Originally Posted by ss9001
Yes, and what about being able to copy the calibration itself to multiple presets? While you can copy a preset, make changes and save, it seems to me that it may be easier to just clone a calibration in some cases. Rather than go into particulars of some specific things I've been thinking of, in general wouldn't this also be a benefit, instead of being forced into a new calibration - like accidentally wiping a cal out before you had a chance to make a backup or the new preset? (which happened to me out of ignorance when I first started).
This is one area where working outside the Calibration Wizard is helpful, and just doing things within the Optimizer menus. You can simply take one preset, copy it to another work preset, then run a calibration inside the Optimizer on the work preset. It's not going to overwrite anything unless you save it. You can also, on the Presets sub-menu, go to your master calibration that you don't want to change, and simply click on the lock button for that preset (i.e. the circle box under the lock column).
If you want to keep some of the target curves but not all of them (for example, in a 7.1 setup keep LCR and subs as is, but change the target curve for, say, just the side and rear surrounds), you can toggle in the Optimizer to Target Curves, then one by one go through to speakers where you want to change the curve and link them together, using the Link function. Once you have those speakers linked together, simply edit the target curve to taste. When you're certain it's what you want, go to the linked speakers and individually unlink them by clicking on the Link button to clear it.
For what it's worth, when you learn your way around these type of functions, the individual save/load target curve concept is going seem more like a nice to have than an essential part of productivity.
Not that I wouldn't mind having a loadable target curve labeled as "Harman Curve"
to save time, along the lines of the loadable PEQ files, but there are functional features I'd much rather have, such as being able to use the Frequency Limiter for the acoustic correction on individual speakers rather than be hard-wired as a global concept. Or using the technology of the 3D mic to make combined speaker/sub amplitude, direct sound, and phase measurements with bass management engaged after acoustic correction, ala the enthusiasts on the REW thread. Being able to do so on an optional, separate set of measurements for selected speakers, and to also apply measurement positional weights for spatial averaging, would be fantastic.