6.4.2
USING THE OPTIMIZER & 3D-MICROPHONE
Before calibrating the system, it is useful to understand more about the Optimizer and 3D-Microphone.
6.4.2.1
“OPTIMIZER”: THE TRINNOV DIGITAL ACOUSTIC CORRECTION
The “Optimizer” is a digital processing module included in every D-Mon processor. It provides studio monitoring loudspeakers
with the best possible response
according to the particular room
where they are installed. This means that no “pre-calibration”
can be made before installation and that after a change to the room or speakers, a new calibration should be made.
Thanks to
advanced, patented and unique algorithms,
the Optimizer module can fix acoustic problems such as changes in energy
response, frequency response, time alignment, level alignment, early reflections interferences, room modes, phase coherence, and
so on. The system works by assigning a dedicated “filter” channel to each loudspeaker within an Optimized Speaker Set. Thus,
depending on the D-Mon model number, multiple speaker configurations can be handled at the same time.
Thanks also to
presets
, it is possible to manage the same loudspeakers in different arrangements – for example, create an
optimized stereo pair from the LR of a 5.1 setup. Or, handle lots of different loudspeakers – for example, a
D-Mon|6
could handle
12 different loudspeakers by using presets for 3 x optimized stereo pairs OR 1 x 5.1.
Making it happen:
The D-Mon processor must be installed at the final stage in the audio chain before the loudspeakers. This allows the Optimizer to
process all the signals to be played out from the “tuned” loudspeakers (as with a standard loudspeaker EQ):
Your studio’s mixing gear
Analog console,
DAW Audio Interfaces,
Mastering, Externals
Your Speaker Sets
5.1,
Stereo A,
Stereo B
Then, to compute the “correction filter” applied by each Optimizer channel, you must perform a calibration run:
i.
This process requires the Trinnov 3D-Microphone to be placed at one or more listening points to sample how the room
reacts – for example, at the mixing position, the producer’s couch, etc.
ii.
At each listening point, the D-Mon processor generates a special noise (MLS bursts) and outputs this to the loudspeakers.
It then samples how the noise bursts are reproduced.
iii.
By comparing the generated noise bursts with the speakers’
reproduction, the processor can calculate the most appropriate
correction filters to apply. Lots of graphs are also generated at this
stage to help with user-defined fine tuning.
iv.
Following this initial acoustic tuning, many fine adjustments can be
made to the frequency response, phase coherence, latency, impulse
response, etc. via the OPCP GUI (shown opposite). Depending on the
actual acoustic situation, the Optimizer makes the best compromise
between all user-defined parameters.
v.
The final tunings can be stored in presets. This allows you to store
and compare alternate fine tunings as required.
From here on, you will have the best possible sound from your room AND
your loudspeakers.
