[morgin]

I will try this method if I get a chance to do measurements again. Yours looks very secure so there isn’t much movement. It’s a shame we can’t just use your measurements and add in our ears.

 

[musicreo]

samson mic is 3mm mic. And My eartip is E500 final audio E-type SS size.
First, I pulled on the ear and pushed it in deeper, and second, I pulled on the bottom of the ear where the ear canal bends in the ear and pushed it in a little bit more, like a little bit upward, almost to the point where it hurt. I made a "plop, plop, plop" sound. When I put it in this deep, I can't see the microphone at all in the mirror.
I ran the line behind my ear to clean it up and secured the line around my neck and behind my ear with medical tape.

That looks great. The 3mm capsule looks very interesting as it is much easier to place in the ear canal compared to 6.3mm capsules. How is the noise performance of the mics? Could you compare it against other mics?

 

[Brandon7s]

And this is my ears messurement. It's a different response from the umik mic, right?But this is how I hear (face, shoulder, etc.).
I previously thought of a 50 Hz crossover, but I changed it to 90 Hz. The target is LR4.

I love how far you've taken this, it's brilliant! How are you implementing this dry-bass crossover? I want to try the same thing out but the technique I use involves running audio through a DAW (Digital Audio Workstation) for real-time processing. I'd like to create hesuvi-compatible IR .wav files for use outside of my DAW so I can easily use it with videogames and TV/movies.

Last weekend I tried creating some new BRIR and headphone captures for the first time in about 2 years. I have been pretty dang happy with the few IR files I've been using during this time, but I figured that I could do better, and I was right. The first improvement I made was to get more consistent microphone placement. I don't know why I didn't think of doing it before, but I had some small foam eartips that I never ended up using and these happen to perfectly fit the Sound Professional mic capsules I use:

I am able to reliably place these mics in the same position every time, so that greatly simplified taking measurements from different headphones, since I can do so separately from recording the speakers/room.

The next thing I did differently was to deaden the room as much as I could with household pillows, blankets, sofa cushions, etc. I wish I had thought to take a picture of the room after I added everything to it, it looked like the cave of some hermit with a penchant for fabrics. Despite looking insane, the room treatment made a HUGE difference. The natural decay time of the room went from well over 0.5 seconds to less than 0.35 seconds. To my ears, the room was nearly completely dead above around 500hz or so. The lowest room modes weren't eliminated since I wasn't using acoustic treatment that could absorb much low end, so I did the best I could to find a spot in the room to prevent low-end issues and then captured my Kali LP-6 studio monitors at arms-length away with a 7.1 configuration (I have no subwoofer, unfortunately).

Overall, this new capture came out great. By far the cleanest I've achieved yet. I'm not even sure if can be cleaner except for the low end. Everything above bass is crystal clear and crisp. If I get a dry-pass-through crossover in the low end then I will be able to perfect that portion as well.

TL;DR: I stuffed my room full of pillows and blankets as acoustic treatment and the results were far better than I expect it. I HIGHLY recommend trying that out if you've not done so yet!

 

[morgin]

I love how far you've taken this, it's brilliant! How are you implementing this dry-bass crossover? I want to try the same thing out but the technique I use involves running audio through a DAW (Digital Audio Workstation) for real-time processing. I'd like to create hesuvi-compatible IR .wav files for use outside of my DAW so I can easily use it with videogames and TV/movies.

Last weekend I tried creating some new BRIR and headphone captures for the first time in about 2 years. I have been pretty dang happy with the few IR files I've been using during this time, but I figured that I could do better, and I was right. The first improvement I made was to get more consistent microphone placement. I don't know why I didn't think of doing it before, but I had some small foam eartips that I never ended up using and these happen to perfectly fit the Sound Professional mic capsules I use:


I am able to reliably place these mics in the same position every time, so that greatly simplified taking measurements from different headphones, since I can do so separately from recording the speakers/room.

The next thing I did differently was to deaden the room as much as I could with household pillows, blankets, sofa cushions, etc. I wish I had thought to take a picture of the room after I added everything to it, it looked like the cave of some hermit with a penchant for fabrics. Despite looking insane, the room treatment made a HUGE difference. The natural decay time of the room went from well over 0.5 seconds to less than 0.35 seconds. To my ears, the room was nearly completely dead above around 500hz or so. The lowest room modes weren't eliminated since I wasn't using acoustic treatment that could absorb much low end, so I did the best I could to find a spot in the room to prevent low-end issues and then captured my Kali LP-6 studio monitors at arms-length away with a 7.1 configuration (I have no subwoofer, unfortunately).

