Soundproofing a room....

[Shoes]

~$4000 to spend in the Scottish Highlands where it firkin rains all the time and you want to soundproof an 8' x 16' shed.

 

? have you been drinking?

Na seriously... have ya been drinking?

 

Okay... I'm kidding. The best thing to do given the multitude of rocks about you would be to do a stack wall field stone treatment to the outside. Failing that.. do something much the same that's simply going to look like window dressing to the authorities. It won't cost much and won't reduce the size of the building inside.

SOundproof from the outside as much as humanly possible before you eat up what little space in inside.

 

Insulate and vapour barrier the inside and reduce all doors and windows to a minimum required to let you and your equipment in and out but little else. Not even light.

 

Build a false wall to run power etc. in and suspend it from the outer wall. Cover that with anything textured or multifaceted that won't burn.

 

Make a couple dividers isolation panels to reduce noise from material in the studio when mic'ing instruments you a re focussing on. You won't be pushing a piano into the street just because it's shaking a bit during your drum work.

 

Dehumidifier as mentioned is required to provide a stable environment for your instruments and the electronics you're going to place in there. With a stable humidity level you can let the temperature swing more.. It should keep cool with little sunlight getting in but you might want to include a simple ventilation unit and small heater for the winter months.

 

Sounds cosy.... provided you don't start playing the pipes... then you'll have to move.

 

 

[Fumblyfingers]

Here is a link Soundproofing

 

Click on the bug for more links to artiucles related to sound.

 

Here is a link to Ethan Winer

 

Ethan Winer

[miroslav]

I'll leave that criticism to the acoustic snobs.

 

My studio is not "perfect" acoustically, either

...but, I think your perspective is a bit misguided if you think the pro acousticians only talk/criticize from a point of snobbery.

 

Look...I know where you and I and many others are coming from...

...it's not easy or cheap building a perfect studio.

But, that doesnt mean there isn't a REAL difference when you can.

So...it's got nothing to do with "acoustics snobs".

 

Andthe other thing isthe guys that just want to close their eyes to a lot of real issues when trying to set up a studioare the same guys that will be coming back here time and time again asking all kinds of questions about why their recordings dont sound right, and how no matter what they do to fix it in the mixit doesnt work.

The same guys who were kinda upset (and even angry) when they were told that $2000 wasnt enough to cover everything and have even a close-to-pro setup.never mind the sound.

 

Theres a reason why theyre called world class studios

 

That saidthere are a lot of people able to churn out great stuff in less-than-perfect studiosBUTthat requires a lot of experience and knowledgeand talent.

 

And of course...it also depends on what your audio/studio goals are. You don't need to spend thousands and thousands just to have a fun space to jam around and do a little recording.

 

[mdrs]

You did your homework, Fum. Glad it worked out so nicely. Acoustical treatments, and sound isolation can get pricy!

 

It was interesting in that after all the reading I did, I still got the distinct impression that even if a total pro comes in and designs your studio, that there STILL is no guarantee that your acoustics will be anything to write home about! I got the impression that there is a lot of hit and miss in the science of acoustics. Some spaces simply have the magic, and some don't.

 

I got as far as a "pre blue print" set of plans for a free standing loft/studio above a three car garage that I drew up. When my general contractor and personal friend told me I was at a point where it would cost in the six figure ballpark I STOPPED THE PROCESS IN IT'S TRACKS!! I'm isolated so I don't have to worry about sound isolation too much. I mostly had designed unusual shaped space, with lofty ceiling, and no right angles. I had a control room that would sound isolated. But, the rest of the construction would have been pretty standard. The cost of building supplies is quite high!!

 

The funny thing is, right around the time I stopped the studio project, I put an amp in my family room, which has a lot of open space....my house is very open downstairs....and the sound in here is INCREDIBLE!!

 

Now, I'm seriously thinking putting up a trailor next to the house, and kicking my family out of the house, so I can use it as a studio!! :grin:

[Fumblyfingers]

I think your perspective is a bit misguided if you think the pro acousticians only talk/criticize from a point of snobbery.

So...it's got nothing to do with "acoustics snobs".

 

I'm sorry, did I say all "pro acousticians " are acoustic snobs?

 

What response are you trying to elicit from me because I can tell you I am not in the *@^&%&*^% mood right now!

 

 

 

 

[miroslav]

Regardless of the mood you are in...

...it was YOUR statement.

 

I'm not trying to elicit any particular response.

You implied that criticism comes from acoustics snobs...did you not?

Maybe you meant to say something else?

 

And all I'm saying is that if some pro acoustician criticizes your (or anyones) room acoustics...it's really not about snobbery, as you implied.

