In this video, you’ll learn how to add acoustictreatment to your room to instantly improve the sound of your studio. So, keep watching if you want to make mixingeasier. But first be sure to download the free AcousticTreatment cheat sheet. There’s a link in the bio or on screen now So, the studio is pretty much done. We’re getting there. If you’ve been watching this series so farwe spoke about room choice, and then in the next video speaker positioning. So, before you even think about acoustic treatmentyou need to get those two things down first. But now let’s talk about acoustic treatment.
So, the first question what material shouldyou use? Now, this can be quite a polarizing topic,because there’s a lot of foam acoustic treatment out there and from the photos that I’veseen from my students and just generally online it seems like a lot of people opt to go forfoam treatment. Personally, I don’t think foam treatmentis the right thing to use. Of course, there are numerous benefits it’smore affordable, it’s much easier to put up in your studio, it’s lighter.
However, there are downsides too. Take a look at these two graphs. On the left you can see foam acoustic treatmentand on the right you can see an acoustic panel which is made of fiberglass or materials likerock wool. So, personally I choose to use acoustic panelsthat consist of rock wool mostly because of that more level frequency response, and alsomore absorption in the lower frequencies. When it comes to acoustic treatment it’sreally the low frequencies that we’re concerned with. If you’ve already got loads of foam don’tpanic, because it’s still useful. Actually you can see it does absorb some ofthose high frequencies. You just need to start thinking about gettingsome more acoustic panels in there that aren’t foam to counteract that. So, now that we’ve covered that let’stalk about the purpose of acoustic treatment. There are two ways to approach acoustic treatment.
You can treat an environment to make it soundgood when you’re recording or you can treat an environment to make it sound good whenyou’re mixing. And quite often in a home studio we have anoverlap of those two things. In professional studios live rooms where yourecord we generally have less treatment, they’ll be less muffled; normally it’s just a goodsounding room with a bit of treatment. Whereas, the mix room is a different storyaltogether we’re trying to create a reflection free zone and that’s something I’m goingto come back to in a minute. But to do that we need lots of absorptionaround the mixing area. So, in this video and generally in a homestudio environment if you’re working in one room you treat it for mixing and thatwill tend to also just slightly lower the reverb and improve the frequency responsewhen you’re recording too.
When you do this right the end result is reallyquite striking and you’ve probably already hear just in my voice if you’ve seen oneof the earlier videos where I was in the same room but with no acoustic treatment. Already there’s much less reverb which isgreat for recording. So now if I record vocals in here, if I recordacoustic guitar there’s not loads of room resonances or reverb ruining the recording,but then when it comes to mixing we see the real results where mixing gets so much easierbecause we’re in a much flatter environment where small EQ tweaks are easier to hear andyour mixes are going to translate better because your room isn’t tricking you into thinkingthat there’s too much or not enough bass for example.
Trust me if you’re going to do anythingto improve the sound of your recordings and make mixing easier and more enjoyable it’streating your room and just a few hundred dollars is all you need to do this to a professionalstandard. So, in a minute I’m going to show you howyou can build these panels yourself to save money or where to buy them from, but beforewe do that let’s figure out what panels we need and where we’re going to place them. There are two key things you need to do ifyou want your room to sound good. First you need bass traps. Second, you need to treat the first reflectionpoints. If you do just those two things your roomwill sound so much better and a lot of professional studios even will only do these two thingsor focus on these two things.
This whole idea of acoustic treatment is obviouslyquite overwhelming. I can remember when I started researchingthis years ago trying to treat my first studio and there was just so much information outthere that I left the whole experience feeling more confused than when I started. But we really can narrow it down to thosetwo things being the core elements bass traps and first reflection points. So first, what are bass traps and why do weneed them? Well, in any room you get a buildup of certainfrequencies and these are called standing waves or resonant frequencies.