Overall, this new capture came out great. By far the cleanest I've achieved yet. I'm not even sure if can be cleaner except for the low end. Everything above bass is crystal clear and crisp. If I get a dry-pass-through crossover in the low end then I will be able to perfect that portion as well.

TL;DR: I stuffed my room full of pillows and blankets as acoustic treatment and the results were far better than I expect it. I HIGHLY recommend trying that out if you've not done so yet!

These latest posts are giving me an itch to try some more measurements.

 

[castleofargh]

I love how far you've taken this, it's brilliant! How are you implementing this dry-bass crossover? I want to try the same thing out but the technique I use involves running audio through a DAW (Digital Audio Workstation) for real-time processing. I'd like to create hesuvi-compatible IR .wav files for use outside of my DAW so I can easily use it with videogames and TV/movies.

Last weekend I tried creating some new BRIR and headphone captures for the first time in about 2 years. I have been pretty dang happy with the few IR files I've been using during this time, but I figured that I could do better, and I was right. The first improvement I made was to get more consistent microphone placement. I don't know why I didn't think of doing it before, but I had some small foam eartips that I never ended up using and these happen to perfectly fit the Sound Professional mic capsules I use:


I am able to reliably place these mics in the same position every time, so that greatly simplified taking measurements from different headphones, since I can do so separately from recording the speakers/room.

The next thing I did differently was to deaden the room as much as I could with household pillows, blankets, sofa cushions, etc. I wish I had thought to take a picture of the room after I added everything to it, it looked like the cave of some hermit with a penchant for fabrics. Despite looking insane, the room treatment made a HUGE difference. The natural decay time of the room went from well over 0.5 seconds to less than 0.35 seconds. To my ears, the room was nearly completely dead above around 500hz or so. The lowest room modes weren't eliminated since I wasn't using acoustic treatment that could absorb much low end, so I did the best I could to find a spot in the room to prevent low-end issues and then captured my Kali LP-6 studio monitors at arms-length away with a 7.1 configuration (I have no subwoofer, unfortunately).

Overall, this new capture came out great. By far the cleanest I've achieved yet. I'm not even sure if can be cleaner except for the low end. Everything above bass is crystal clear and crisp. If I get a dry-pass-through crossover in the low end then I will be able to perfect that portion as well.

TL;DR: I stuffed my room full of pillows and blankets as acoustic treatment and the results were far better than I expect it. I HIGHLY recommend trying that out if you've not done so yet!

Pillows are everything!!!!!!

I'd sooner put a few more pillows in my room pretending I'm doing room treatment, than worry about how I ruined my music with jitter or DS conversion. I truly believe my pillows will play a bigger role(good or bad).

I've done stuff to reduce the noise coming from my regular computer too, with yoga brick, acoustic panels, pillows, etc, but none of that can stop low frequencies. so to my ears it's pretty quiet, but my mics disagree ^_^.

 

[XingYu]

I will try this method if I get a chance to do measurements again. Yours looks very secure so there isn’t much movement. It’s a shame we can’t just use your measurements and add in our ears.

Thanks. Yes. When it's in your ear properly, it won't move even if you shake your head. But be careful, even that tiny 3mm microphone will create that much pressure if it's stuck too deep. You'll need to gently wiggle it out.

That looks great. The 3mm capsule looks very interesting as it is much easier to place in the ear canal compared to 6.3mm capsules. How is the noise performance of the mics? Could you compare it against other mics?

Hi. And thanks.
That's the only Samson microphone I've used, so I don't have any experience to make a relative comparison.
And in a fit of rage against the software of the TOPPING E2X2 (As you know I succeeded indoors hall? gym?, but even then it was a struggle to avoid repeated errors. Outdoors was a disaster.), I smashed it.

So I can't put the microphone I have back in right now to test it, sorry, I'll buy a new audio interface and try that later.
I know a lot of people in Korea use this microphone as well as others like the Soundprofessional CB-900 and Microphone madness MM-PC-11.
I don't know if this is a good thing, but it doesn't seem to be a terrible thing either.

