Actually, I agree with Danny in as much as Danny is concerned. I have a student into mixing, who has no treatment in his room, used M-Audio monitors, a sub set way too loud (according to me) and his mixes (of EDM) are some of the best I’ve ever heard. But the boy is talented. God only knows what he’d do in a professional grade studio!
I started this hobby a few years ago. I’m not ashamed to say that I had zero clue what I was doing. My first setup used bookshelf speakers and an old Kenwood Amp from the 80’s! Seriously! The one thing I’ve learned (and actually been happy to learn) is the hugeness difference between playing and recording and mixing. I’m actually humbled when I realise that mixing isn’t something you can pick up in an evening session of watching The Recording Revolution! It’s an art form that unlike other forms of art, the majority of people listening could not actually tell you why they like a piece of music that you’ve mixed.
What I will take away from this wonderful thread, and Danny’s phenomenal breakdown of his method is that you have to have a system. His system involved equipment choices and a realisation that his results could only improve with that equipment.
I have no plans to earn a living from this hobby (but who knows?). I used to paint when I was younger (oil paints) and I used to use the standard acrylic brushes from Woolworths. Cheap, but they did the job. Then an art shop opened nearby, and the shopkeeper recommended sable brushes. They cost 10 times the price of an acrylic brush. That first purchase hurt like you wouldn’t believe. I was spending more on a single brush than all my others put together. But my word, when I got home and tried that brush out it was a new world. But I vividly remember that using the sable brush was a gift and a curse. I could now blend colours smoothly, but that only revealed my lack of knowledge in painting!
I guess this long rambling post is trying to convey a few things. I’ve spent the past year really studying the sound of my room. I’ve DIY’d bass traps, tweaked the placements of my speakers, bought various gear that all help me hear music the way it was recorded. I religiously listen to music in this room, trying to breakdown tracks to their element sounds. And I am getting there. Slowly but surely. And as Danny said, the ability to hear things and act on them quickly will reduce / eliminate ear fatigue. I used to listen to the same section 100 times just to sort out the bass drum and bass clashes. I can do that in couple of listens now. I’m making choices faster and more deliberately.
If by some miracle my profession changes and I end up in audio production, my choices of equipment, habits of mixing and approaches to the art form would have to change accordingly too.
My sincere thanks to Danny - not only for the great advice but also to put his views out there without apology and treating an amateur like me with mutual respect - that really doesn’t happen on other audio forums!
You’re very welcome. I’m glad you got something out of it. As far as headphones go, if anyone can make great mixes happen with them, by all means go for it. I haven’t been able to do anything worth bragging about. Decent mixes yeah but nothing compared to what I get with the monitors. I’ve got AKG mk II, AKG studio and 240DF models, Sennheiser HD 280, and Sony MDR 7506. I can’t get anything I’m happy with using them for full blown mixes. Maybe they aren’t good enough.
Madpsychot, did you find you had to learn your room and your monitors after all your corrections were made? That’s one thing I didn’t have to do. I could just hear without having to train myself. In the past, I’d hear something and know it was wrong and I’d have to compensate. Example…
If I mixed on cans or ns10’s with no sub, in my room, I never had enough bass. So of course I mixed until it sounded right. Out to the car with a CD and man, loaded with bass and mud. So I had to try to figure out how to compensate in my room. It was just an impossible, losing battle. I did better with cans and even there, I still fell short.
As soon as I put in the new gear and tuned it all up, I just knew it was right. No compensating, no.second guessing and instant satisfaction. Anyone that comes here and listens to things can hear everything in seconds. I don’t have a super elaborate setup anymore because I found that I didn’t really need it. I switch out monitors once in a while for a change (I have Genelec, Event and JBL also) but for the most part I stick with my Adam A7, NS10, an Adam sub 8, and these freak of nature Logitech speakers with a sub I bought just for a consumer listening experience. I used ARC on them and they sound so right, I use them quite a bit now. I work for a guy once in a while that has a 3 million dollar facility in Philly. He literally sends me stuff and stops over here to reference stuff because it sounds so good. For all the bad luck and gear purchases over the years that went bad for me, I’m glad I got lucky on something. Lol!
Most of my recording is voice, and then when I have time I write and mix my own music. I kind of did it weirdly, in that I was compensating for a thin tinny voice, by boosting the low mids and some lows - I was going for that “Jazz FM” voice. But when I would watch my videos on my TV (which has a great amp and beautiful speakers) all I heard was bass and boom. I mean a ridiculous amount of boom.
