Thats an awesome … Thats an awesome set up you have there but I wonder if I’m getting too focused on setting up my own home studio and learning the software/hardware rather than playing the music which used to be my focus.
There are several … There are several studies about optimal room proportions, for example:
L. W. Sepmeyer (1965): best ratio 1 : 1.14 : 1.39
M. M. Louden (1971): best ratio 1 : 1.4 : 1.9
Of course, once the room layout is not based on parallel surfaces, like in modern control rooms, it is not easy to predict the behavior of room resonances, unless using special acoustic design software.
So i guess in answer to your question, I still don’t know about basic acoustics, because
THERE’S NO SUCH THINGS AS BASIC…
Therefore, room … Therefore, room proportions where one dimension is a multiple of the other (like a room with 10 x 5 x 2,5 m size), or with same dimensions for length, width and height (like a room with 5 x 5 x 5 m size), must be absolutely avoided: this would generate extreme strong resonances of certain frequencies that are supported by all three room dimensions (in example 1: waves resonating at the 2,5 dimension fit also the 5 and 10 m dimensions).
An easy way to … An easy way to calculate the Axial Modes of a room is:
f1 = c 2 x L
f1 = frequency of the 1st axial mode
c = speed of sound and
L = dimension of the room considered
The next axial modes of that dimensions are simply:
f2 = 2x f1 f3 = 3x f3 ..
The Eigenmodi should be spaced as evenly as possible.
The room modes are … The room modes are classified in:
Axial Modes (occurring between opposite parallel surfaces, therefore along the 3 main axis of the room): the dominant factor
Tangential Modes (occurring among 4 surfaces, avoiding 2 that are parallel): can still be significant in rooms with hard/stiff surfaces
Oblique Modes (occurring among any and all surfaces): are rarely significant
Also Machine Rooms … Also Machine Rooms should be as dead as possible, in order to avoid that equipment noise resonates or is amplified and in extreme case leaks in the adjacent rooms.
Room Parameters
Room Shape and Proportions – Eigenmodi
The room shape and proportions affect the pattern of the Eigenmodi (the room own resonance modes), and the amount of diffusion (density of the reverberation).
Sometimes classical … Sometimes classical music instrument and choir require longer reverberation times that can only be achieved in concert halls or churches.
Isolation Booths should be as dead as possible in order to minimize transmission of sound across the rooms they connect. Here the sound and frequency response of the room is irrelevant.
Generally speaking, … Generally speaking, vocal and speech recording rooms should usually offer a relatively dry and uncolored acoustic, to achieve maximum clarity. This can be both provided by a very absorptive small room, or in a neutral sounding larger room.
The acoustic of instrumental recording rooms might vary between relatively dry (0.5 0.8 sec reverb) to quite reverberant (1.2 2.5 sec) depending on the musical style.
Usually larger … Usually larger studio facilities have a selection of different acoustic spaces with different characteristics:
live rooms, with longer reverberation, for instrumental recording
dead rooms, with little or no reverberation, for vocal or speech recording
rooms with variable acoustics (using moving or rotating panels, or curtains)
Recording Rooms on … Recording Rooms on the other hand not only can, but should have character. Depending on the kind of instruments and musical style, the requirements might vary. Recording rooms do not need sound neutral like control rooms, nor should they always be symmetrical.
A more neutral … A more neutral coding of the sound during mixing/mastering ensures higher chances that the decoding on any given system will be closer to the original. Any coloration added during mixing/mastering can potentially be made worse due to additional colorations during playback on other systems and cause extreme irregular frequency responses.
Control Rooms … Control Rooms should be as neutral as possible, in other words they should add no coloration whatsoever to the sound coming out of the monitor loudspeakers (in an ideal case, you should not hear the room coloring at all).
Frequency Response: … Frequency Response: depends from size, shape and absorption coefficients
Doors and windows construction and placement;
Furniture, placement of equipment (mixer, effect racks, etc.), instruments, etc.;
In a control room, the placement of loudspeakers (flush mounted main monitors, midfield, nearfield).
Acoustical Requirements
The sound requirements for control rooms can be very different from those of recording rooms.
Acoustic Control
A … Acoustic Control
A lot of different factors contribute to the sound of a room:
Room size: affects both the low frequency response and the room cutoff frequency, as well as rev. time;
Room shape and proportions (room dimensions, parallel or non parallel surfaces): affect the resonance modes and the frequency response, and the diffusion of the reverberation;
Reverberation time: depends on the room size as well as the absorption coefficients of the materials used for all surfaces.