I love how far you've taken this, it's brilliant! How are you implementing this dry-bass crossover? I want to try the same thing out but the technique I use involves running audio through a DAW (Digital Audio Workstation) for real-time processing. I'd like to create hesuvi-compatible IR .wav files for use outside of my DAW so I can easily use it with videogames and TV/movies.

Currently I use a pure signal generated by Rephase or Dirac Pulse for the bass region. You can measure a subwoofer close by, or you can paste in what you measured with a Umik-1 or ECM8000 microphone subwoofer messurement in REW, it doesn't matter, you can add a little reverb, it's a matter of taste.
Just pasting in a purely digital bass that wasn't recorded by my ears feels very awkward and like a no-no, but it's not.
I already know the delay of my own ears (the measurement in the text is 270us, which is 13sample based on audacity 48000sample rate)
I try to get all these different basses, or the rich in-room response that I originally had, like I was aligning the speakers and subwoofer, and then I record it back into the loopback.
And then I place the FL-R with a 13-sample delay relative to the FL-L.
Same thing with the FR-R and FR-L.
This is obviously the same bass with nothing in it, but my brain is tricked by the ITD, and the extreme bass is not important. It's better to have pure bass like this in an uncalibrated in-room. (RT60 200ms)

The next thing I did differently was to deaden the room as much as I could with household pillows, blankets, sofa cushions, etc. I wish I had thought to take a picture of the room after I added everything to it, it looked like the cave of some hermit with a penchant for fabrics. Despite looking insane, the room treatment made a HUGE difference. The natural decay time of the room went from well over 0.5 seconds to less than 0.35 seconds. To my ears, the room was nearly completely dead above around 500hz or so. The lowest room modes weren't eliminated since I wasn't using acoustic treatment that could absorb much low end, so I did the best I could to find a spot in the room to prevent low-end issues and then captured my Kali LP-6 studio monitors at arms-length away with a 7.1 configuration (I have no subwoofer, unfortunately).

Overall, this new capture came out great. By far the cleanest I've achieved yet. I'm not even sure if can be cleaner except for the low end. Everything above bass is crystal clear and crisp. If I get a dry-pass-through crossover in the low end then I will be able to perfect that portion as well.

Good! Even if it's not Glasswool or Rockwool, the more densely you fill a room, the less RT60 it will eventually have. However, bass is not as easy to achieve, and treble is actually standardized to only absorb or disperse ultra-frequency sound (within 20ms), and to reverberate as much as possible to get a full sense of the size of the room.
But nevertheless, your efforts will not be in vain, I'm sure there will be an improvement in the sound as you felt.
You'll find it much easier to measure and check things in REW. It's intuitive.

 

[musicreo]

Hi. And thanks.
That's the only Samson microphone I've used, so I don't have any experience to make a relative comparison.

From the data sheet I tried to retrieve the frequency response and plotted it in comparison to the Primo Em258. I guess the data for the Samson is more smoothed.

 

[Brandon7s]

However, bass is not as easy to achieve, and treble is actually standardized to only absorb or disperse ultra-frequency sound (within 20ms), and to reverberate as much as possible to get a full sense of the size of the room.
But nevertheless, your efforts will not be in vain, I'm sure there will be an improvement in the sound as you felt.
You'll find it much easier to measure and check things in REW. It's intuitive.

I've done some work in REW, though not while using the in-ear mics. I've only used it for manually correcting the EQ of my room outside of use with Impulcifer. I will have to try using it for my next set of measurements.

Speaking of in-ear mics, I just ordered the MS-TBF-2-MKII from Sound Professionals. I own the first version, but this one seems like a significant upgrade in sensitivity and in noise-floor, and I also killed my first pair with super-glue. I don't need to glue anything with my latest foam mic tips, thankfully.

When I make captures when the new mics arrive, I'm going to treat the room less drastically compared to last time. The highs are just TOO crisp and direct now and I get very little sense of the room itself except in the low-end. I will have to experiment with various levels of treatment to find something that still feels crisp and clean but that also feels more natural, like I'm in a nice room instead of an anoechic chamber. I can use artificial reverb to add that sense of space back in, but it's not quite as convincing as actually hearing my own room.

There's one other thing that I really want to try but that I'm not convinced would be an improvement yet: adding a subwoofer. I checked prices today and it looks like I can get one for the size of my room for about $500... which I would do in a heartbeat if I thought that it would give me better low-end measurements. I won't be able to use the sub with my speakers on a daily basis due to living in an apartment with thin ceiling and walls, so I'd literally only be buying this for use when creating Impulcifer captures.

