Room Frequency Analyzer
Play pink noise or a log sweep through your speakers, capture it with your microphone, and see your room’s relative frequency response — resonant peaks, nulls, and low-frequency room modes — with treatment hints.
ℹ This is an uncalibrated guide. What you measure is your speakers + room + microphone combined, at one listening position — not the room alone. Laptop and phone mics colour the sound and roll off the deep bass, so trust the shape (big peaks, deep nulls, mode pile-ups) rather than exact dB, and ignore very-low-bass readings on a built-in mic. Measure from your seat, with your speakers playing into the room (don’t use headphones). For accurate work use a calibrated measurement mic and software like REW. The test signal plays through your speakers; the mic is analyzed live and never recorded or uploaded.
Green = your room’s relative response (normalised to its own average = 0 dB). Orange lines = predicted axial room modes. Red dots = peaks, blue dots = nulls.
How It Works
This room frequency analyzer sends a known test signal to your speakers and measures what comes back through the microphone. In pink-noise mode it plays continuous pink noise (equal energy per octave) and builds a long-term average of the captured spectrum, then removes pink’s natural −3 dB/octave tilt so a perfectly flat speaker+room+mic would read as a flat line. In sweep mode it plays a single 20 Hz→20 kHz logarithmic frequency sweep and peak-holds the response at each frequency as the tone passes. Either way the curve is smoothed to about one-sixth of an octave and normalised to its own average, so it shows relative deviations, not absolute level. Sharp bumps are resonances and dips are cancellations; below roughly 300 Hz these are usually room modes (axial, tangential, and oblique standing waves) set by the room’s dimensions. Enter your room size and the tool overlays the predicted axial modes (f = n·c/2L) so you can see which peaks line up with them. If you want a full breakdown including tangential and oblique modes, the room mode calculator handles all three types and lets you compare your room’s modal distribution against ideal ratios.
Because there is no calibration, the vertical scale is relative and the absolute accuracy depends entirely on your microphone and speakers. A built-in laptop or phone mic has its own frequency-dependent sensitivity and very little true deep-bass response, so treat sub-100 Hz readings with caution and compare changes on the same setup. For quantitative work, a calibrated USB measurement microphone (such as a Dayton EMM-6 or miniDSP UMIK-1) dramatically improves low-frequency accuracy. Used sensibly, this analyzer is great for finding the big problems: a boomy modal peak, a deep null at the listening seat, or an obviously bright or dull tonal balance — the things that physical treatment and speaker/seat positioning actually fix. Once you know where the peaks are, the room EQ advisor converts them into ready-to-use parametric cut filters you can dial straight into your DSP or DAW.
Between pink noise and the log sweep, each has its strengths. Pink noise with the real-time RTA is better for comparing before and after a physical change (move a bass trap, shift a speaker) because the display updates continuously as you work. The log sweep is cleaner for capturing a single stable picture of the full room response, especially in rooms with significant background noise, since the peak-hold integrates the swept signal more robustly than a short RTA average. For a thorough room survey, consider taking measurements at multiple seat positions across the listening area: a peak that moves or disappears between positions is a mode; one that stays fixed is a speaker/EQ issue.