In layman terms it’s just an increase ofvolume at certain frequencies, so we might have a sudden peak at 70 Hz because of thedimensions of the room, where our speakers are, what speakers we’re using, etc. Now, generally these major issues tend tobe in the low-end anywhere from 20 Hz up to 600 Hz, 700 Hz is where we want to focus ourenergy when it comes to finding standing waves and treating them. We can make quite a big difference, becausethat’s where we tend to get a lot of issues with translation where if you got a 70 Hzpeak in your room you’re mixing and it sounds 70 Hz or around there is way too strong, soyou turn that down in the mix but then you take it to your car and suddenly the low-endis missing that’s the example of what can happen when you don’t treat your room. But when we use bass traps and bass trapsare just larger panels, thicker material that can actually trap some of that low-end andabsorb it then we create a more accurate listening environment. Now, the easiest way to do this is by usingbass traps in the corners of the room, because this is where the bass builds up where twoboundaries meet. So, where the two walls meet like that, andthen also where those walls meet the ceiling. We have three different points meeting youget so much bass buildup there. So, when we put bass traps, fit acoustic treatmentin the corners of the room we can really effective absorb that low-end and try to get a flatterresponse across the frequency spectrum.
Now, I didn’t build my bass traps myselfbecause we’re working with the corners of the room generally you want a kind of triangularshape where you use loads of treatment that goes right into the corner and the easiestway to do that is by buying panels. So, I use Tri-Traps from GIK which are triangularshaped floor to ceiling trap that I can just add to the front corners of the room, andthen for the rear corners of the room I can have floor to ceiling either side becauseon one side there’s a door and on the other side there’s a bed. So, instead I got these really cool littlecorner traps that were super easy to fit and I’ll include links to all of these productsin the description below. Now, also I have what I call a day-bed inone of the rear corners of the room, and this is just a single bed that I’ve dressed asa sofa, so that if people in the studio working with me they have somewhere to sit but italso has an acoustical benefit in that mattresses can be really good at absorbing frequenciesacross the frequency spectrum. So, they can absorb some low-mids as well,so I’ve got quite a heavy single mattress on there and then because of the bed framethere’s also an air gap underneath the mattress. So, I am hoping this acts as somewhat of abass trap when you combine that mattress with that air gap and the fact that it’s in thecorner and it’s just above where the three boundaries meet on the floor corner of thewalls that should absorb quite a few frequencies, so just a little trick there only theory butwe’re going to come back and do some tests later and see if all of this actually work.
Now, I mentioned air gaps there and the GIKpanels that I have in the front of the room are just full of material. They’re triangle shaped; they’re fullof material going floor to ceiling. This is the most effective way to treat thecorners, but you can also use air gaps and by just adding an air gap behind treatmentwherever it’s just a flat panel or those corner traps that were in the ceiling cornersthey are not actually thick all the way back. They’re only about that thick and then behindthem is an air gap, because adding an air gap extends the frequency response so thatyou can absorb even lower frequencies than you would normally be able to if the treatment– the absorptive treatment material was just flat on the wall. So, pretty much all of my panels have airgaps built into them and the ceiling panel is actually a few inches from the ceilingbecause that just means they can all absorb lower frequencies. So, even my panels that I’ve got on theside wall and outside of the corners are actually going to absorb quite a lot of low-end, becausethey are 4 inches thick, and then they got a 2 inch air gap. So, a really easy quick little trick thereif you want to improve your panels just add an air gap. So far, you’ve addressed the standing wavesin the room and you’re trying to bet a more even frequency response across that low-endand lower mid spectrum, but the next issue that we have is the reflections off of walls.
So, if you imagine you sat in the room andyou haven’t got any treatment and you’re looking at your monitors, you’re listeningto music, and of course a lot of the sound is going straight from the monitors to yourears. But then, equally there’s going to be areally loud reflection from your side walls because there’s not a lot of distance goingon there in most cases, so the sound waves bounce off the side wall and arrive at yourears quite loud but a slight delay. Now, this causes something called comb filteringwithout going into the science of that it’s bad. Any kind of strong reflection from your monitorspeakers is going to cause issues with the frequency response and cause lots of dipsacross the frequency spectra. Equally, this can also mess with you whenyou’re trying to add reverb and create space in your mix, because you are not only hearingthe space within the mix but you’re also hearing your room. So, you might think oh that’s not reverb,but maybe you’re just hearing the reverb in the room, so it starts to mess with thatas well. So, there are actually four reflection points. Besides the side walls we also have the ceiling,and then we have the floor or the desk. Sometimes it’s the floor sometimes it’sthe desk it depends how close your monitor speakers are to your desk, how big your deskis. So, just look at your speakers.