The reason I want to try a subwoofer is because the low end for my speakers rolls off pretty hard after about 60hz or so. That puts the sub-bass at a level that is pretty close to the noise floor with these mics I'm currently using, so I wonder just how accurate the sub-bass I'm capturing with Impulcifer really is. Problem is, the low-end in my room has major problems with room modes, so unless I used some costly acoustic bass treatment, I doubt the results would be all that useable. That's why I'm going through the trouble of creating BRIRs with dry-bass crossover in the first place.

Has above else here tried making Impulcifer captures with AND without a subwoofer? If so, I'd love to know how using the sub affected the results.

And then I started looking into SOFA files. I would love to be able to have a SOFA file that works well for me, since there's a lot of interesting virtual environments that I can play with if I had a HRTF in SOFA format. That's quite a rabbit-hole and doesn't look feasible yet without getting some hardware that I don't own, like the 3D scanning stuff on the iPhone.

 

[XingYu]

I've done some work in REW, though not while using the in-ear mics. I've only used it for manually correcting the EQ of my room outside of use with Impulcifer. I will have to try using it for my next set of measurements.

In my case, most of the calibration is done directly with REW. The features in the impulcifer are great, but I don't use them at all.

When I make captures when the new mics arrive, I'm going to treat the room less drastically compared to last time. The highs are just TOO crisp and direct now and I get very little sense of the room itself except in the low-end. I will have to experiment with various levels of treatment to find something that still feels crisp and clean but that also feels more natural, like I'm in a nice room instead of an anoechic chamber. I can use artificial reverb to add that sense of space back in, but it's not quite as convincing as actually hearing my own room.

Could you post umik measurement of your room in REW? Decay, RT60 things.
I know from the last article that you tried to damp RT60 using blankets and sofas.
But The important point is this. The entire RT60 is mostly not required to be managed.
The goal should be to attenuate reflections within 20 ms to at least -30 db. Reflections after 20ms can be left alone. It makes you aware of the space and gives you vitality.
But reflections before 20ms (especially within 10ms) make everything murky and blurry.

Has above else here tried making Impulcifer captures with AND without a subwoofer? If so, I'd love to know how using the sub affected the results.

Sorry. I don't understand "with AND without a subwoofer?" things.
Or... you means Are you asking if I've ever turned on or off the subwoofer with you before? (I'm sorry.). I am using a translator because I do not know English very well)
If that's the story, yes of course.
What I posted my experience this time was measured with no subwoofer. (It rolls off to LR6 target at 50hz)

And this is with Subwoofer Messurement. (The response I was originally hearing before this measurement.)
The bass of the subwoofer and the bass of the speaker differ in quantity and quality.
And the bass from the speaker is bound to have a limit. Even if it is a speaker with good bandwidth, it will be generated depending on the location of the speaker in the room.
So you experience some bands sounding louder or less.
But at least one subwoofer (recommended two or more) makes it a bit more overcoming.
So your question.
The answer is whether the noise floor and the speaker's roll-off bass do not overlap.
If it's a sufficient volume and controlled noise floor, it's not a big problem.
And you don't need the bass below the band that's rolling off anyway. Even if you boost it, it's a fake low tone.
That's why I use it with Direct Bass.
You can add a subwoofer response, but it's all good I like to try many things. If RT60 in the lower part of the room wasn't managed, a direct bath might be more helpful than a subwoofer.
Ideally, all of the bass should sound perfect without using any of impulcifer's decay function. Then it will be recorded very well.
But it's not good if you already have a problem with your bass when you listen to it before recording.

I think the direct base and subwoofer actual response is the difference in taste. Low frequencies below a certain band depend only on itd anyway (ear-to-ear distance, delay)
If you only use a very small peak on the lower side (FL-L, FL-R, FR-R, FR-L, as in the traditional four-channel method) without using an impulcifer, it's just one small peak, and it's no longer a headphone, but a sound image goes out of your head.
That's because that's how we listen to the speakers.
That's why there's no awkwardness at all even if you add a regular direct base.
We already have delay information corresponding to FL-R and FR-L cumulative channels.
That's why it melts naturally just by attaching the bass.