No need to get defensive about your comments or about your room acoustics.

It's not easy to get it right...and it's not cheap when you do.

[Fumblyfingers]

My statement said "I have no illusions as to it's efficiency or lack of acoustic perfection. I'll leave that criticism to the acoustic snobs."

 

How does that imply that all "pro acousticians " ( your words ) or people knowledgeable about recording studio acoustics, are acoustic snobs?

 

How does that imply that criticism comes from acoustic snobs?

 

Besides, how would you know ( if I did get criticized about my rooms acoustics) that the criticism was NOT based on snobbery? Would you be there to make that call?

 

You singled out that statement of mine and decided to attempt to correct me on it, to point out that I was wrong.

 

Just to clarify my position a little. I believe that there are those that after spending a lot of money and exerting much personal effort to build a professional high end studio, would quietly go about their business. They might offer advice and be helpful if asked but would not engage in the belittling or criticizing of others less fortunate or with rooms or equipment of a much lower standard than they have.

 

Much like the martial arts expert who does not need to prove himself to anyone.

 

But there are also those who go around sprouting this or that from their self-centered pseudo-intellectual asshole mouths, and are more than happy to point out how what they have or know is so much better than everyone else. Often this is related to how much they have invested, be it money or time. Often they cruise around merrily on their high horse and look down on everyone else who they see as inferior with the exception of those they look up to in the group they aspire to be a part of.

 

I call these people snobs and it is highly likely that should one enter my studio, he would criticize it or have something negative to say about it.

 

My statement was not meant as anything other than perhaps a somewhat humerous, "passing note" type of comment.

 

You chose to call me on it.

 

I wonder why?

 

 

[BillWelcome Home Studios]

...it is highly likely that should one enter my studio, he would criticize it or have something negative to say about it.

 

 

The only valid criticizm of any studio should be based upon what comes OUT of it, not what is or is not in it.

 

The problem though, is that this states that a good engineer (like a good player) is good no matter what you hand him to work with. Then we are back to my old saw.... if you have a good craftsman, do you hobble him with poor tools?

 

There is nothing wrong in striving for quality, just as there is nothing wrong with starting out on a journey. And we all have to live within our own comfort levels, re:budget etc. Still, it helps to know what a Lamborgini is and costs, even if all one can afford is a Civic.

 

Bill

[BillWelcome Home Studios]

... even if a total pro comes in and designs your studio, that there STILL is no guarantee that your acoustics will be anything to write home about! I got the impression that there is a lot of hit and miss in the science of acoustics. Some spaces simply have the magic, and some don't.

 

I got as far as a "pre blue print" set of plans for a free standing loft/studio above a three car garage that I drew up. When my general contractor and personal friend told me I was at a point where it would cost in the six figure ballpark I STOPPED THE PROCESS IN IT'S TRACKS!! I'm isolated so I don't have to worry about sound isolation too much. I mostly had designed unusual shaped space, with lofty ceiling, and no right angles. I had a control room that would sound isolated. ... I put an amp in my family room, which has a lot of open space....my house is very open downstairs....and the sound in here is INCREDIBLE!!

 

 

"even if a total pro comes in and designs your studio, that there STILL is no guarantee that your acoustics will be anything to write home about!"

 

Then that would not be a pro, only someone presenting himself as one. The science of acoustics is well understood.

 

I'm suspecting that your friend the general contractor was not an industrial contractor. They deal with noise control solutions all of the time.

 

By the way, all of those angles are great in theory as a way to prevent standing waves... particularly in very large rooms. But in the average small/home studio, they make it harder to predict and plot the room response without spending a great deal of money. Meanwhile, you can figure the response of a cube using standard building materials with ease... it is all simple math.

 

And that great sounding family room may sound great to your ears, but is it accurate? There is a differnce, and that difference is important.

 

What I see most confused by consumers is the science of small rooms as it relates to low end response, the performance characteristics of foams (which fall off rapidly below 250 cycles... muffling the sounds that we want to hear causing us to turn up the volume, yet doing nothing for the frequencies that we had hoped to control), and the difference between stopping sound transmission to the outside of a space and sound control within a space.

 

Bill

[miroslav]

Just to clarify my position a little. I believe that there are those that after spending a lot of money and exerting much personal effort to build a professional high end studio, would quietly go about their business. They might offer advice and be helpful if asked but would not engage in the belittling or criticizing of others less fortunate or with rooms or equipment of a much lower standard than they have.

 

The way you say that...it seems that you may have experienced some belittling about your room...or are you just assuming that there are people that do that purely out of snobbery...?

Not sure who did it, and if they did it to you...and I certainly said nothing that would fall into that category.