Look around you think okay well I’m goingto get reflection from the ceiling, the side walls, and the desk or the floor. These are the points that you need to treatto create what’s called a reflection free zone which is just an area around your listeninglocation where you’re not getting any strong reflections. So, generally you do this by having some quitebig panels on the side walls, a panel or two floating above the listening location, andthen we get to the desk or the floor which is the one that’s commonly overlooked butcan be just as problematic as all of the others. So, if your monitor speakers are quire farin front of you and it’s actually the floor where you’re going to get that reflectionand an easy way to test is to just use a mirror or just use your phone when it’s unlockedbecause that just kind of acts a mirror and just put it somewhere and see if you can seeyour monitor speakers that’s how you find the reflection points.
You can just run this along the wall or getsomeone else to do it until you see the speaker and that’s how you know where the reflectionpoint is. There is actually another way to do it withmasks that I’m going to show you in a second, but just imagine if you had your phone oran imaginary mirror where would you see the speakers on the floor if they’re quite farahead, and then the best thing you can do is just add treatment on the floor where thatfirst reflection point is and it might even be that you’ve just got a really narrowdesk. So your monitors are that wide, your deskis that wide so there’s a lot of spot on the floor where you can actually see okaythere’ll be a reflection coming from that and you just add maybe some small panels orhowever you want to do that. Now, more commonly the problem is the deskitself, especially if you’ve got quite a large desk so again use that little trickof imaginary mirror or using your phone or a real mirror and figure out where that reflectionwould be.
And if it is on the desk you have a few options. You can either add treatment on the desk,tilt the desk to about 10 degrees or add something on top of the desk that acts as a tilt. Now, the easiest way to picture what I meanby this is if you imagine an old school mixing desk. A big mixing desk, it will be a slight slantand you have the monitors behind the desk then the mixing desk slanting down towardsyou, and then you might have a small area for your mouse and your keyboard. And this slant in the desk going towards youwill actually direct the reflections much lower, so they go instead of to your earsthe reflections will hit the desk and because of the angle of the desk rather than goingbouncing into ears they’ll bounce off the desk and hit the floor somewhere behind you.
Now, if you don’t have a huge mixing deskto do that you can either tilt the desk itself if it’s just normal office desk by puttingsome cardboard or blocks of wood at the back of the desk. This could be kind of annoying because thenyou’ve got the whole desk and you have to tilt it quite a lot around 10 degrees to makesure that they’re reflecting behind you. Again, just put a mirror on the desk. Scan the desk once you’ve tilted it andif you can see the speakers at any point then you need to tilt them more, and then the otheroption that I opted for is to add something else to your desk like a monitor riser ora big slab of wood anything like that that is then tilted at an angle. Okay, we’re nearly there. You’ve done well to get this far. This isn’t the most interesting topic, butit is really, really effective and once you’ve treated those two areas the next thing isto think about the rear wall. Now, this isn’t as important. Really focus on those two first, but if you’vedone both of those things and you still want to improve the sound or you’ve got morepanels leftover or whatever the reason the rear wall is the next place to treat. So, you can just add some absorption here. Traditionally in a professional studio youwould have actually diffusion on the rear wall, but that’s really expensive to do.