 

[XingYu]

When I make captures when the new mics arrive, I'm going to treat the room less drastically compared to last time. The highs are just TOO crisp and direct now and I get very little sense of the room itself except in the low-end. I will have to experiment with various levels of treatment to find something that still feels crisp and clean but that also feels more natural, like I'm in a nice room instead of an anoechic chamber. I can use artificial reverb to add that sense of space back in, but it's not quite as convincing as actually hearing my own room.

And this means You did use "Decay Parameter"? or anything else?
This is why I measured it in a large space at a height of 2m. This is to remove all reflections without using decay parameters.

 

[XingYu]

Near mono placement (8-degree placement to be exact, not the usual 30-degree stereo) is Main Response. (FL-L, FR-R)

something like this. this is main FR

I removed the crosstalk information from about 250 to 8000hz.
I haven't added bass to these measurements yet, because the crosstalk information is mostly up to about 250-6000Hz anyway, and below that the mono component is strong, so it's not necessary right now.


Now what I need to do is add to that another measurement from an additional distance (rich in early reflections) and merge, merge, duplicate, merge again.
How much?

As much as I want.

 

[Brandon7s]

Could you post umik measurement of your room in REW? Decay, RT60 things.
I know from the last article that you tried to damp RT60 using blankets and sofas.
But The important point is this. The entire RT60 is mostly not required to be managed.
The goal should be to attenuate reflections within 20 ms to at least -30 db. Reflections after 20ms can be left alone. It makes you aware of the space and gives you vitality.
But reflections before 20ms (especially within 10ms) make everything murky and blurry.

This is great information, thank you! That rule about attenuating reflections within 20ms to -30 db makes a lot of sense, while leaving the rest in-place but low enough not to muddy everything up. I'm not sure how realistic of a goal that would be in my room, but I'll definitely try to shoot for it! I don't have any REW measurements of my room since I haven't used it in a couple years and I've lost all of the files from when I last used it. I didn't use the measurement mic at all with my last session. I will use it next time to get a better idea of what I need to do to get closer to the ideal reflection attenuation. The room I'm using is only 3.5 x 3.5 x 2.4 meters in width, length, height, a typical small apartment bedroom here in the USA.

Since I don't have a measurement in REW, I'm can't provide the RT60 and decay and stuff, sorry. I will take some measurements in REW next time so I can get that info.

Sorry. I don't understand "with AND without a subwoofer?" things.

Sorry, I was just asking if someone has tried creating a HRIR with Impulcifer of their room with their subwoofer enabled, and then creating another HRIR with the subwoofer disabled, and then comparing the two to see if the quality of the bass is improved with the subwoofer or if using EQ on the HRIR to boost the bass gives just as good a result as using a subwoofer (with EQ corrections).

The answer is whether the noise floor and the speaker's roll-off bass do not overlap.
If it's a sufficient volume and controlled noise floor, it's not a big problem.
And you don't need the bass below the band that's rolling off anyway. Even if you boost it, it's a fake low tone.
That's why I use it with Direct Bass.

You can add a subwoofer response, but it's all good I like to try many things. If RT60 in the lower part of the room wasn't managed, a direct bath might be more helpful than a subwoofer.

The main issue that I run into when creating HRIRs is mismatched volume in the left and right channel below 100hz that is caused by room modes. I've tried using a measurement mic in order to reduce the issue but it's never perfect enough to not bother me. This is only when I have used room correction and boosted the low end artificially. The room nodes are much less of a problem when keeping my speaker's natural low end roll-off, but of course that doesn't sound anywhere near as fun! I usually resort to making everything in the low end mono using a plugin (I use Mongoose by Boz Digital Labs). That removes the channel imbalance, but it sounds less natural and life-like since it removes the ITD.

The new mics I have should be a massive improvement in noise floor and sensitivity, so I'm hoping that they will be able to more accurately capture more of the low end and maybe that'll help. If not, then I might eventually try a subwoofer, but only if I can get some acoustic treatment in the low end to get reasonable RT60 times. I really don't think I'm going to be able to do that without spending way more than I'm willing. I think that using a dry-bass crossover is going to be the easiest way to get ideal results, by far. I spent a lot of time experimenting with that yesterday and got some very good results and I'm not even simulating ITD. I'm going to take some measurements today with REW and my current in-ear mics in order to measure my ITD and then I'll try applying that to the dry-bass. Right now the that that sounds wrong isn't doesn't even resemble a sound to my perception: it's like a wave of bass pressure that is pushing on me from the front. It's uncomfortable in a weird way, even though the frequency response sounds great and there's no audible dips/notches where the bass drops out in either ear, and I'm hoping that getting the correct ITD will make that weird bass pressure feeling go away. If so, then I think I'll be more than happy with the low end. We shall see!

