If you have logic pro, it contains an effect called "Match EQ", if you have logic express... no luck.
Take any signal that covers the full audio spectrum, pink noise is fine. Play it through your monitors, while recording the sound of the monitors from an omni mic mounted where your head is when listening.
Then play a "chosen" segment (meaning a segment you know when it begins and ends) of that signal with the match EQ in the output master and use Match EQ to "Learn" a the original sample (or the recorded sample I forget it is one way or the other), then you play THE EXACT same time period from the recorded signal and do the COMPARE function in match EQ, and it produces an EQ curve that you can save with a name. You may have to look at the doc on this, but it is somewhat self evident.
Then you turn that match eq effect on and APPLY some percentage of the EQ (I do 100%) to basically bump the exact frequencies that the room is eating and dip the exact frequencies that the room is resonating...
You obviously don't do the recording while someone is making noise in the room or it screws up the comparison.
Here is a match EQ I did on some mixing I was doing at a friends house without a subwoofer.
I am doing this from memory, I only do it when I change things, and I have to figure it out a little each time but it is pretty obvious. That's why I can't give you a click by click process, sorry. But the attached picture should help.
And I agree you should stay at least 3 meters from any mice, even if it is unscientific
My experience is that the resulting mixes present better on a variety of speakers (car, room, headphones) but I admit it gets a bit confusing. When you put on the headphones, you have to be listening to an output that that has no matchEQ or you have to bypass the effect, and of course you want to bypass it when bouncing because otherwise you are putting your room corrections in other peoples speakers generally nullifying the benefit of any flatness you achieved in your mixing and listening environment.
And obviously part of the defect detected is the room and part of the defect is the speakers, and part is the mic... So the whole 100% thing... might not fix the low end in small cone monitors.... or might over correct some room defect if the room defect was really a mic defect or some comb reflection off a wall or something, but in general I find the result to be a flatter listening environment, and it is quick, the most time consuming thing is to set up a mic and record, and there is not much fiddling after the fact.
Does this help at all?
If it is not clear I want to emphesize that I am listening to a mix through an eq that looks like the one in the attachment... and the result is that what is playing is distorted to that extent, but the distortion is the inverse of the distortion that the room and speakers achieve where my ears are placed.
Sorry to ramble on I am not sure what part is unclear.
If you look on that curve you can tell the EQ'd room had 8.5 foot cielings, because of the big dip to correct for the resonance at 125Hz.... ok maybe they were 9 foot ...or 8 foot but you get the idea.
