Another question for Bit: what is the thinking behind the Q-values for each of the bands? 

dubdisciple

bitflipper
Headphone compensation is a much easier task than attempting to correct room acoustics. With headphones, it's all about the deficiencies of the headphones themselves, deficiencies that are not as dynamic as room problems. Consequently, any parametric equalizer can manage it, as long as you have a reliable frequency response curve to advise you.
 
A good resource for that kind of information is headphone.com. It's what enabled me to create this correction for my day-to-day headphones (ATH-M50):
 

Silly question but is this applied to master bus while mixing or is this something done at the end to compensate? I work with a lot kids who do a lot of mixing on headphones and would like to share this resource. Just want to make sure I am sharing accurate info.

In the absence of bitflipper, might I hazard a guess that it's applied to the master bus while mixing and then taken off before exporting, in exactly the same way as ARC is used. 

Sharke..thanks. figured that but thought best to make sure. Going try myself.

sharke

dubdisciple

bitflipper
Headphone compensation is a much easier task than attempting to correct room acoustics. With headphones, it's all about the deficiencies of the headphones themselves, deficiencies that are not as dynamic as room problems. Consequently, any parametric equalizer can manage it, as long as you have a reliable frequency response curve to advise you.

A good resource for that kind of information is headphone.com. It's what enabled me to create this correction for my day-to-day headphones (ATH-M50):

Silly question but is this applied to master bus while mixing or is this something done at the end to compensate? I work with a lot kids who do a lot of mixing on headphones and would like to share this resource. Just want to make sure I am sharing accurate info.

In the absence of bitflipper, might I hazard a guess that it's applied to the master bus while mixing and then taken off before exporting, in exactly the same way as ARC is used. 

It depends on how your headphones are connected.
 
If you have the luxury of multiple outputs on your audio interface (mine has 26) you can set up a "Mastering" headphone output.
1) create a bus called "Master Phones" and route the output to a stereo pair of your choice, preferably one with a headphone amp connected.
2) add eq to the bus FX bin to flatten the phones response.
3) add a limiter to the buss FX bin to protect your ears from overs...
4) add a post send to the Master bus routed to the Master Phones bus.
 
An additional tip..
 
Create a bus for your monitors, route the output to your monitors the way you'd usually route the Master bus.
Place ARC in the monitor bus FX bin, route the Master bus output to the monitor bus.
 
You can now do all your exporting from the Master without having to remember to bypass arc.

Karyn has it right.
I have my MASTER buss output to the ARC buss which is routed to my monitors.
Always route bounced mixes or exports from the MASTER.
Also a "send" on the MASTER outputs to the headphone amp.
I'll now route that send to a "phones" buss or multiple sends and busses when using more that one set of cans...
 
Tom

Karyn, great ideas! Thanks.

A separate bus for headphones is the way to go, as Karyn and Tom suggested. You just add a pre-fader Send to the master bus and route it to a separate bus that just drives headphones.
 
This'll work well for the mixing and editing stage, before any effects have been added to the master bus. The best part is you don't have to remember to disable the EQ when switching to speakers or when exporting. And for you ARC users you don't have to worry about accidentally applying ARC correction in the headphones.
 
When you get to the mastering stage, just drag the EQ up to the master bus so you can hear effects that have been inserted there. Headphones for mastering? Yes, I do like to listen to the headphones while mastering. They are my secondary reference.
 
As for how I arrived at that EQ, it was primarily informed by the curves from headphone.com and then tweaked by ear. It doesn't have to be all that scientific, really.
 
But now that you've asked the question, you've prompted me to think about how I did arrive at those bandwidths (it was a couple years ago). It appears that my filters are narrower than the calculations might suggest they should be (4 versus about 3). I'm guessing I adjusted them until the valley between the two peaks was at the right level. The alternative would have been using three even narrower filters.
 

Thank you all for the tips.

Glad it works for you! If you think that's great wait until they come out with ARC3...

DeeringAmps
Karyn has it right.
I have my MASTER buss output to the ARC buss which is routed to my monitors.
Always route bounced mixes or exports from the MASTER.
Also a "send" on the MASTER outputs to the headphone amp.
I'll now route that send to a "phones" buss or multiple sends and busses when using more that one set of cans...

FWIW, Cubase users can make excellent use of the Control Room for this sort of thing.  I spent part of an afternoon setting it up (starting with zero control room experience and not all that much Cubase experience).  I have ARC on the speaker channel, along with Magic AB and a "default" reverb with a moderate hall setting.  I have a headphone channel that goes to a VRM box (and never accidentally has ARC active for that output).  There is zero chance of forgetting to disable ARC for an export, although I do need to remember to bypass the speaker channel verb when I add full-mix verb, something that only will happen late in the game.
 
The only mystery was the metronome tick.  It was audible on the phones, but not the speakers (maybe that makes some kind of logical sense, but it was an obstacle).  Turns out I had to mess around with a cue send channel (don't recall the exact details of the solution), but I did mange to get that sorted out as well.  All in all, a very happy camper with this approach.