And this means You did use "Decay Parameter"? or anything else?
This is why I measured it in a large space at a height of 2m. This is to remove all reflections without using decay parameters.

No, I didn't use the --decay parameter. I was referring to the total decay time of the HRIR, which was about a 3rd of the HRIR length compared to the HRIRs I've made of my room without any acoustic treatment at all. I'm going to use REW to take some measurements next time so that I have more useful metrics to compare, like RT60 and decay time for specific frequencies.

EDIT: I found the ITD for my measurements in the readme file generated by Impulcifer when creating the HRIR, so I plugged those numbers into a delay plugin that can delay based on samples instead of just time and that works pretty well. It's funny how you can hear the bass "move" in the room by adjusting those numbers. It sounds pretty good and I'm not even using any reverb on top of the bass. I'm going to play around with that a bit, but I might just keep this dry.

 

[XingYu]

That rule about attenuating reflections within 20ms to -30 db makes a lot of sense, while leaving the rest in-place but low enough not to muddy everything up

Yes and No.
It's not necessary, but we know from Dr. Tool's and many acoustic researchers' data that it's not necessary. Early reflection is not necessarily a bad thing.
But the important point is that "uncontrolled" early reflection is likely to have a negative effect.
Here's the easiest way to hear the direct sound.
Put in your earphones and listen to a song.
That's direct sound. Sure, you won't get a stereo image like you would with speakers, but that's as close as you'll get to clear direct sound.
And compare that to the clarity of the sound when you listen to your speakers in your current room.

. I didn't use the measurement mic at all with my last session. I will use it next time to get a better idea of what I need to do to get closer to the ideal reflection attenuation. The room I'm using is only 3.5 x 3.5 x 2.4 meters in width, length, height, a typical small apartment bedroom here in the USA.

Your room can be a good thing if you use it well. I don't currently have speakers in my room, but I used to listen in my room before I moved on to headphones. (My room was 2.7m x 3m x 2.3m

Sorry, I was just asking if someone has tried creating a HRIR with Impulcifer of their room with their subwoofer enabled, and then creating another HRIR with the subwoofer disabled, and then comparing the two to see if the quality of the bass is improved with the subwoofer or if using EQ on the HRIR to boost the bass gives just as good a result as using a subwoofer (with EQ corrections).

No you dont have to Sorry. that's my fault. (my My translations)
Let's make a hypothetical.
Let's say your speakers are very good speakers that play well down to 30Hz. But you will never hear intact bass from 30 to 100 Hz. Because that's what happens in a typical room. Physical strings. Different people and different rooms will have different reasons.
My room had a terrace in front of it that had been extended, and all the bass from the speakers was being sucked out, and combined with the room mods in my room, there was virtually no bass below 90hz.
So I used a single serve at first to fill in that bass, and then a dual serve to better control the room mods. (Front/rear placement)
And even if you have a speaker that plays well up to a certain bass band, if you put a crossover on the speaker and let the subwoofer take care of the bass, the quality of the sound is going to be better because there's less pressure on the speaker.
So let's go back to the original story. Let's say you're using a typical bookshelf speaker that rolls off at 50 to 60 Hz.
So that's actually the only bass you're going to hear down to 80 to 90 Hz. Lack of bass to make the space feel resonant. It depends on the reproduction capabilities of your headphones, but in my experience, you should be able to get up to 40Hz intact. (20-30Hz is very hard on headphones)
I've also tried pulling the ecuro subwoofer up to the band like you said (that's what I did in the introductory phase of impulcifer, and that's what I did before using the subwoofer even when I was using speakers).
And the results of that ecu didn't satisfy me at all. No matter how bad a subwoofer is (it only goes down to 40Hz or so), it's inherently different from the bass you're putting into your speakers. I'm sure you can buy a cheap woofer and be very happy with the results.

The main issue that I run into when creating HRIRs is mismatched volume in the left and right channel below 100hz that is caused by room modes. I've tried using a measurement mic in order to reduce the issue but it's never perfect enough to not bother me. This is only when I have used room correction and boosted the low end artificially. The room nodes are much less of a problem when keeping my speaker's natural low end roll-off, but of course that doesn't sound anywhere near as fun! I usually resort to making everything in the low end mono using a plugin (I use Mongoose by Boz Digital Labs). That removes the channel imbalance, but it sounds less natural and life-like since it removes the ITD.

