![]() ![]() IK's ARC 2 system is a more sophisticated solution, combining equalisation with time-domain manipulation to get around some of the phase issues caused by basic EQ. In other words you can't expect EQ to turn a cave into a mastering studio. Where the room has been acoustically treated, well-considered equalisation can nevertheless make a valuable contribution to monitoring accuracy, but in my view it isn't a substitute for room treatment. Simple monitor equalisation is a compromise solution: resonances are time-domain effects, whereas equalisation is a frequency-domain solution, so although you can pull down the level of the monitoring at frequencies that coincide with resonant peaks in the room response, those resonances will still exist and can still cause overhang on notes hitting those resonant frequencies. At one time this was done by ear using graphic equalisers, but the room resonances aren't always considerate enough to fall exactly on the frequencies your graphic EQ offers, and even if they do, a third-octave graphic equaliser can still be too blunt a tool to do the job with adequate precision. Many rooms are simply too small to fit effective bass trapping, and even in larger studios, some form of monitor equalisation may be required to achieve a subjectively flat response. This can result in a huge improvement, but it is rarely a complete solution, and in particular, does little to address any serious low-frequency concerns. ![]() In a typical home studio, as we see in many Studio SOS articles, that might mean installing some mid/high absorbers and finding the best position for your monitors. The right way to sort out monitoring problems starts with fixing any room acoustic problems that are fixable. ![]() Enter IK's updated monitor correction system.Īlthough it handles analysis and correction in software, the ARC 2 package includes an omni microphone to take the necessary measurements. It's not always practical to solve room problems with acoustic treatment. ![]()
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