Generally diffusive panels are expensive tomake and manufacture. So, instead just go for some absorptive panelson the rear wall and that would just ensure that there aren’t any strong reflectionscoming off of that back wall. The other benefit of having more treatmenton the rear wall and just in general in other places in the room is that again it’s goingto reduce the reverb in the room. So, when it comes to recording whether that’svocals or acoustic guitar you’re going to get a more controlled sound. Generally, this is going to sound more professionaland give you more options when it comes to mixing and less issues with weird frequenciesin the room and that kind of stuff. Now, one more place that people often wonderabout is the front wall i.e. the wall behind the speakers that you’re facing that’swhy it’s the front wall and you really don’t need to worry too much about treatment therebecause speakers are directional, so all if the top-end is going to be coming out of thespeakers towards your ears where they’re pointing then it’s going to bounce off thosefirst reflection points but you’ve treated those. So, if you imagine where those frequenciesare going from the speakers they’re going behind you, so that’s why the rear wallalways a good place to add treatment. But by the time they bounce off the rear walland got back to the front wall in front of you they’re going to be so quite especiallyif you have absorption on that wall behind you.
You really don’t need any absorption onthe front wall behind those speakers. Now having said that, it is very useful tohave bass traps on the front wall in those corners because low-end is omnidirectional,so that’s nowhere near as directional it’s just going to come out of the speakers inevery direction. So, it’s going to be quite strong or strongestin those front corners where the monitors are, so that’s a really important placeto have bass traps but you don’t really need to treat the area behind the speakers. And that reminds me you should really checkout Jason’s channel Behind the Speakers if you haven’t already. With all of that in mind let’s now figureout exactly where the panels need to go in this room. So, here is a rough outline of the room. The listening location is around there. The speakers are around here and here formingan equilateral triangle and the first thing we want to treat are the corners with basstraps. So, in the front corners I have got floorto ceiling bass traps. So, this whole thing is filled and it coversthis corner and goes from floor to ceiling and the same over here.
Now, on the back walls here we have a doorthat opens out like that, so we can’t put floor to ceiling treatment here and here wealso have a bed that’s kind of in this back corner so we can’t have floor to ceilingthere. So, instead I’ve got these cool little cornertraps that go flush into the corner where the ceiling meets the two walls, so I canstill have treatment on these rear top corner so not on the floor but on the ceiling. And after doing some testing with my measurementmicrophone just doing sign sweeps using Room EQ Wizard and putting the microphone in differentplaces. These corners had some of the strongest buildupin the low-end, so really important to treat these that’s why I got these panels. They are not thick all the way there. Actually you have an air gap, so they’rea few inches thick and then an air gap behind but because they’re in the corner of threedifferent boundaries where the side walls meet the ceiling that’s going to be quiteeffective. Now, when I was measuring I also found thatthis corner here where the front wall meets the floor was also getting a lot of buildupbecause it’s right behind the speakers. The speakers are rear pointed, so I’ve gotsome thick 4 inch panels that I’m going to put here behind the speakers and they’regoing to be leant against the wall to create an air gap behind them kind of like these. So, we’ve got 4 inch thick foam and thenquite a big air gap because they’re going to be leaning at a 45 degree angle and they’requite long.
They’re about 60 centimeters long, so thathopefully will trap lot of bass as well, so that’s a lot of our bass trapping done. Now, the panels that I use at the first reflectionpoints are also thick. They’re 4 inches thick with rock wool, andthen again a 2 inch air gap built into the panels. These ones that I built myself, so they’realso going to trap quite a lot of low-end as well and that’s the benefit of usingreally thick panels even in your first reflection points. So, the most important places are here andhere on the side walls, and I am going to figure out that exact distance in a moment.