Acoustic Control
A … Acoustic Control
A lot of different factors contribute to the sound of a room:
Room size: affects both the low frequency response and the room cutoff frequency, as well as rev. time;
Room shape and proportions (room dimensions, parallel or non parallel surfaces): affect the resonance modes and the frequency response, and the diffusion of the reverberation;
How can you tell … How can you tell from the video here that the auralex blocks used are cheap studio foam. Besides the studio itself being a room inside a room, the idea was to cut reflections and have at least reasonable control of the dispersion and flutter echo. As you’d probably see from the vocal area, the issue isn’t coving the whole studio or otherwise but to manage it and keep some of the natural ambiance within it without destroying it’s characteristics. I do KNOW a lot about basic acoustics.
We are a Recording … We are a Recording Studio Located In Vancouver BC .
I Got A Virtual Studio Tour Uploaded On My Channel . Please Take Your Time To Check It Out And PLEASE LEAVE A COMMENT !!! Thanks
Deja
I thought of … I thought of removing your silly comment but strongly decided against it. The BLING you refer to doesn’t make sense at all and secondly on a more profound note, the tacky foam you make mention off are ISO panels which re NOT designed for total sound absorption or immediate isolation but to carefully reduce wave blur and compensate for reflections and counter wave movements in your floating sound spectrum. Think before you criticize or rather ask questions & you’ll be told the answers.
Damn, I gotta say … Damn, I gotta say for a sound engineer, he knows more about ‘Bling’ than he does acoustics. he’s got 2 pairs of nice monitor speakers there, and noticably tacky foam on his walls. No point putting nice monitors in if your room is gonna color the sound. I know there aint much bling in $3000 worth of acoustic treatment though, peace!
Connecting your studio gear
December 26th, 2009 at 1:33 pm
Thats an awesome …
Thats an awesome set up you have there but I wonder if I’m getting too focused on setting up my own home studio and learning the software/hardware rather than playing the music which used to be my focus.
December 26th, 2009 at 1:33 pm
i suppose
but if …
i suppose
but if your mixing and mastering you don’t want the room to have “personality”
December 26th, 2009 at 1:33 pm
There are several …
There are several studies about optimal room proportions, for example:
L. W. Sepmeyer (1965): best ratio 1 : 1.14 : 1.39
M. M. Louden (1971): best ratio 1 : 1.4 : 1.9
Of course, once the room layout is not based on parallel surfaces, like in modern control rooms, it is not easy to predict the behavior of room resonances, unless using special acoustic design software.
So i guess in answer to your question, I still don’t know about basic acoustics, because
THERE’S NO SUCH THINGS AS BASIC…
December 26th, 2009 at 1:33 pm
Therefore, room …
Therefore, room proportions where one dimension is a multiple of the other (like a room with 10 x 5 x 2,5 m size), or with same dimensions for length, width and height (like a room with 5 x 5 x 5 m size), must be absolutely avoided: this would generate extreme strong resonances of certain frequencies that are supported by all three room dimensions (in example 1: waves resonating at the 2,5 dimension fit also the 5 and 10 m dimensions).
December 26th, 2009 at 1:33 pm
An easy way to …
An easy way to calculate the Axial Modes of a room is:
f1 = c 2 x L
f1 = frequency of the 1st axial mode
c = speed of sound and
L = dimension of the room considered
The next axial modes of that dimensions are simply:
f2 = 2x f1 f3 = 3x f3 ..
The Eigenmodi should be spaced as evenly as possible.
December 26th, 2009 at 1:33 pm
The room modes are …
The room modes are classified in:
Axial Modes (occurring between opposite parallel surfaces, therefore along the 3 main axis of the room): the dominant factor
Tangential Modes (occurring among 4 surfaces, avoiding 2 that are parallel): can still be significant in rooms with hard/stiff surfaces
Oblique Modes (occurring among any and all surfaces): are rarely significant
December 26th, 2009 at 1:33 pm
Also Machine Rooms …
Also Machine Rooms should be as dead as possible, in order to avoid that equipment noise resonates or is amplified and in extreme case leaks in the adjacent rooms.
Room Parameters
Room Shape and Proportions – Eigenmodi
The room shape and proportions affect the pattern of the Eigenmodi (the room own resonance modes), and the amount of diffusion (density of the reverberation).
December 26th, 2009 at 1:33 pm
Sometimes classical …
Sometimes classical music instrument and choir require longer reverberation times that can only be achieved in concert halls or churches.
Isolation Booths should be as dead as possible in order to minimize transmission of sound across the rooms they connect. Here the sound and frequency response of the room is irrelevant.
December 26th, 2009 at 1:33 pm
Generally speaking, …
Generally speaking, vocal and speech recording rooms should usually offer a relatively dry and uncolored acoustic, to achieve maximum clarity. This can be both provided by a very absorptive small room, or in a neutral sounding larger room.