One day, as I was playing back some voice recordings, I reached down on the floor to grab something and immediately noticed that the bass in my voice was way to high. When I got back to my seated position, the bass was fine. I’d found a node in the 50 - 150Hz range! I didn’t even know that it was a thing. So, I started playing sine waves and just moving my head around, and then walking around the room.
I then built 8 large-ish broadband absorbers from rock wool, and the difference was night and day. There are still nodes and problems in the room, but from where I sit I can listen with confidence to mixes.
To answer your question, before the corrections I felt like was was constantly learning the sound of the room and the monitors. I had kind of accepted that this is the way that everybody does it. After the correction, it was like my ears had woken up. I can hear things in music I’ve listened to for 30 years, and still pick out things I’d never heard before. This makes using reference tracks a pleasure now, because I’m doing it with confidence in what I’m hearing, and then later what I’m recording.
Now comes the hard part for me, which is actually learning the art itself!
Thanks for sharing that and the other stuff before it. Yeah, what you said up there ^ is sort of what everyone thinks. I have this one friend of mine that is just hell bent on believing he has to master the sound of his room. Granted, in some situations, this very well may be the case. I’m not discounting it. Again, I only speak from my own experience with things and never begrudge anyone on their methods or how they achieve what they consider “acceptable”. But to me, if you have to learn a room, you’re compensating.
When I’ve mixed in crap rooms, I’ve done so just using my own monitors and ARC. At close range, in my listeners triangle, I don’t have issues with the room. As much as we rely on room correction etc, I can tell you, in my experience it’s never been an issue as much as NOT eq-ing my monitors for flat response. That is the biggest issue everyone that hasn’t corrected their monitors is facing. You can spend 10k on monitors…it doesn’t guarantee they make you mix better. Eq them for flat response and add in a little know how, and your whole world changes.
It’s really more simplistic than people lead you to believe. I’ve debunked enough myths in my time as well as silenced many a high and mighty know-it-all assholes (or 100) that love to come on forums like this trying to fool you with their tech talk, big words, loads of links that will send you reading in circles, their pre-amps that cost more than you will ever be able to afford and their attitude of just trying to intimidate people. There is no dark art to any of this stuff, I assure you.
Do some people have a few magic tricks up their sleeves? Absolutely. But there are quite a few that will lead you to believe this stuff requires a totally different approach, when in reality, they usually don’t back it up, or when they try, it’s quite laughable. They want to see you and others that may be less experienced than you, fail. They like ruling the forum roost and get upset when people that have a real clue get on here and tell it like it is while showing real examples. So never buy into the BS or the hype. Thankfully we don’t see that on this forum and it’s a cool place where knowledgeable people really want to help others and everybody wants to help everybody. We’re quite blessed to have this place.
Two words for you since you already have the treated room with good sound. “Sound identification”. That’s the learning part man. Knowing what makes up a good, presentable sound that is good for recording. It takes a bit of time, but that’s really the hardest part and here’s why.
I can drop you 5 mixes that I’m working on that have nothing on them. They stand on their own without any effects at all. Not even eq. This right here is where everyone needs to be. You don’t need all these goofy plugins, distressors, hardware, loads of compression, effects with GUI’s that you can’t even comprehend etc. (Brainworx…are they serious with some of that stuff? LOL! I do use a few of their plugs…but seriously, overkill.)
A lot of it is smoke and mirrors to get you to buy stuff that really won’t make as great as a difference as they lead you to believe. Some of it though, can give you cool coloration. BUT…if your sounds suck, you just colored poo. No matter what color, it’s poo. If you get all your sounds right, the mix takes care of itself. When I mix really deep with my own stuff, I add a little compression on things just to keep them tight…parallel comp my drums because I like that sound for the stuff I’m doing, a few special effects like verb, delay and a few stereo imagers and I’m done.
The eq-ing I do these days is very minimal because I did all the work there in the sound creation. My style is hard rock/metal. My guitar sounds aren’t loaded with bass like most metal heads. They don’t understand that their huge “all alone sound” will not always work in a mix with other instruments. They need to peel back the effects, lose the lows at 80hz and below with a steep Q (or higher depending on the sound) and lower the gain in their amp. That stuff kills a mix in seconds for that style.