We’re also going to have some panels abovethe listening location that are going to pretty much span from the speakers to the listeninglocation like that and we’ll come back to the desk in a second. So, I’ve got a few panels left. I’ve got a couple of smaller panels andone more big panel that’s 2 inches thick with a 2 inch air gap, so not quite as strongand I’m going to use all of those on this rear wall. So, we’re just going to put one panel here,and then the smaller panels to the either side and I made them this way on purpose becausevisually it’s quite nice to have a big panel, and then the small panel either side. It creates this nice kind of 3D effect wherethis one sticks out more than these two. So, I think this one actually might be 4 inchesas well with a 2 inch air gap again and these are just 2 inches of treatment with a 2 inchair gap. Ceiling brackets have a built-in air gap aswell, so pretty much all of the panels have air gaps. So, like I said that’s a really great wayto improve the effectiveness of your panels for free, and then I’ve actually got onemore GIK panel left over because I bought this for the ceiling but it came with onespare. So, what I’m going to do with that is useit as kind of a floating panel, so if I’m recording vocal something like that it’sgoing to be on a mike stand and that will allow me to move this around the room andif I am recording vocals for example, I’ll probably face this rear wall because we gottreatment there and it gives me a lot of room and I’ll put this behind me, so it’s inhere singing towards the wall and the microphone is pointing that way. And I could do something similar with acousticguitar too if I wanted, but when I am not using that for recording I can move it hereinto this corner, so when the door is open I can tuck in here somewhere behind the doorbut then when the door closes I can just move it into this corner, and now we effectivelyhave a bass trap in this corner too which – there was quite a lot of buildup herebecause that door I mean I can quite easily just move that here when I’m mixing moveit back when I’m not mixing or move it around when I want to record, so that’s going tobe a really handy panel to have as well. Okay, so once you know where the panels aregoing the next step is to actually make them or buy them, so either option really dependsif you’re strapped for time then you can buy them. If you’re strapped for money then you canmake them. I have got a mixture of both, so here is onethat I made a while ago and it’s just rock wool in the back, and then I’ve built awooden frame around it. Used corner bracket just to create the frame,I got this muslin cloth material stapled that in and I’ve also just got a bit of stringacross the back to keep the rock wool in. Now, just a quick side note when I actuallymade these I didn’t realize rock wool can be kind of dangerous for your health.
So, when you’re handling it make sure you’reusing gloves and glasses and a mask to make sure you’re not inhaling all of these fivers. I did look into a bit more in rock wool apparentlyis the safest. I’ll include links to some of this infobelow, but just something to be aware of and what I’m going to do next is get some morematerial so I can actually cover up the whole back of the panel. So, that there’s no risk of these fibersjust getting into the room and causing issues. So, if you do want to make these yourselfI’m not going to cover it in detail here.
There are plenty of great resources onlinethat will show you how to do this and I’ll make sure there are links below. And then, the other option is buy them, sothis panel is from GIK Acoustics really, really good high quality stuff. Not too expensive for their standard panels. I’d definitely recommend them if you wantto just buy panels instead. Now, in this case I already had a desk thatI wanted to use, but it’s really, really wide and it’s quite deep as well. So, there would have been some strong reflectionscoming off of that desk.
Probably stronger than the side walls or theceiling, and it’s so easy to overlook this. I’ve overlooked desk reflections so manytimes in the past, but I wasn’t going to make that mistake again. Now, I tried angling the whole desk. So, I put some wooden blocks at the back ofthe desk, so that it was angled towards me by that 10 degrees is generally what you need. Maybe you can get away with 8 again just usingmirror to check that, but 10 degrees works but then you’re just way too slanted uncomfortableto work on. So, what I did instead was ordered this widedesk monitor stand off of eBay and it’s meant to have some feet on it but I just wantedthe wide wooden slab, and then all I’ve done is put that on the desk, added some makeshiftfeet to the back so that it’s at an angle, and then I’ve put my keyboard, my interface,and there’s room to add some more stuff in the future. And this is a good 10 degree angle where it’sangling those reflections to go behind me and probably hit the rear wall something likethat, but I can’t see my monitors anywhere now when I put the mirror on the desk or onthat slanted bit.
I can’t see the monitors anywhere, so that’sperfect. I’m not going to get any reflections offof those fingers crossed and of course we’ll test this when we do some room measurements. So, how far forward should your side panelsbe? I found a great formula for calculating thisdistance on Real Traps dot com. Really great site for anything about acoustictreatment. The company also seems incredible, so I highlyrecommend you go check that out. Of course, we’ll include a link below, sogo check out that link and scroll down to the bottom for that image and that formulaand a bit more about how to calculate that distance. And then, when it comes to the ceiling youcan just put the panels half way between your listening location and the speaker location.
