Room Correction With Convolution Plugin Room Eq Wizard Tutorial
Summary
TLDR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
🎥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。
🔍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。
🛠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。
📊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。
🎛️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。
⚠️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。
Mindmap
Keywords
💡ルームイックウェザード(Room EQ Wizard)
💡ステレオインパルス応答(Stereo Impulse Response)
💡コンヴォリューションプラグイン(Convolution Plugin)
💡周波数応答(Frequency Response)
💡デジタルルームコレクト(Digital Room Correction)
💡マイク(Microphone)
💡ピークノイズ(Pink Noise)
💡EQ(Equalization)
💡サンプリングレート(Sample Rate)
💡マスタリング(Mastering)
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
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