there

and I changed it generic generic we will

then hit once again match response to

target and then it's going to do its

thing as can tell you oh no warning it's

going to do its thing

I'm going to come back when it's done

all right so here we are with the

filters for this and as you can see it

is doing some boosting that's why I'm

telling you you might want to put some

boost in here so that you can do for

some frequencies you're going to need to

boost a little bit this flatness target

here is basically you can say at the 3

decibels whatever decibel level you want

but it's saying how close to the target

do you want the filters to create a

predicted response and I'm choosing one

so it's going to try and basically make

it as flat as possible alright so we got

our equalization filters don't worry

you're equal to the physician filters

are around here they are right here I'll

bring them up they're still there

they're hanging out you didn't lose them

okay you're going to go over here now

we're going to export the impulse

response that we can use with these

correction filters inside of a

convolution plugin sharing a file export

filter impulse response as WAV you're

now going to look over here it's going

to be set to mono you're going to want

to select stereo because we're doing

both left and right and what I look at

is it doesn't give you this name it

gives you the date now look at 26 p.m.

47 p.m. if you have two of those are the

same which else it'd be highly unlikely

but if you do just look at the whole

date so 26 p.m. is going to be my left

and for my right channel is going to be

my 47 over here now you're going to

choose 32-bit leave normalize samples to

peak value on you're going to want to

select the sample rate that you

are in your sessions whenever you're

doing it whatever you're doing mastering

or recording or whatever we're ever

going to be using this plug-in which is

usually at the end of your chain inside

of your digital audio workstation like

Pro Tools because you're starting to

monitor your sound while you're doing

your mixing you're starting to monitor

while you do your mastering you're going

to choose the sample rate because the

plug-in that we're gonna use for

convolution can up sample but it doesn't

mess with the wet-dry set signal which

I'm not going to get into but just know

you want to choose a sample rate that

you're going to be using I will choose

44.1 for this example and then I'm going

to hit OK it's now going to show ask you

your navigate to where you want to save

that filter as you can see I've already

done one and so that's what we're going

to use so then let's just say winning

this test so here's that test but here's

one we're going to import it's the same

thing I stained a Sony correction here's

the impulse response some of you may

know what an impulse response looks like

but we're going to go ahead and check it

out anyway for some of these others

people that don't know how it looks

so here it is and we're going to analyze

it and see if the correction filters are

actually there so we'll double click it

go to window frequency analysis I'm

going to scan it we're going to zoom in

and these are the correction filters

that were created basically the

equalization that's going to be used

when you load this impulse response into

a convolution plug-in it's going to

basically send your sound through these

filters and correct the response of your

room using these filters now there are

some files that I'm going to be using in

this demonstration and I'm also going to

show you how to set different things up

the file that I'm going to use is the

actual room sound so I can export

basically an impulse response of my room

by going file export impulse responses

wave I'll select stereo I'll select my

left which is 23 36 26 and then 25 47

they're already selected our you--but

normalize I'll hit OK I'll save it I've

already done that it's named room that's

basically a stereo impulse response of

my room another file that I'm going to

be using is pink noise so we can do our

analysis and our theoretical measurement

of our room now how you get that as I go

to generator and you can export

different sounds I'm going to be using

pink noise full range and

leaving in negative 20 and you hit wave

and then you can basically export it

okay so I'll name this pink noise it's

already set ready to go I hit save and

my pink noise has been written there and

now I can use that my da W to analyze

the filters and the correction alright

so here we are in studio one first we're

going to check it out what the

correction filters are doing stuff like

that and give you a couple tips as far

as when you're putting this on your

master buss and you're doing your mixing

now when I say master buss I'm referring

to your master out so we'll just call

this our master out I have a video

tutorial it's pretty in-depth on tracks

buses and sends I'll leave a link in the

description for anyone that doesn't know

understand that kind of stuff that will

be in the description now where you want

to put the convolution plug-in and the

one that I am using is the fog convolve

er it's awesome you want to put it on

your master out as final in your chain

you can follow it up with an analysis

plug-in if you wish if you're doing your

analysis now the fog Cabala is the one

that i'm using i have the impulse

response loaded for the correction when

you're using a convolution plug-in you

want to make sure you don't have any

special mojo happening so you want it

completely wet the dry signal turn all

the way down you don't want to adjust

the gain or anything like that you want

to make sure you not add any pre delay

you're not adjusting the starter the end

you're not adding any fades nothing no

high-pass filtering that's why I'm using

this one because it allows you to do

that I also use sir2 but I'm not using

that for this instance so let's take a

more in-depth look of what I'm going on

here I did cover this earlier but what I

got here is the pink noise on track 1 I

have the fog convolve err which is going

to create my room sound I have my room

impulse response that I had exported

remember we had exported the room

impulse response as a stereo impulse

response file I got that imported I did

adjust the start in the end to get rid

of some of the room style because of

course it's a room it's going to have

some ambient noise in there some some

reverb type sound you're not going to

hear this when I play it I set it up

like that specifically because it's an

annoying sound pink noise guys don't

need to be hearing it when you see The

Meters running that is me playing it and

I'll also tell you when I'm playing the

