simeon
As others have mentioned some great input on this subject which shows why the Cakewalk community is a great resource.

This is absolutely true!!  I really hope we don't lose track of each other in the transition to the new forum, whenever that happens.
 
JB

"Another technique is to spend time listening to those references in your room. For most of them, you've probably only listened to them outside of your recording space before. But after a few hours of just listening - no need to measure or take notes, just listen - and your ears will gradually "learn" what a good spectral balance sounds like on your speakers in your room. Eventually, you won't need the spectrum analyzer except as a double-check."
 
This!
 
My room is crap, It's been a long time I've been stuck in a corner in my proper studio space and then lately I moved downstairs to our TV/office/Guest room so as not to abandon my wife completely.
I'm in possibly the worst space I have ever used. But--- I have my monitors I have used for now over 20 years and I not only mix my music, I sit and listen to all music in that space, I also watch a lot of music u tube videos of concerts etc. 
I 100 % use my ears and at all levels while mixing. I also have a set up with my master section that involves the Brick wall limiter and my sub buss meters hitting certain levels. I also use hi Pass EQ on all busses. ANyhow, A nice room would defiantly make tracking sound better, but I find I can mix just about anywhere as long as I have my trusty near fields.
 I always thought that that was why they called them "near fields" The room is not as much a factor and lower volumes and when the speakers are that close to you.

Cactus Music
"Another technique is to spend time listening to those references in your room. For most of them, you've probably only listened to them outside of your recording space before. But after a few hours of just listening - no need to measure or take notes, just listen - and your ears will gradually "learn" what a good spectral balance sounds like on your speakers in your room. Eventually, you won't need the spectrum analyzer except as a double-check."
 
This!
 
My room is crap, It's been a long time I've been stuck in a corner in my proper studio space and then lately I moved downstairs to our TV/office/Guest room so as not to abandon my wife completely.

That's funny!    My wife complains that when I'm working on a project I get "lost in there" (my recording room).
 
JB

Well she say's even when I'm upstairs in the attic studio she hears what I'm doing anyhow. She is used to hearing the same song over and over a million times for 40 years now. :}
 
I bought her a set of Sony Bluetooth Head Phones and she listens to videos while knitting and my work doesn't bother her so much then,, I mostly will be editing MIDI and using headphones too. I save all vocal and guitar tracking for when she's out and about or go back upstairs.
 
When I retire in a few years I will get around to a nice studio re-build in the attic with proper treatment and speaker placement. I will even build a floating isolated sub floor as the ceiling is high so I've the room to do this.. I want lots of Cedar! I love the sound of cedar rooms.

Is ARC worth owning and using if you don't have room treatment? 

I thought that is what it's for.

I would've sworn I read in this thread that it would be foolish to use ARC without starting with rudimentary treatment first, but I can't seem to find the comment.

I use ARC in an untreated space.  ARC has my low end completely under control.
 
When I finally get around to re-arranging and treating I will remeasure and see where I'm at.  I fully expect to continue using ARC, but I also expect ARC to have less work to do.

Cactus Music
Well she say's even when I'm upstairs in the attic studio she hears what I'm doing anyhow. She is used to hearing the same song over and over a million times for 40 years now. :}
 
I bought her a set of Sony Bluetooth Head Phones and she listens to videos while knitting and my work doesn't bother her so much then,, I mostly will be editing MIDI and using headphones too. I save all vocal and guitar tracking for when she's out and about or go back upstairs.
 
When I retire in a few years I will get around to a nice studio re-build in the attic with proper treatment and speaker placement. I will even build a floating isolated sub floor as the ceiling is high so I've the room to do this.. I want lots of Cedar! I love the sound of cedar rooms.

I love the smell of cedar too.  So, are you saying that your music bothers your wife?  She must not like your music that much!  That's odd for a couple.  Try writing her a few love songs "just for her".  That always works wonders.

kennywtelejazz
Some real good people I respect chiming in here in this thread
 
I don't have ARC so I cannot comment on using it .
FWIW I have seriously wanted to pick it up . My hesitation has been the same two old brick walls I have hit in the past ...
Having the money to get ARC with out having to go out on a limb in other areas of my life and more importantly when I am being a 100 % honest with my self I know there are areas of my skill set that have large holes in them ...
 
Will buying a new set of tools change much for me ? or am I more in love with the idea that I like the rush of going on an all expense paid up front VST production suite honeymoon ..
My time might be better served methodically learning what I have already on hand with my tools .
If I was to invest a little focused time in reviewing and relearning the some of the basics I learned half a$$ed along the way in my journey  .
I will be able to even out my knowledge and production skills to bring a few areas I'm lacking in up to speed ...
 
As far as what a few people have said here , I agree with much of what has been said and I also disagree peacefully with a number of things that have been said also .
It is not my desire to be contentious or to take sides ...
I will say that when it comes time to engage in the activity of self produced music , there is absolutely no reason to do so while flying blind and deaf ...
If I'm looking at things too much in my DAW and I'm getting hypnotized by all the dancing objects in my GUI
I will close my eyes and listen to see  if my eyes are doing all the listening ...
Or on the opposite side of things , if I'm grooving on the playing and I'm digging how the song is coming along yet I am blocking out sections that just don't sound right too me I may need to open my eyes and make some changes.
If my foot ain't tapping and I'm not saying wow that section gave me chills .Chances are the tune is gonna die on the vine anyway .
 
Good points have been brought up on being able to understand what you see and hear while using your production tools .
Those skills are never static because each and every new song or musical project you involve your self with will present it's own unique set of challenges ..
The people here on the forum that perform and record in multi genre forms of music can attest to that ...
 
anyway it has been nice talking w you ,
 
Kenny

The main question you have to ask, is when you take your mixes out of your studio and play them elsewhere - i.e. the living room hifi or your car - does it sound more or less the same, or (more importantly) still sound good?
 
If the answer is yes, then ARC2 is probably not a priority.
 
For me, I'd play my mixes on my hifi and there was literally no bass whatsoever. All of my mixes sounded awful. I'd play them back in my studio, and they'd sound fine.
 
ARC2 totally fixed this issue for me.
 
The proof to me was that after setting ARC2 up, my mixes sounded just as bad as they did in the house! So I did the necessary adjustments, and it sounded good in both environments.