This software fixes what you hear in your room, so it needs to be the absolute last thing in the chain before the speakers. It’s imperative you always follow this step anytime you start a new session. To use your new calibration, open your DAW of choice, and on the very last slot of the Master Out you insert the Sonarworks plugin. Once you’ve done that, the calibration is complete and it’s time to actually start using the software!
You do this a number of times in many different assigned spots to get an accurate image of your room. Once you have positioned it in the correct spot, the pulsing sound stops and it begins the calibration. At this point, the software will continuously put out pulses of sound, and the microphone picks up the sound and in real time shows you on the software where your microphone is and where you need to position it. Once that’s done, you move on to the actual calibration of the room, and this is where Sonarworks’ use of smart design really sets it apart from the rest. The first part is to get the calibration software to learn how far the speakers and the walls are from the listening position. Of all the room calibration software I have used in the past, Sonarworks probably makes this the easiest and most painless. There is some leeway to what microphone you can use, but if you want the most accurate results you should probably use the microphone that Sonarworks themselves sell, and this is what I used for this review. So how does it work? Other than the software required to run the calibration, you also need a special calibration microphone.
Sonarworks reference 4 calibration files tv#
Now, the idea behind this type of software is nothing new – it’s been around for many years, and anyone with a decent TV surround sound system will probably be familiar with the concept as they usually come with higher end audio receivers. Even the most well-treated room will have some inconsistencies in the frequency spectrum. Most rooms have this problem, some worse than others, and it’s a problem I have personally faced from the very beginning to this very day. By “flat”, I mean there needs to as little inconsistency in the frequency spectrum that you hear in your room as possible. Why would you want to fix such inconsistencies? If you are serious about post-production in music (mixing and mastering), then to ensure what you are working on translates well to any system, you need to work in an environment that is as “flat” as possible. It not only tries to solve the problems your room is causing, but also any level inconsistencies your monitors might have.
For those of you who are unfamiliar, this type of calibration software attempts to correct inconsistencies you might face in your room to create a reference level listening environment. Hey guys, today I will be checking out the Sonarworks Reference 4 software.
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