Bass has less low end than you think. It gets in the way because people think it’s supposed to have lots of low frequencies in it. What they fail to realize is, if their monitors were giving them the right stuff, they’d hear that a good bass into a good rig or created sound, has all the right stuff without adding in sub low end that muds up your mix or fights your kick drum. The sum of bass and kick equals the overall low end of the song. This is so important yet never gets much discussion.
So for me, because I’m already dialed in and know what a good sound consists of, my eq is usually high pass to remove any extra low end that may have slipped by during the sound creation phase, low pass to control any sibilant highs or air highs that may be present, and then I decide what bass frequencies to accentuate as well as how I want to shape my mids on everything. But on certain things, I don’t touch mids because like I said, I did the work on the sound or I wouldn’t have printed it. Don’t just raise or lower something because someone said you should always lower that frequency. I can’t tell you how many times I’ve ripped into people for that one. It’s like “always take out 320 man”. Yeah, but what if the sound is lacking in that area and needs a little 320? Idiot! LOL! Each sound is its own entity. Always treat it that way. There are no eq starting points as each sound is totally different.
From doing this 100 years, I just know when something will work and when it won’t. The worst thing you want to do is take that whole “we’ll fix it in the mix” attitude. Sometimes you get lucky and polish a turd. Other times, you can waste hours on something that just isn’t right for the song. Knowing this ahead of time not only speeds up your mixing session, it stops…yep, exactly what we’re talking about here…ear fatigue!
So, the moral to my long novel here is…when you actually try and learn things you feel you need to learn, make sure they are the RIGHT things and let them be from someone who is not only credible, but leads by example. If you do what I’m saying here and learn sound identification and then create sounds that are golden, you win every time without having to mix yourself into oblivion.
I’m with you there brother - before my treatment, I either had booming bass, or no bass. My experience was so little that I was practically just ignoring the mids and creating these scooped mixes - all bass and highs, and nothing in the middle. After the corrections, those mixes sounded offensive to my ears. That’s when I EQ’d my monitors, fixed their position in my room, took care of the obvious first reflections that were messing with my highs. For me the eye opener was listing to Steely Dan. Listening on a set of headphones, you can hear the beautiful mixes that they created, especially in my favourite “Peg”. After treating my room, I could hear that clarity through my monitors. I think I’m really proud of the effort I put into that treatment.
I have a buddy down the road here, with a great setup, but an odd shaped room. He insists that he will learn the sound of his room, to which my thought is you’ll never learn what’s wrong or right with a room if you’re constantly compensating for the dead spots, the reflections, and all the other problems in his room.
This is where I am now. I’ll admit, I was a rapid recorder. Record it and fix it in the mix. EQ the low end out of the guitar, refine the bass which was recorded sounding like a bucket of mud. Since Apple Logic was updated a little while ago, and their stock plugins became much better (in my opinion), I have stripped down my template. Gone are the 150 reverbs, delays, wideners, imagers. I did a little research into 70’s recordings, (my holy grail of sound for a band) and realised just how much effort went into dialling in the sounds coming into the tape, and almost how little was done to the sounds (in general) during mixing.
As I record everything direct into the box, I am now working really hard in getting sounds that are usable with minimum post recording. I’m still very much on the upward curve of learning, but what I am getting better at is listening to a great song (Led Zeppelin for example) and knowing exactly which pedal, amp and settings Jimmy Page could be using for that song. I’m not there by a long shot, but I’m not going into it blind anymore.
This made me laugh - and guilty as charged! I was cutting and boosting according to a cheat sheet. Roll off everything under 40Hz, boost 6K by 1.5db, cut the low mids. That was a hard lesson, because I thought the cheat sheet was a short cut to good mixes. I couldn’t imagine telling a painter to use specific colours in specific places as a cheat sheet approach to painting. But we accept in mixing from the “experts”
One lesson I learned last year, while “listening” to mixes (as opposed to just listening to music) was the variation in sounds different bands can have. Some separate out their instruments so that they sound like they are in the room with you. Some mush their sounds together so it sounds like they’re in a stadium. Some push their vocals into your face. Some bury them under layers of guitars and synths. I love the variety. It’s taught me that a “standard cheat sheet” approach will produce predictable and bland mixes. You only have to listen to a Beatles album to realise how many approaches there are to mixing songs.
