Ever wonder why every studio on the planet has RANE eqs on the montiors?

Honestly, I'm more accustomed to seeing Klark Tekniks.


http://www.dolby.com/uplo...e__SMPTE%20Journal.pdf

http://www.editorsguild.c...01/ioan_allen_one.html



Only a small portion of the studios I've been in use any correction EQ on the signal sent to the monitors, and of the ones that do most, or let's say all, of them are doing film or surround mixes and need THX certification and Dolby compatibility.

All the studios I know bypass their film curve EQ systems when it's time to mix 2 track music for music projects.


I'm just pointing this out because the idea that some studios use room correction EQ for a very specific task doesn't equate to a conclusion that everyone will benefit from copying the practice for a wholly different task.


best regards,
mike

you can not correct time domain problems in the frequency domain. No crime in trying, back before we had the tools to make the measurements to demonstrate this. In fact the logic is quite tempting... if you could create the inverse of the transfer function you'd have a neutral listening space. The problem is that the transfer function is neither time nor location invariant. oops! There are some surround formats that require additional processing, and that's fine, and both Rane and KT will get the job done. But, you have to understand the limits of the tools, and their proper application!