![]() ![]() I’ve read a few things on the subject matter. without head tracking the 3D image will collapse. I imagine they will keep adding to their headphone selection as time goes by. There’s a version that can now be used with their Ambisonic 3D/VR encoding/decoding plugin. You can “Lock” your position though, which is the better way to go about it. It’s a mistake to turn the tracking off though, since it stops “projecting” the 3D image. It works best with the BlueTooth Head Tracker though, as it follows your head through 3D space and adjusts your virtual monitoring position accordingly. It’s main thing though is that it emulates a set of speakers in an ideal space, make if for a more reliable monitoring experience. ![]() Although they only have a few headphone models at this stage. There is zero latency too if you use it as an insert on your master bus. ![]() There was far less improvement on my K702s, which are much flatter. I have some serious considering to do.ĭemoed Sonarworks 4 recently for headphones and was floored by the huge difference they made on the AKG k271s. that tracker is available for preorder now. Of course, no substitute for real speakers, but it comes pretty damn close and does seem to be better than a pair of speakers place in a less than desirable environment.īut damn. It reveals a lot about your mix and takes the mix out of your ears and puts it in a physical space. So to hear your sound going through speakers without actually going through speakers, you really do need to get those aspects right. How this helps, is there is all sorts of frequency and environmental influence on the sound. As I turn my head to face these speakers, the tracking accommodates and it actually does feel like I'm staring at my speakers.Īfter I had gotten adjusted to it, I tried out the default, closed my eyes and was better able to visualise speakers in 3D space. It helped me to create a preset that mimicked my studio setup, so that way I could visualise the sound emerging from the speakers. It took me a little while to see past the "reverb" kind of effect and actually be able to visualise the speakers in 3D space. Oh yeah, that does a similar thing to NX, without emulating actual physical space your speakers would otherwise be occupying. I may be the example, or one of those exceptions people often refer too. Oh and then there is the use of reference mixes so I always have a fresh idea of what the average levels should be. I want to envelope the listener, without swamping them in the stereo space. Its easy to boost it too much, because all that stereo goodness is like ear candy, but I'm all to aware of this and avoid it. Then I will introduce the other elements, offsetting stereo elements, and opening up the stereo field just enough where it doesn't take away from the drive from the centre. This may be due to primarily starting a mixing in mono, getting the core elements working together first, with careful attention applied to the bottom end and overall loudness. Mids being too low usually aren't an issue in my case either. I'm not just talking offsetting guitars or putting a delayed version on the other side, I'm talking about offsetting 2 different types of sounds, that share a common tonality, harp and acoustic guitar as one example, maybe piano and acoustic, if the piano isn't too bass heavy, or maybe a Rhodes and a piano or a guitar of some description. This is was an analogue style approach from the earlier days. I also like to balance similar style sounds on either side like a form of counter point. For example, starting a mix off more narrowly but as the sound builds up it not only becomes louder, but wider. This is probably owing to the nature that I like to use the stereo plane as another form of dynamic progression. I never had a problem of mixing too narrow too much. ![]()
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