The acoustic of instrumental recording rooms might vary between relatively dry (0.5 0.8 sec reverb) to quite reverberant (1.2 2.5 sec) depending on the musical style.
December 26th, 2009 at 1:33 pm
Usually larger …
Usually larger studio facilities have a selection of different acoustic spaces with different characteristics:
live rooms, with longer reverberation, for instrumental recording
dead rooms, with little or no reverberation, for vocal or speech recording
rooms with variable acoustics (using moving or rotating panels, or curtains)
December 26th, 2009 at 1:33 pm
Recording Rooms on …
Recording Rooms on the other hand not only can, but should have character. Depending on the kind of instruments and musical style, the requirements might vary. Recording rooms do not need sound neutral like control rooms, nor should they always be symmetrical.
December 26th, 2009 at 1:33 pm
A more neutral …
A more neutral coding of the sound during mixing/mastering ensures higher chances that the decoding on any given system will be closer to the original. Any coloration added during mixing/mastering can potentially be made worse due to additional colorations during playback on other systems and cause extreme irregular frequency responses.
December 26th, 2009 at 1:33 pm
Control Rooms …
Control Rooms should be as neutral as possible, in other words they should add no coloration whatsoever to the sound coming out of the monitor loudspeakers (in an ideal case, you should not hear the room coloring at all).
December 26th, 2009 at 1:33 pm
Frequency Response: …
Frequency Response: depends from size, shape and absorption coefficients
Doors and windows construction and placement;
Furniture, placement of equipment (mixer, effect racks, etc.), instruments, etc.;
In a control room, the placement of loudspeakers (flush mounted main monitors, midfield, nearfield).
Acoustical Requirements
The sound requirements for control rooms can be very different from those of recording rooms.
December 26th, 2009 at 1:33 pm
Acoustic Control
A …
Acoustic Control
A lot of different factors contribute to the sound of a room:
Room size: affects both the low frequency response and the room cutoff frequency, as well as rev. time;
Room shape and proportions (room dimensions, parallel or non parallel surfaces): affect the resonance modes and the frequency response, and the diffusion of the reverberation;
Reverberation time: depends on the room size as well as the absorption coefficients of the materials used for all surfaces.
December 26th, 2009 at 1:33 pm
Acoustic Control
A …
Acoustic Control
A lot of different factors contribute to the sound of a room:
Room size: affects both the low frequency response and the room cutoff frequency, as well as rev. time;
Room shape and proportions (room dimensions, parallel or non parallel surfaces): affect the resonance modes and the frequency response, and the diffusion of the reverberation;
December 26th, 2009 at 1:33 pm
How can you tell …
How can you tell from the video here that the auralex blocks used are cheap studio foam. Besides the studio itself being a room inside a room, the idea was to cut reflections and have at least reasonable control of the dispersion and flutter echo. As you’d probably see from the vocal area, the issue isn’t coving the whole studio or otherwise but to manage it and keep some of the natural ambiance within it without destroying it’s characteristics. I do KNOW a lot about basic acoustics.
December 26th, 2009 at 1:33 pm
dub is right.
…
dub is right.
cheap foam like that will ruin your acoustics.
bass traps in the corner is all you need unless you can afford some professional foam (10cm+).
if you had been to “sound engineering school” you’d know about basic acoustics.
December 26th, 2009 at 1:33 pm
We are a Recording …
We are a Recording Studio Located In Vancouver BC .
I Got A Virtual Studio Tour Uploaded On My Channel . Please Take Your Time To Check It Out And PLEASE LEAVE A COMMENT !!! Thanks
Deja
December 26th, 2009 at 1:33 pm
I think he is a …
I think he is a excellent role model!. You may want to look past the speakers?
December 26th, 2009 at 1:33 pm
I thought of …
I thought of removing your silly comment but strongly decided against it. The BLING you refer to doesn’t make sense at all and secondly on a more profound note, the tacky foam you make mention off are ISO panels which re NOT designed for total sound absorption or immediate isolation but to carefully reduce wave blur and compensate for reflections and counter wave movements in your floating sound spectrum. Think before you criticize or rather ask questions & you’ll be told the answers.
December 26th, 2009 at 1:33 pm
Damn, I gotta say …
Damn, I gotta say for a sound engineer, he knows more about ‘Bling’ than he does acoustics. he’s got 2 pairs of nice monitor speakers there, and noticably tacky foam on his walls. No point putting nice monitors in if your room is gonna color the sound. I know there aint much bling in $3000 worth of acoustic treatment though, peace!
December 26th, 2009 at 1:33 pm
Damn! Count How …
Damn! Count How Many Times he Said (actually) LMAO
December 26th, 2009 at 1:33 pm
witch mic do you …
witch mic do you prefer
December 26th, 2009 at 1:33 pm
extremely helpful …
extremely helpful thx