That's sounds sad. It was a reasonable choice for you to make, but it would be very sad to get rid of ITD, removing the benefits that came from Impulcifer.
If you don't mind me asking, could you send me your data(FL,FR / Headphones / Readme.md things. or compress entire folders)?
A message has been sent to you.
It's a different measurement than my ears, but I'm going to try to align my existing in-room bass response, since the bass below about 200hz is mostly dependent on ITD, although I don't know if it will work.

EDIT: I found the ITD for my measurements in the readme file generated by Impulcifer when creating the HRIR, so I plugged those numbers into a delay plugin that can delay based on samples instead of just time and that works pretty well. It's funny how you can hear the bass "move" in the room by adjusting those numbers. It sounds pretty good and I'm not even using any reverb on top of the bass. I'm going to play around with that a bit, but I might just keep this dry.

Yes! That's what i'm saying.
ITD is a number (clue) to trick your brain.
Naturally, that number changes from measurement to measurement.
For example, if the speakers are placed at an 8-degree angle (as I measured) and are close to mono, the ITD value will be very small (60us for me).
However, a typical equilateral triangle (30 degrees) layout can have an ITD value between 250 and 300us.
If a response is delayed by that number, the brain is tricked into thinking that the speaker or bass response is coming in that far apart.

 

[Brandon7s]

Yes! That's what i'm saying.
ITD is a number (clue) to trick your brain.
Naturally, that number changes from measurement to measurement.
For example, if the speakers are placed at an 8-degree angle (as I measured) and are close to mono, the ITD value will be very small (60us for me).
However, a typical equilateral triangle (30 degrees) layout can have an ITD value between 250 and 300us.
If a response is delayed by that number, the brain is tricked into thinking that the speaker or bass response is coming in that far apart.

I'll send over my data folder from Impulcifer and you can mess around with the files as you'd like.

My ITD number from Impulcifer was about 187.5 for the right ear variance to the FL channel, and that's with a the speakers at an equilateral triangle, at arms length from me and from each other.

I am curious, why did you take your speaker measurements at an 8 degree angle? That seems to be very, very shallow to me. Is that how you'd normally listen to your speakers in a room?

 

[XingYu]

I'll send over my data folder from Impulcifer and you can mess around with the files as you'd like.

I sent the FL,FR file again by reply. Check it out. I hope it works. It may not work. (very sad)

I purposely used a KOSS ksc75headphone with a very weak lowbass to get rid of the variable while I was testing your file.. It's not the right file for my ears, but just in case. So I didn't test it with hd800s headphones on purpose.
And from what I hear... I think it's working well. (I'm also not sure because it's my first time attaching my file to someone else's file. It worked well to paste my other files on my files.)
I deliberately listened to a bad guy full of bass over 40 Hz and compared your original FL,FR with the FL,FR I put on and it made a difference.
And if you convert and apply it, the gain will be insufficient compared to the original. That's normal. Since the in-room bass response is recorded up to 20 Hz. If necessary, you can do a low cut of 30 to 40 Hz.

Blue is Original FL-L // Red is Original yours FL,FR + mine FL,FR
I hope it works well. I hope there will be a positive change, if not totally good at least. Please tell me your review.
And You can also raise or lower the bass further as needed or your taste. (If the file I made works well)
Since the information on the bass has already been filled, it will be very different from EQ just by the speaker's response.

I am curious, why did you take your speaker measurements at an 8 degree angle? That seems to be very, very shallow to me. Is that how you'd normally listen to your speakers in a room?

When it's placed close to mono, it's actually similar to just listening to it with the center speaker. (8degree)
But this is the usual normal case (when you leave the information in FL-R and FR-L)
I also measured it that way to remove the crosstalk information of the FR-L and FL-R.(It's just an experiment.)
And surprisingly, it has a wider image from side to side than a typical stereo layout.
But that's a little not enough. So the angle (the angle that can maximize ASW) corresponding to about 45 to 60 degrees and the LEV angle on the back that is symmetrical to it were measured separately and applied as a reflection sound the same way.
It's not a multi-channel. It's a stereo.
It's to turn on multi-channels at the same time (and to be precise, delay the reflection channel) and create something exclusively for stereo.