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Measurement quality is where most of the variables are.
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I'm not saying you've done any of this, just that there are many common user errors to consider. Suffice it to say that many people trying Room EQ make similar errors, like using a single mic position, the wrong mic position, using an uncalibrated mic, not verifying the results (other than listening), and a host of others. I'm a little concerned that you generated a "Parabolic EQ Filter", when you should have generated a set of parametric filters (it's almost never just one), but I don't know what you've done or how you've done it, and I'm not about to coach here. The pre-EQ sound quality has become "accepted" as normal, so even if the post-EQ version is technically improved, it's different, and therefore not viewed as an improvement. Auto EQ system fails because required correction is "out of range" (I've found this with both Audyssey and REW-generated filters, but at least with REW you can make changes that get better results, with Audyssey you're kind of stuck with it).ģ. Measurements not properly taken, so the resulting EQ is not correctĢ.
#BEST EQ FOR MAC MINI SOFTWARE#
I can't think of a good reason why dedicated hardware DSP would be radically different from your software implementation either.Īfter years of calibrating rooms for people I've found three general reasons why the results are not perceived as an improvement:ġ. I certainly understand your reservations in buying hardware when your software-only efforts have fallen short. What I'm hearing here is that you've tried two of the premier measurement and EQ systems and didn't like the results. It can be very interactive, iterative, and a good deal of "technique" is involved in getting good measurements as well as generating a resulting EQ filter set. Room EQ and room tuning in general can be quite challenging. Fortunately there are measurements online for many headphones. Still doable with REW/miniDSP, but very different, and measurements become a significant problem. But learning is what you want to do, ultimately, and there's lots of help, including REW's developer in person, here.īTW, I assumed speakers, but if you're using headphones you have a different EQ issue entirely. REW is not exactly a simple application, and there is a learning curve, where Audyssey is very self-inclusive and leads you by the hand. With miniDSP and REW you get much more control over your EQ than you get with 1K Media/Audyssey, and ultimately I think its a better solution. It also means you could plug in an iPod or other device and get the same EQ. Frankly, having used exactly that device for equalizing a commercial sound system, it's pretty great, and the best deal on earth. It sits between your Mac Mini and amplifier/powered speakers. However, miniDSP has a very inexpensive 2-channel EQ box, if you add a mic and required software plugin, it's under $200. Equalizes all audio through the Mac, and is targeted at studios and professionals, not that you couldn't use it at home. IK Media has their ARC System 2.5, essentially Audyssey MultEQ XT32 in software with a measurement mic. REW can calculate EQ and load to a whole list of hardware devices, the others are pretty specific and proprietary, but I'm not finding much software-based EQ for the Mac for any of it. How the data is collected varies, but all involve taking several measurements with a mic in several positions. Then the measured curve is inverted and adjusted to hit a target curve, EQ filters calculated, then loaded into something that can perform the actual EQ. REW, Dirac, Audyssey, all of them require measurements of your speakers and room to develop their EQ curves. But where do you get that Dirac File in the first place? You need to perform measurements, and that would be true of REW (which is not an equalizer at all, it's a measurement system), or anything else. Click to expand.I didn't see where Amarra SQ could "run Dirac files", but didn't dig very deeply.