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I've been using a 2 db Gain on the filter to mostly listen to most of my music and it does make most of my music livelier and gains good amount of tonality.
I ended up with -5dB to tame the IEMs I am using
There's also Crinacle that measures IEM's, and does Oratory measure IEM's (can't remember). But you could use an EQ from one of those guys if they've measured your model of IEM that you use......so that will specifically tame the frequency response issues of that IEM, and then you'd use my Tilt Control Filter just to broadly finetune tonality on a song by song basis (to cure the Circle of Confusion issue). But if you've got no specific EQ available to you for your IEM's, then I guess my broad acting Tone Control Filter is not the worst thing in the world to use to generally correct overall tonality of the IEM.I ended up with -5dB to tame the IEMs I am using
Maybe look to different IEMs
There's also Crinacle that measures IEM's, and does Oratory measure IEM's (can't remember). But you could use an EQ from one of those guys if they've measured your model of IEM that you use......so that will specifically tame the frequency response issues of that IEM, and then you'd use my Tilt Control Filter just to broadly finetune tonality on a song by song basis (to cure the Circle of Confusion issue). But if you've got no specific EQ available to you for your IEM's, then I guess my broad acting Tone Control Filter is not the worst thing in the world to use to generally correct overall tonality of the IEM.
Thanks for your feedback. I couldn't be more pleased. Seems that we made your 19yo happy!Finally I installed Mega Switcher for her in her laptop with the same tilt for the IEMs. She couldn't be happier... (thank god). I have my own pair and I must say... I have to concur with her.
I would prefer it to many poorly implemented separate bass and treble controlsThe Quad 34's tilt control although interesting is dreadfully flawed as a solution. Far too simplistic and not flexible compared to a simple bass and treble control.
I would prefer it to many poorly implemented separate bass and treble controls
Because for example the bass filter peaks at around 85 Hz, while to change smoothly the tonality a continuous FR like from a shelve filter is preferable.Not sure why you think the Marantz bass and treble is "poorly implemented". The plots above are sensible (+10dB)maximum boost for bass and treble in the upper sweep and maximum cut for bass and treble in the lower sweep. Bear in mind you have every combination in between of both boost and cut- unlike the simple Quad design.
Because for example the bass filter peaks at around 85 Hz, while to change smoothly the tonality a continuous FR like from a shelve filter is preferable.
As said not with the Marantz example I showed above where the frequency response drops again below 80 Hz while on a kind of shelving filter like at the Quad it stays constant. In some cases the differences are small but still they exist.Not true. You achieve exactly the same with bass and treble combinations with way more flexibility.
Your pic there is essentially what the Tilt Tone Control Filter that I "discovered/created" does, albeit starting from 100Hz rather than 30Hz: High Shelf, 982Hz, Q0.2Because for example the bass filter peaks at around 85 Hz, while to change smoothly the tonality a continuous FR like from a shelve filter is preferable.
It is nice to see that quite few modern acticve loudspeakers have also similar tilt control like Nubert
View attachment 143530
and Dynaudio https://www.dynaudio.com/professional-audio/lyd/lyd-7/support/manual/en/dsp-settings
To correct specific peaks or dips of course an additional and fully adjustable PEQ is the choice of weapon.
That's good too, I remember you posting that. I'll try it out. I think you said there was a latency penalty? Also your GraphicEQ only works in EqualiserAPO so it's no good when I use it in my miniDSP for TV & movie watching - that's when I use the parametric filter tone control in Post#1 of this thread. So even though your solution is good, it's only for use with EqualiserAPO, so limited uses. My parametric filter tone control can be used anywhere where parametric filters are accepted, and is effectively linear anyway (like I showed in the graph), so it's a moot point additionally.I just don't see the point in creating a LINEAR tilt effect with a PARAMETRIC filter. Those two are antagonists : parametric is everything but linear.
Hence the EAPO GraphicEQ code that I posted earlier, which allows a perfectly linear tilt effect, at exactly the desired frequency, no more, no less.
Of course you can achieve an "almost linear" effect with parametric filters and a very low Q (0.2, or even lower : 0.1, etc.), but why do it when you can do it perfectly otherwise ?
(if it's just for the sake of toying with REW, I totally understand, it's fun and I do it too sometimes )
Yes, like Toole wroteTo me I think a Linear Tone Control like this makes the most sense (and like the one you've just shown), because it's a simple tilt that is only changing tonality rather than EQ'ing the speaker. "Circle of Confusion" by definition can only be broad tonality (linear tilt) because it's impossible to stipulate any differences between studios where the music was recorded beyond broad tonality.....so it's not just more bass or less treble, instead it's a "linear seesaw effect"/ linear tilt.....(the broadest epitome of tonality).
Well, for gaming you'd want to know how many milliseconds latency penalty there was. It's not "all good" though (to use your words), can't use it with miniDSP hence my Parametric Tone Control Filter in post #1 of this thread. Man that gif is annoying that you posted, it's a real eyesore! I don't really want to hear anymore about your GraphicEQ Tilt Control because we've discussed it enough already, but if you ever find out how many milliseconds latency penalty it is (if it is), then post it back up - without smartass gif's that make you sea sick!Nah, there's no latence penalty. I pointed to a topic where somebody said incidentally that there could potentially (as in "theoretically") be, which is always good to know, but I have noticed nothing at all. Maybe for real-time musicians where milliseconds are critical, but for Hi-Fi users it's all good.
It works with Equalizer APO (or another EQ software with similar syntax). But for EAPO users, it would be the way to go. If we want perfectly linear --> GraphicEQ. If we want smooth --> Parametric EQ. Both can be used at the same time anyway.