That’s where I’m heading. The friend I mentioned before is shocked when he sees my workflow for recording. My sounds are set to go, my template is loaded, I hit record, record 2 or 3 takes, press stop. I am spending a lot of time to get my sounds not just usable, but sounding phenomenal as they are recorded. Still a ways to go, but definitely heading in the direction I want to be heading in.
Seems like you’re headed down the perfect road. Do keep us posted on your progress. I’m actually excited for you. It’s a breath of fresh air to talk to guys like you all the while knowing that you’re already pointed in the right direction. Honest when I tell you, remember this conversation when you start really getting into this stuff. You’ll see it will be exactly as I said.
One thing to think about though. Now that I know you’re a classic rock guy, there are definitely some thing to consider when trying to get those sounds authentic. All the stuff I sort of told you I was against, you know…special mic pre’s, plugins etc…well…lol…they really help with this style of music.
Basically, you’re dirtying your tracks up in a musical way. For stuff like this, I love the UAD plugs as they seem to simulate all the gear that gave classic rock that sound. The tape machines from UAD especially. I have a few others from Waves and someone else…but nothing in my opinion, tops the UAD processing plugs. Tape machines, compressors etc. Some of their stuff is hype and fluff, but I’ve compiled a list of the stuff that truly makes a difference for the better from them.
The only issue with the classic rock sound is, if by chance you are ever going to shop anything anywhere (you never know) the sound instantly dates you. I’m also a classic rock guy, but at 51, I can tell you I’m just a little tired of hearing the same old songs since the late 60’s and 70’s. Granted, I love the stuff and appreciate it. But I’m trying my best to change with the times and sort of create my own sound based on what I like from the past as well as the present.
I grew up on all the great classic rock bands you probably know and love. But for me, the big change came in the 80’s when production and guitar players seemed to take over. Yeah it was over kill on so many fronts and we had our share of dudes that looked like chic’s that were better looking than their song writing abilities…lol…but, that was my time. By the time I had sort of learned how to produce that style, it was the year 2000. LMAO!
So these days, I like to write songs with a sort of “take you back” with the hook or maybe even the arrangement, but I’m going for the “today” type of sound. My biggest issues are, I love vocal harmonies…whisper tracks, stacked vocals and guitar solo’s. As soon as you do that stuff with any sort of discipline, you’re dated. The object today is to do what you do while leaving dirt under your nails. Like, in my day, sloppy was sloppy. You didn’t solo if you couldn’t play in key. Today, it’s acceptable to NOT play like Steve Vai…which is a good thing. I think we should have people expressing their art in whatever way they see fit. But I also don’t think any of us should be considered dated or “labeled” when something is just plain good.
So yeah, if you want the classic rock sounds, there are a few things you’ll need to grab in order to sort of warm up your sounds. That’s basically how that sound works. No bass under 70 Hz, no highs above 8-10k, more mids than today, and slightly degraded (in a colorful way) audio that has a little character due to the pre amps used or the plugins that place you in the realm. As long as you’re happy with your results, that’s all that matters. Great talking to you brother, looking forward to hearing about your progress.
Thanks for your professional advice here Danny. Your story of how a decent set of monitors (and sub) really made a difference is helping me to go and search for some serious funds…
I think I’m at a similar place your friend was in. I even have Samson (Rubicon) monitors. But I do have a treated room. Even so, the Samsons only have 5 inch woofers, so I have a lot of trouble guessing the lows - as you predicted. I have found a work around. I have a reasonably good set of cans ( AKG 702) and a cheapo set ( Devine Pro). The latter I only use for recording and they sound pretty bad compared to the AKG’s (not much highs). BUT, I found out they can go low, all the way to about 30 Hz. Probably not very accurately, but I do hear things I don’t hear otherwise. So lately I’ve been using them to check the bass/ kick in the low end. It’s better than nothing, but still not very good. I won’t be able to spend money on both a sub and new monitors. I was thinking along similar lines as the advice you gave your friend. I’m looking out for second hand JBL’s. Do you think just buying a sub would do the trick (maybe untill I have enough for the monitors)? And if so, would it make a lot of difference which sub you buy? Do they need to be the same brand as the monitors? Is there a lot of difference between subs?