sound you might hear a small bit of

sound from my headphones bleeding into

the mic so you'll know when it's playing

now this track here the peak noise is

going to be playing through here to

create my room sound and then we're

going to be correcting it over here with

this one

I have the correction filters loaded the

impulse response loaded no adjustments

only what I had said before about

bringing the wet all the way up and the

dry all the way down we're going to be

following it up with the span so I'm

going to play it without correction

you're going to hear my room you're not

gonna hear anything but you're going to

basically see what's going on so that's

my room you are seeing my room basically

that's the frequency response of my room

now with those speakers okay now what

we're going to do is I'm going to turn

on the correction filter and you see

it's going to flatten it out

significantly so we are now flattening

out the frequency response

now what this signifies is pretend like

this is a microphone sitting in my room

and this right here is a microphone

sitting in my room taking the

measurement real-time analysis and I am

playing pink noise through this

convolution plug-in this is what you're

going to see it's going to smooth out

the frequency response now the spam

plugin so that you could do your own

tests is free however I'm using a plus

version what you do have to pay for but

you can do everything the same pretty

much almost with the free version

everything you're going to see me do

here you can do now when it comes setup

and step in the regular stereo mode to

where you only see the stereo signal

what I'm going to do is I'm going to

edit this and I'm going to turn this all

away okay now what you want to do is you

want to go to if you want to see the

left and the right you want to go here

and you'll hit doll mono right so now

you're in doll mono this will not be

selected then what's going to happen is

this is going to be your left you're

going to come up here and you're going

to select your right so now when it

plays you're going to see both your left

and your right but you need to make some

settings so what I'm gonna do is you go

to edit you want your average time to be

all the way up and then you want to make

sure that your slope is at three decibel

otherwise you'll have a weird slope

going on and then you want to copy these

settings also you wanna make sure your

block size is kind of high about 8,000

and then you want to set to arty average

and there you go copy to write so

basically all the settings are now a

copy to the right

now it does make the change slower I'll

give you an example

you see how long is take it for you to

see the change that's because of my

averaging time let me change that now it

should be faster

so that's basically the settings that

you need to use when you're doing your

analysis all right so we're gonna start

wrapping this up but there are some

warnings and some tips for you okay

we're doing with a convolution plugin

and our filters that we created if you

can remember inside room EQ wizard we

use The Awl cut method where we find the

lowest point and we basically match to

that target level however another method

that you can use is to meet halfway

between the highest and the lowest point

so it's going to do some cuts and some

boosts either way it's going to cut some

of the level so when it's cutting the

levels so here are our correction

filters once again you see the baseline

here zero dB

and then we're coming down right here

and we're basically doing a lot of

cutting so that is going to decrease the

decibel level of the sound level what

does I got to do anything let me show

you depending on what method you used

you may find yourself either cutting or

somehow increasing the final output of

your master channel now this one is

going to basically when I enable this

plug-in final in my chain it's going to

decrease the volume so I may have to

adjust my volume up so now here's

something to consider if you're doing

any mastering or anything you need to be

careful because when you are going to

finally disable to finally output your

master or your mix you need to make sure

you just able to plugin otherwise you're

going to export your mixer your master

through the convolution you don't want

that here's the warning if you just did

your limiting and you're trying to see

how the limiter sounds and everything

and you're doing some convolution

through the convolution when you turn

this off it's going to be louder okay

and you can harm yourself you can bus

your speakers possibly it's just a

warning okay so be careful with that so

some other things you need to consider

is your monitoring level I'm set up for

the K system look it up links in the

description and also I have my set to a

certain level for monitoring so that I

can basically listen to something and

know how loud it is but of course I have

metering and stuff like that some people

don't even care about nothing like that

they just listen to their sound they

turn up their sound and they just go by

that and then they compare it to a

reference another quick tip has to do

with your monitoring levels my system is

set to

certain system I use the K system a link

will be in the description and you

typically it's recommended not etched in

stone because I also monitor at lower

levels but the Fletcher Monson or equal

loudness contour curves kind of go over

that research that you'll figure out

what I'm talking about some of you

already know about that but monitoring

at about 80 to 85 decibel level makes

you hear frequencies more flatter okay

basically if you're monitoring at a low

level you're going to hear the basically

the 1000 kilohertz region your mid

frequencies a little bit better than

your high frequencies or your bass so

then if you're monitoring at low levels

you're going to end up increasing your

bass because you can't hear it and also

high frequencies it's going to come out

really bright however if you're

monitoring at a more of a like an 80 or

85 decibel level you're going to hear

how the bass is more represented again

this is an etched in stone it's just

something that's kind of recommended

research it the next video in my digital

room correction series is going to cover

the digital room correction designer

software and how you can use room EQ

wizard to bypass some of the functions

this software creates different sets of

types of filters so we're going to be

covered now I hope you guys liked the

video if you did give a thumbs up if you

didn't like it

well you can give it a thumbs down or

whatever comment subscribe I got more

stuff coming in the future thanks to you

guys later

you