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耳机数字校准 Sonarworks Reference 3 Plugins v3.0.4.10 Mac

ajin 2020-11-15 10:01 18人围观 音频工具

新兴耳机软件厂商 Sonarworks 发布了一个可以校准耳机的插件 SonarWorks Reference。有多神奇呢?

在校准之后,会产生一个高分辨率的测定曲线并通过使用 DAW(数字音频工作站)插件来补偿每个频率响应倾角和曲线。耳机可以调整达到平坦的响应,包含有各种有用的预设,甚至可以让耳机变得听起来像其它耳机或者音箱。

Can Sonarworks’ calibration plug-in help to make mixing on headphones less of a compromise?

Following our recent cover feature on control room design, one reader took to the SOS forums to ask whether it is ever cost-effective for home studio owners to spend thousands on acoustic treatment. Why not simply buy a good pair of headphones, and cut the room out of the equation entirely?

All other things being equal, there are plenty of reasons why good speakers in a good-sounding room are desirable. Long periods spent working on speakers are less fatiguing and less isolating than prolonged headphone use. It’s easier to pick up the warning signs of excessive volume that can cause hearing damage when you’re working on speakers. And there are some crucial mix factors that are notoriously difficult to get right on headphones, such as vocal levels and reverb treatments. My own experience is that a mix that sounds good on speakers will nearly always translate well to headphone listening, but that the reverse is not a given by any means!

Having said that, mixing on headphones is simply a fact of life for many SOS readers, whether it’s because we don’t have the space and budget for a control room, or because we’re mixing on the road. I’ve used quite a few pairs of ‘phones over the years, and am often surprised at quite how different from one another two supposedly ‘flat’ headphones can sound. And while it’s true that familiarity with any monitoring system enables you to learn its quirks and compensate for them, I often feel that there are ‘blind spots’ to which you never fully acclimatise.

For instance, quite a few of the studio ’phones I’ve tried have a noticeably ‘scooped’ frequency response, which exaggerates the high and low frequencies at the expense of the mid range. Even when I know this is the case, I find it undermines my confidence in making decisions about the bottom end, and in evaluating potential mix problems such as excessive sibilance or cymbal wash. Treble boost can easily mask problems in the mid-range, and most closed-back designs also suffer to a greater or lesser extent from a boxiness in the low mids, which can make it really difficult to know whether a ‘tubby’ bass sound is a real problem, or whether overhang from the kick drum is really masking something else.






原作者: ajin
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