You’re very welcome! If you’re on a budget and can’t get everything in one shot, here’s what I would do. Just about any decent sub will work as long as it has frequency control. You want to have the ability to adjust the sub low end that you need for your particular room. I’d suggest either the Adam sub 8, the Rokkit 10 or the JBL10 my bud just got. Something in those price ranges would be ideal for you. The next necessity is ARC monitor correction software or something comparable. You plug your Samson’s into your sub, your sub into your interface or mixer etc, and then correct them for flat with ARC. I endorse ARC because it truly works and is part of the reason I’m in business and have constant traffic in my business. Trust me, as soon as you can hear the right stuff, your world changes.
You figure, even as a serious hobbyist, you may spend 3 hours a night or more per how nights you do it. You should enjoy it stress free without second guessing and creating numerous cds that you make for reference that sound terrible in your car. I used to have this tree in the woods on my road to work every day before I got good gear and room.correction. I’d attempt to hit it with a flying Frisbee CD. Lol! This went on for years until it dawned on me that I was littering. Fixed my room and decided to go visit the tree. Hundreds of cds all over…it was quite pathetic. Yes I picked them all up.
We should enjoy every second of this field. You really don’t need super pro gear. Just good stuff, flat response monitors, a sub and a little know how. Even with limited knowledge, you should be able to.record a song with no processing or effects that can stand on its own. I have a student doing that right now. He has decent stuff, can play every instrument like a maniac but knows nothing about recording. He arms his tracks, presses record with good sounds he created, and he’s at better than demo quality coming out of the gate. So spend the money…wje4n you see and hear the difference it makes you’ll know it was money well spent.
That’s a great story! I could almost see it as part of a movie script: “The long and winding road to radio readiness”. With cd’s sticking in the bark. Did any of yours get burried in the tree?
I have a slightly easier procedure: I download the Mp3 file on my cell Phone and plug it in to my aux in the car.
Hi Danny - just wanted to borrow your brain. After reading your posts, and going back to my studio, I’ve made the decision to get myself a sub for my room. Taking your advice, it’s going to have inputs for the monitors and will output to my interface. Just needed some advice:
Most monitors seem to have 10" woofers. All popular brands, JBL, Mackie, Yamaha have 10" models. My rooms not small, but is 10" not overkill for most rooms? I know 10" woofers will translate bass sounds very well, but I’m worried about the bass overpowering everything else. Or am I confused to how the setup will work.
One final question:
There’s a huge amount written about monitor setup, placement, levels and so on. Almost nothing about sub woofer setup and placement. Do I just throw the thing on the floor under my table? On the table?
I think that’s a wise move. Nah, don’t worry about too much sub. You just turn it down if you start mixing bass light. If you hear bass heavy mixes, turn it up a little.
Placement: I’ve seen so many different placements yet they worked. Sideways, in a corner, but they worked. Me personally, mine are even with my monitors under my console desk. So go under your table. Three keys that are important.
Make sure the sub has a master volume control.
Make sure the sub has a frequency control option.
Make sure you use some sort of monitor correction.
The master volume on the sub needs to be used sparingly. You don’t need much. You want to hear a little and feel a little low end, but you want to hear more than you feel. Set up the sub volume and frequency controls while listening to reference material you know really good as well as your own stuff. Just add in enough sub to where it rounds the music out and select a frequency that gives you a happy medium. Too sub low loaded can cloud your decision making. Using too high a frequency can thin things out too much. Your room correction is going to curb the sub a bit or boost it a bit through the software as well as help choose the best frequency for your room based on its analysis. So don’t worry too much about manual perfection.
Once you get to that point, you gotta use correction like ARC from IKMultimedia or something comparable. Missing this step can make your journey even longer. In my humble opinion, if you are set up in the proper listeners triangle where your monitors are as far apart as they are from your main listening spot, room correction will be less important than monitor correction. I’ve mixed in some realy crap rooms when some of the studios I’ve worked in over booked and put me in storage rooms. Without monitor correction, I would have been toast. At closer range the room won’t wreak as much havoc no matter how bad the room is. Sort of like micing at close range. In a room with reflections or echo, you don’t hear the echo when you mic up close. It’s there but the other instruments hide it and it’s not as apparent anyway.
So make sure you correct the monitors. To me, it’s the most important decision you can make. Good luck!
I’ve spent part of my (free) afternoon tuning my speakers… for free!
