It must be such a joy to have a professionally calibrated sound system. I have so much work to do with my poor man's 7.2.4 system and gear. REW 101 for me this weekend. Anthony Grimani is the Ironman of audio!
Love this summary and practical decision making. Simple isn’t really simple is it. What you know should be in a library, I’d prefer a dark chocolate colored coffee table book. Loaded with greatest installs and complex frustrations. You inspire.
Loved the video. Very interesting. As I was watching my thoughts kept going to the same questions. Certainly in these high-end rooms are Trinnov Altitude 16/32+. Do you use a standard Grimani target curve for home theater for every room that is primarily a home theater? And if you are EQ'ing to a target curve you'd be doing that 'before' room correction. I am curious for something like a Trinnov, given the in-depth manual adjustments you are doing, do you just skip the room-correction part of the Trinnov optimizer 'or' do you input the same target curve you EQ'd to then let the optimizer do its thing to the same target curve?
That's a really great tip about the out of phase pink noise to help fix the phantom centre, I'll be sure to try that. However wouldn't using all pass filters to fix phase at the MLP make things worse and become more out of phase at other seats?
The phantom-image delay trick is great to fine-tune. I've done it for several years and its the first time I have seen others mention it. Anthony, when doing a theater calibration with a Storm processor, do you not use the capabilities of Dirac? All your videos focus on the manual part of the calibration which will be invalidated if running Dirac (multi-sub, delay etc).
When eq-ing each speaker are you adjusting frequencies AS the pink noise is sounding? I must say you are the first I’ve heard to mention the eq differences. Like between two “identical” speakers. Thank you.
Yes, I like the “real-time” process of adjusting EQ while observing the result right there live. Using REW Pink PN (Pseudo-Random Periodic Pink), and the analyzer in Rectangular Window, with 8 or 16 averages gets you a quick and accurate result with 4 microphones through multiplexer.
What is the reason for placing the mics at 45 degrees using a 90 degree calibration file instead of 90? Using a umik I get different results with each angle and do not know which is flat. Thanks for this video series and the many others you have contributed to.
The mics I use on the road aren't really “random incidence” mics. They are better in their top octave when set at 45 degrees. All that being said, with room reflection decay, accuracy of the 10kHz to 20kHz region wont really matter too much. You need to listen to the results, or do a “nearfield” measurement at about 24 or 36” front he speaker if you want to set a custom EQ for your speakers.
I once found what headphones you use during tuning but I haven't been able to find it again. What headphones are you using during your listening session?
How do you adjust the imaging between speaker pairs, when the pairs are actually overlapping (each speaker belonging to two separate speaker pairs), without getting into a spiral of adjusting delays?
I'm not Anthony but I'm about 99% sure this is how he'd answer. Start with the L&R, move to the R&RWide but you're changing only the delay for the RWide, move to the RWide&RSurround but you're only changing the delay of the RSurround, until you hit the last Right-hand surround speaker, and then you do the same thing for the left-hand side of the room.... Make sense? That way you're not having to go back and forth doing double work and pulling your hair out. Lastly, check the phantom image again between your L&R. They should be the same as when you started.
It must be such a joy to have a professionally calibrated sound system. I have so much work to do with my poor man's 7.2.4 system and gear. REW 101 for me this weekend. Anthony Grimani is the Ironman of audio!
Love this summary and practical decision making. Simple isn’t really simple is it. What you know should be in a library, I’d prefer a dark chocolate colored coffee table book. Loaded with greatest installs and complex frustrations.
You inspire.
Loved the video. Very interesting. As I was watching my thoughts kept going to the same questions. Certainly in these high-end rooms are Trinnov Altitude 16/32+. Do you use a standard Grimani target curve for home theater for every room that is primarily a home theater? And if you are EQ'ing to a target curve you'd be doing that 'before' room correction. I am curious for something like a Trinnov, given the in-depth manual adjustments you are doing, do you just skip the room-correction part of the Trinnov optimizer 'or' do you input the same target curve you EQ'd to then let the optimizer do its thing to the same target curve?
Thank you for another great educational video on system calibration techniques. Always good to learn from the best in the industry.
That's a really great tip about the out of phase pink noise to help fix the phantom centre, I'll be sure to try that.
However wouldn't using all pass filters to fix phase at the MLP make things worse and become more out of phase at other seats?
The phantom-image delay trick is great to fine-tune. I've done it for several years and its the first time I have seen others mention it.
Anthony, when doing a theater calibration with a Storm processor, do you not use the capabilities of Dirac? All your videos focus on the manual part of the calibration which will be invalidated if running Dirac (multi-sub, delay etc).
You've got background music during your presentation. Stop that!
When eq-ing each speaker are you adjusting frequencies AS the pink noise is sounding? I must say you are the first I’ve heard to mention the eq differences. Like between two “identical” speakers. Thank you.
Yes, I like the “real-time” process of adjusting EQ while observing the result right there live. Using REW Pink PN (Pseudo-Random Periodic Pink), and the analyzer in Rectangular Window, with 8 or 16 averages gets you a quick and accurate result with 4 microphones through multiplexer.
What is the reason for placing the mics at 45 degrees using a 90 degree calibration file instead of 90? Using a umik I get different results with each angle and do not know which is flat. Thanks for this video series and the many others you have contributed to.
The mics I use on the road aren't really “random incidence” mics. They are better in their top octave when set at 45 degrees. All that being said, with room reflection decay, accuracy of the 10kHz to 20kHz region wont really matter too much. You need to listen to the results, or do a “nearfield” measurement at about 24 or 36” front he speaker if you want to set a custom EQ for your speakers.
Thanks for the reply.
What's the Intro song?
I once found what headphones you use during tuning but I haven't been able to find it again. What headphones are you using during your listening session?
Etymotic ER4s.www.amazon.com/Etymotic-Research-ER4S-Precision-Earphones/dp/B000300Y9O
How do you adjust the imaging between speaker pairs, when the pairs are actually overlapping (each speaker belonging to two separate speaker pairs), without getting into a spiral of adjusting delays?
I'm not Anthony but I'm about 99% sure this is how he'd answer. Start with the L&R, move to the R&RWide but you're changing only the delay for the RWide, move to the RWide&RSurround but you're only changing the delay of the RSurround, until you hit the last Right-hand surround speaker, and then you do the same thing for the left-hand side of the room.... Make sense? That way you're not having to go back and forth doing double work and pulling your hair out. Lastly, check the phantom image again between your L&R. They should be the same as when you started.
@@MyFatherLoves is right! Thanks!!
@@MyFatherLoves Thank you. OK, so worst case, the delays for the pair of surround back speakers will not be optimal, but all others will?