 

Here's the thing....

When you refer to some people (?) as acoustics snobs...well, that must come from a point of experience...where someone reacted that way toward you, or you witnessed it first hand.

My position is that you have to know acoustics to even begin to be any kind of snob about it...and then, just because someone who truly knows acoustics, makes a comment that maybe your room (or any room) falls short is certain areas...

...well, that doesn't make them a snob, does it?

Yeahthere may be different ways to express thatbut stillI would not call it snobbery.

Like if some big-name pro engineer came to my studioand commented on where my studio rig falls short. Unless he was on the floor laughing at meI wouldnt think him a snobjust someone who knows what is better.

 

Which is what I meant about some people sticking their heads in the sand.

I'm sure you've seen those guys that want to build and equip a "studio"...and they got like, $2k to do it.

And if you say to them...."That room will not really work well."...

...they are often put off, and even get defensive about their "budgets".

See...that type if critique isn't about acoustics snobbery...it's about acoustics reality.

 

AndI was not suggesting you went that "head in the sand" route...I was only trying to make a greater point for those just starting out...

...like the person wanting to build a studio in an 8x16 wood shed.

It's not going to have any kind of decent acoustics...but yeah, you can still have a "studio" in that space.

 

 

My statement was not meant as anything other than perhaps a somewhat humerous, "passing note" type of comment.

 

You chose to call me on it.

 

I wonder why?

 

Well...you sure seem to be wondering "why" enough for both of us!

Please dont try so hard to find some ulterior motive in my comments.

There is none.

 

You seem to be very sensitive about this "acoustics" topic...

...and like your humorous "passing note"...

...my comments, while not meant to be humorous, were meant to steer the newbies in the right direction.

 

ButI suggest that anyone NOT sure about their studio space or if it measures upor how to go about creating one that at least meats some minimum acoustics requirements, and not necessarily world class

go to the Acoustics Forums instead of debating it here

...and run your ideas and your existing setups by Ethan and a few of the other guys there who REALLY KNOW what they are talking about. THey are not snobs...they're just knowledgeable...and they will tell you honestly what they think.

After that, you can proceed any way you like.

 

Hey fumbly...was the Super Bowl outcome in any way one of the reasons you seemed a bit "edgy" last night?

 

Bad timing on my part...

 

 

[miroslav]

What I see most confused by consumers is the science of small rooms as it relates to low end response...

 

 

Yeah...I think if you can get the LF sorted out and balanced...the rest is easy enough to tame/adjust.

 

While my room is pretty darn good...and I only make that conclusion by the sound in the room and the way mixes translate in other rooms and on other systems...I know I can do a little more work on my LF trapping.

I have a bunch of treatment/diffusion already in place.but my one problem is the damn corner where the door to the studio is.

I've spoken to Ethan about it, and due to the layout and the way the door opens...my only possible solution is to place a trap on the door...or maybe turn the door into a trap.

Trying to place one of Ethans bass traps angled across the corner...doesn't work because the door is there.

 

Anyway...I know what to listen for...so I am able to make do, but I'm still looking for a way to fix that one last spot.

 

[Trucks]

You could take the door out completely, and live in there

[miroslav]

I already live in there...

 

No...taking out the door will not help, as corners tend to hold the LF...

What is needed is a trap that will not only hold it, but also absorb and eliminate it.

 

I don't stand in the corner when I mix...so it's not a big issue...but it may be creating a skewed LF picture for methough as I said...I am not hearing it in my mixes, as they translate pretty well.

 

That's the first sign of a bad room, bad monitors or bad mixing...or any/all of the three.

When you take your mix out of your room...and it sounds like crap everywhere else...or you get real extreme differences from one system/room to another.

Obviously...there will be differences from your studio to say, you car system...

...but, the overall balance should still be there.

If your LF or HF sounds great in your room...but way off every other place...

...then you have to stop and consider things a bit.

 

The best thing is to check your mixes in another room that you know is "right" and that has really good monitors.

Don't just check on some crappy hi-fi...and then assume it's your room/monitors.

 

[Trucks]

Can poor/okish room acoustics when recording be remedied at all at the mixing stage in a good studio with decent monitors? Or does that come under polishing a turd?

[Shoes]

HI all, IM new here.

 

IM looking to either convert an existing timber shed into a music room.....

 

My prime concern will be to keep noise in, as I like to play my guitar pretty load "is there any other way". There will also be a keyboard & maybe at a later date a drum set.

 

I haven't got a fortune to spend upto about $4000 (£2500).

 

I would have to build another shed what ever happens to house my tools etc, but my existing shed is about as far away from my neighbours as I can get (about 50 foot).