So, that’s all of the treatment in place. I am going to do a measurement now using RoomEQ Wizard and compare that to the measurement I took before I added any treatment. Okay, so my treatment is up. I took a measurement with Room EQ Wizard. If you haven’t used this software beforeGIK Acoustics have a great tutorial on it that I recommend you check out and again I’llinclude a link to that in the description but it’s pretty easy to use just need tocalibrate it. Take a measurement and here in red I tooka measurement before treatment, so you actually saw me take this in the video on speaker placement,and then in green we have the new measurement and this was made after adding treatment tothe room. All of that treatment that we just went overis now up and ready and I also took a measurement with Sonarworks Reference which has applieda slight EQ curve to the room and this is everything. This is now my listening environment on thisgreen line. So first of all, you can already see we havegot a bit more control in the low-end. I matched these by matching up this peak at45 Hz, because a lot of the treatment here I don’t think is going to extend that low. So, to get the volume to about the same we’rematching up there and already we can see a reductions of some of these peaks.
So, this peak here at 133 Hz was around 87dB now it’s around 73, so that’s a drop of 14 decibels that’s pretty drastic. Not so great here. The lower we get the less effective the treatmentis, so the absorption around 40 to 50 Hz is pretty much non-existent even with these bigcorner bass traps. To get absorption there you need really thickmaterials or even a Helmholtz resonator which is something else that – I’ve never actuallyseen one in real life but I know some really good studios have Helmholtz resonators totreat this stuff. But we’re still getting a drop here at 80Hz which is great, so 78 decibels down to 74ish, so not huge but across the board herewe’ve got more control in this low-end here up to 200 Hz, low and mid range also moreunder control. We have this weird dip here between 500 and1 kHz and this is the trouble when you add lots of treatment especially if it’s broadbandtreatment because you want to control the low-end you’re going to inadvertently startto reduce the volume of the low mids as well. So, I need to look into why this has happened. It might be that the speakers have moved slightly. I did add some plants to the room. There’s all kinds of things that could haveintroduced this quite a wide dip here between 500 and 1 kHz and that’s a really importantrange. So, I’m going to look into that and movingup then we have just less volume overall. So, what I’m going to do to make this easierto analyze now is go to controls and in Room EQ Wizard we can smooth this out, so I’mgoing to apply psychoacoustic smoothing. So, straightaway what you can see is we’vegot way more control in this low-end, and this is really the area that we’re focusingon when it comes to treatments, so nowhere near are big peaks and it’s just more consistent. Here it’s going up, and then down, and thendown here. Whereas, here it’s going up and down butnot by as much it’s more consistent. Again, we’ve got this issue here that Ineed to look into, but where it goes really useful and the tool that you need to focuson really when it comes to Room EQ Wizard is the Waterfall. So, this is before we add a treatment.
Now, let me explain what this shows. So, like the other graph we’ve got frequencyalong the bottom, so 20 Hz on the left, 600 Hz up here on the right because this is thekind of range that we’re focusing on when it comes to treatment, and then we’ve gotdecibel, so this is the same. So, this curve here is kind of like what wesaw, and then we have this added element which is the depth element here. So, as well as seeing – okay this frequencyis louder. We can see how long it takes to decay, sothis is clearly a standing wave, standing wave, standing wave where it’s louder andit’s also taking longer to decay this gap here for example, between 50 and 70 we’vegot a much stronger peak here around 40. Let’s compare now to after treatment, afterSonarworks Reference all of that stuff. So, straightaway more consistent, we don’thave these huge peaks. Again nowhere near as much control down herearound 40 Hz, so if we focus just on this peak here look at the lines how far it extendsout. It’s pretty similar, it doesn’t reallymove much. However, this peak here around 63.8 is quieter,and also we can now see the end of the decay time. So, it’s decaying out at around 288 milliseconds,whereas before treatment this was going out much further, so the decay time was much slower. So, that frequency is really bouncing aroundthe room a lot more.