What you need is the free room measurement programme ‘Room EQ Wizard’ (REW) and (preferably) a measuring mic. I bought a Behringer ECM 8000 for about 60 euro’s a while back. It has a bit of a steep learning curve this REW programme, but it’s worth it. I think I understand my room a lot better. And a good instruction vid helps too: instruction video room correction. I had fiddled around with the REW software before but didnt understand exactly how it worked until I found this video.
What you do is make some (pink) noise and measure what actually comes out of your speakers. then you let the programme calculate the best eq filters to reach a flatter curve. Then you record those eq moves as an impulse. In your DAW you load up a programme that works with impulse responses - in Reaper that’s Reaverb - and stick it on the very end of your plugin chain of your masterfader. Hope this makes sense. I’m guessing it does the same thing a dedicated plugin like ARC does, but for free:
Oh and it works: even with my 5 inch woofers I’m already getting a better bass response! I’ll have to do it all over again once I get a subwoofer, but now I know how it won’t cost me more that half an hour.
Thanks Danny for reminding me to give it another try
I just stole the sub-woofer from our living room and set it up in my basement studio and am listening to some tunes trying to balance things out while I check back on the forum.
Next up is the ARC or Sonarworks Reference 4, whichever happens to have the best price when I’m able to pick it up.
@Aef Thanks for posting that software! I have to try and get a check it out in the meantime!
I can only thank Danny for giving advice that’s straight down the line and honest. As far as I’m concerned, this may the single best forum post about starting to mix and with Danny’s advice I’ve decided to sell some of my underused / unused items and will definitely invest in a subwoofer.
I’m mindful that I’m an amateur in the best sense of the word, And laying down $1000 on a sub is just silly. I often think that the amount of money I spend on this hobby of mine is going to be inversely proportional to the length of my marriage. It’s a balancing game…
But once I’m back at home (I’m currently touring Malaysia with my family) I’m going to convince my wife that my birthday present needs to be a reasonably priced sub, and then I’ll try out REW. I might even possibly have bought ARC years ago in a bundle but I’ll have to go through my emails to see if that’s true or not. I’ve got a Beheinger ECM8000 lying around (I actually use it as a second mic on acoustic guitars), so I can at least try REW and see what happens.
I know I’ll be sitting down for a few days listening to my reference tracks of Steely Dan and Daft Punk to see what all this effort is going to do to my sound. I’m also thinking about some more room treatment as well, if the wife doesn’t divorce me first…
I tend to agree with you there! Although I’m aware of the fact that I am now far enough in my mixing experience to appreciate these things for what they’re worth.
I also realise we moved away from the original post about ear fatigue. Maybe this is worth a separate post?
I’m with you there too!
I guess I’somewhat lucky there. My wife likes time for herself, has her own hobby’s and doesn’t need me around all the time. But even so I guess it’s a balancing act
Let us know how you fare, and what you think of the results.
We could even start a separate discussion on the way you apply eq’s in the REW software (I applied only up to 1000 Hz, others might only use it for the bottom 500 or even 200 Hz. REW has its own forum for the sound nerds that use it, but there’s a lot of Hifi/ home theater people on it. Not quite the same as home recording in a room that’s too small with a couple of DIY bass traps.
Build your own. I made 22 bass traps (I know, I 'm overdoing it, but it’s a lot easier to add some room ambience than to try and get rid of built up resonances). There’s several DIY project discriptions on You tube. Not very difficult. I got some second hand wooden slats for the sides for next to nothing and paid about 150 euro’s (about 200 dollars) for the cloth. I had quite a lot of 10 cm rockwool left lying around after a large renovation of our house and my (‘room in a room’) studio in the basement, so no extra costs there either. A lot of hours work though… Took me a couple of months, 3 or 4 a week. About 3/4 of an hour each.
22 bass traps. That’s a bold statement (heard clearly without resonation…).
I’m DIY all the way. If I can build it and not buy it, I will. I built 8 myself to a very simple but effective design. I can whip out 8 in a single afternoon. I was toying with making another set, but I think I’m going down the sub and room correction route first. I haven’t done that thing I see on YouTube where I see some kid sitting in a room hot glued top to bottom with foam panels. I find it quite depressing to look at.
Hey @Aef - thanks a ton for posting this! I had no idea about this software. I was able to borrow a reference mic from a friend and am set to start trying to tune my room with my newly added subwoofer. Very excited!
Got any particular words of wisdom regarding the REW software?
