You can create your own by simply modifying a captured spectrum measurement. It should be noted that the target curves in Smaart only work in Spectrum mode. Or simply use MTW in Smaart, put the mics at ear height (or do a ground plane measurement) and rely on the coherence curve to help you navigate your way around the limitations of your measurement. Or put the mics up really high off the floor, now you can window out the reflections without taking a "hit" on the LF resolution (because you can have a larger time window), but you no longer see the boundary effects in your measurement. It is more challenging to window out those reflections while getting sufficient resolution in the LF because the reflection path is relatively short.
Which opens up a measurement can of worms.put your measurement mics at ear height, so that you can see the boundary effects of the floor, but at the same time you're having to deal with the cancellations from the floor reflections you typically see in your measurement. 12 ft in open space, and you will see a change in the LF, even a few dB. Get yourself a 12 ft stepladder, and listen/measure the system at a seated listening height vs. Our ears have grown accustomed to this phenomenon, hence why it's desirable to hear sound systems tuned this way. so listen.įWIW In 2015 I'm seeing more and more people listening (and mixing) with their eyes :roll:Īctually that low frequency "boost" you mention has more to do with the position of our listening plane (our ears) being close to the floor, consequently we are hearing the boundary effect on the low end response of the system. There will of course be some things that you can not fix with EQ, and should not try to fix. I would just make sure what your are doing has a smooth Smaart trace, has a gentle boost in the low end, and sounds natural. … and that's why some measurement programs are now starting include“Target Curves” that are not "flat". That’s why we tend to prefer systems with in-field Smaart measurements that are not quite flat and appear to have transfer functions that have a gentle low frequency boost.
It’s tricky, we as sound engineers have to match our hearing’s perception with EQ. Our hearing does all sorts of cleaver stuff and our perception does not quite match what Smaart measures. For a speaker to sound correct it should measure flat in an anechoic chamber, if we use an FFT measurement with a sample time long enough to capture the low frequencies in a typical live sound environment it will capture other stuff as well.
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