Definitely here at 96 Hz so really, reallyloud again really long decay time going off the graph, whereas here 90 Hz so much quieter. The decay time is much, much shorter as well,and then across the board from here and out it’s pretty consistent. Yeah, we still have these ups and downs withthe decay times are generally shorter, whereas here again we’ve got these peaks and troughs,and also the decay times are much longer. Then the final graph that I want to show youis reverb time. So, if we got to overlays and reverb time. Before the reverb time in general across theroom was kind of in this 550 to 600 millisecond range, whereas now we’ve got this prettyfar down to – in the lower mids, down to half that 250 around there. Again, struggling to treat this low-end here,but once we get into these lower mids it is much, much lower and it shows that we’veeffectively created that reflection free zone around the listening environment. We’ve halved the reflection time or morethan halved in some cases, so now it’s going to be easier to mix, easier to add reverbto the mix, and actually know what we’re doing to create depth without being trickedby the room. So, there you go in general effective. Still some work to do if I wanted to reallygo in-depth with this I could get Helmholtz resonator to try and treat that big peak around45 Hz. I need to figure out why there’s this suddendip between 500 and 1 k and that’s just going to involve moving things around theroom doing another test, removing panels doing another test. Playing around with the treatment on the desk,because I know that’s going to be a problem area even I’ve got that slab of wood andangle maybe that’s not effectively treating those reflections. Need to do some research as well, and I studiedacoustics at UNI but this isn’t what I do for a living. I am a mixer, I’m a musician, I am not anacoustician. So, I’ll go to other people for help withthis as well. And then, the one last thing that I wantedto show you just because I’m really impressed with Sonarworks Reference which is just roomadjustment software. So, you use a calibration mike it measuresyour room, and then it adjusts with an EQ curve to figure out how to improve your room.
So, you can see here this was my measurementbefore, and then actually if I turn this on applies correction which is the opposite. So, it measures your room and we can see thesame peaks happening, and then it applies an EQ curve that does the opposite that’sthe green line, and ultimately the end goal is that your frequency response is like that. Now, that is not what happens in real life. It’s going to nudge it in the right directionbut you don’t get a perfectly flat response. Instead what you get if we compared thosetwo, so if I get rid of before and instead have Sonarworks bypass. Again let’s also smooth that out, so whatwe have instead is it pulls it in the right direction and just counteracts some of thosepeaks and troughs on a wider scale. So, rather than focusing in on really specificfrequencies like this big peak here 80 Hz, yeah it’s reducing that. We can see afterwards it’s reduced it quitea bit, but it doesn’t do it perfectly and here there are dips as well. It’s going towards it, but not perfect.
But when we apply some smoothing we can seehow it just generally levels it out, so we’ve got less low-end here, where it was a bittoo much. A bit more in this lower mid area, it’sstruggling around this 500 to 1 k area but I think that needs to be addressed in theroom first, and then just across the board it’s more consistent. And we could see the same with the Waterfallactually. So, this is before with Sonarworks bypassand we can see these decay times here and I’m going to go to engaged and it wouldjust kind of tightens up a bit more consistent lower decay time. So, that works really well and I’d recommendonce you’ve setup your room to use something like Sonarworks Reference personally I thinkit’s the best option on the market and that is going to just take your room to the nextlevel. You need to treat it first, but then thisfinal step just finishes it off. So, there you go acoustic treatment, how tobuild a home studio? Everything you need to know to create a professionallistening environment at home and not break the bank. Now, there is so much to remember when itcomes to acoustic treatment. Like I said earlier it can get really confusing,there’s a lot of advice out there, some of it not accurate. So, I put together a cheat sheet with allof this information.
I’ve also got a checklist in there, so thecheat sheet part will give you a recap of all of this. So, if you want to take your notes it’sall there and the checklist you can use that when you’re actually going through and settingup your room to make sure you don’t miss anything out and it takes you through eachof those steps one-by-one. It’s completely free. There’s a link in the description belowor on the screen now. So, go download that free cheat sheet andimprove the sound of your room and if you’re new around here don’t forget to subscribeand click the notification bell. So, that’s all from me I am Rob Mayzes fromMusician on a Mission and remember Create Regardless.