 

Another concern I have is moisture,.... & IM worried about moisture wrecking my guitars & amps etc.

 

Any advice would be much appreciated

 

Well I thought it would be a good idea to actually revisit iamplanecrazy's points and question given the responces have drifted into some idiological thinktank on studio awareness

 

Ever notice how nobody cares what you know when it's of no value to them?

 

... go ahead... toss a brick if ya want

 

Given what he needs to accomplish.. a good hedge will likely prove beneficial and keep the authority's eyes off what's happening in the "tool shed". Cost? not much of anything.

[Rhino Madness]

Can poor/okish room acoustics when recording be remedied at all at the mixing stage in a good studio with decent monitors? Or does that come under polishing a turd?

 

AFAIK once the room acoustics are on tape, you have to live with it.

 

With a not-so-great room, your best bet is to close-mic everything to minimize the room sound and add artificial ambience in the mix if desired/appropriate (e.g. reverb, delay).

[miroslav]

 

My prime concern will be to keep noise in, as I like to play my guitar pretty load "is there any other way". There will also be a keyboard & maybe at a later date a drum set.

 

Given what he needs to accomplish.. a good hedge will likely prove beneficial and keep the authority's eyes off what's happening in the "tool shed". Cost? not much of anything.

 

Not sure how a hedge is going to help keep the sound in?

 

And...if it's just soundproofing that's needed, without any worry/concern about the acoustics inside...

...then just put a cement wall around the building.

Preferably, use hollow cement blocks and fill the spaces with sand as you work up the walls.

 

For guitars, bass, keys and drums to NOT be heard 50 feet away...you're gonna need at least that.

Wood and foam is not going to help much...unless you play at very, very low levels.

 

Now...if you also need good acoustics...for recording...

...then that's in addition to the soundproofing.

I don't think $4000 will get you both...but you may be able soundproof with cement block and sand if you do the work yourself.

Of course...there's still the roof...and soundproofing that is another headache.

 

It might be good go ask some questions of the acoustics pros over on the Acoustics Forum...then find a mason/contractor and ask for an estimate for what needs to be done.

Then...consider how much of the work you can do yourself...that way, your only costs will be the materials.

 

In times like these...I often think about the Ringo tune, "It Don't Come Easy"...

[BillWelcome Home Studios]

[quote=miroslav...use hollow cement blocks and fill the spaces with sand as you work up the walls.

 

 

I've seen this quotd around before, but (if I am remembering correctly...)if you check the STC specs on a concrete block, it is the same as a quarter inch thick piece of window glass.

 

Bill

[Shoes]

 

My prime concern will be to keep noise in, as I like to play my guitar pretty load "is there any other way". There will also be a keyboard & maybe at a later date a drum set.

 

Given what he needs to accomplish.. a good hedge will likely prove beneficial and keep the authority's eyes off what's happening in the "tool shed". Cost? not much of anything.

 

Not sure how a hedge is going to help keep the sound in?

 

You have got to be kidding Miro'

 

Most every freeway in the country that cuts through a suburb is lined with a concrete wall and shrubs to wipe out the sound transmission.

 

It's not THE solution but it's effective given the cost/impact ratio. Not to mention the looks! A thick cedar hedge is very effective at cutting down sound transmission. Most property owners would prefer this over a simple fence any time.

 

It's more than likely that the bass and drums can and will be heard 50 feet away... but at an acceptable level. Somewhere well below say a lawnmower or hedge trimmer. Where it won't cause a public disturbance and provide the security of privacy.

 

Starting with simple residential construction techniques may be the best place to begin and those economical gains will all contribute to the end. Stone for building and hedges are all very common elements about the Scottish Highlands. Perhaps an even better and just as economical DIY solution would be a cordwood or strawbale stackwall treatment. Durable, attractive, effective and traditionally relable. It will be just an insulating facing afterall.

 

An old friend of mine builds contemparary strawbale homes and has published several books on the advantages to this age old building technique. Extreamely solid and naturally soundproof.

 

Many of the homes on my aunt's street in Egham still have straw rooves.

 

While you may not intend to.. you do appear argumentative by making a habit of picking completely relevant points out of context to subject them to your critisism. That's unnecessary.

[miroslav]

[quote=miroslav...use hollow cement blocks and fill the spaces with sand as you work up the walls.

 

 

I've seen this quotd around before, but (if I am remembering correctly...)if you check the STC specs on a concrete block, it is the same as a quarter inch thick piece of window glass.

 

The typical "cinder" concrete block by itself....probably.

 

I guess was thinking more in terms of a two layer, solid cement block wall with sand in between.

And then of course...you finish off the inside with additional layering/treatment.

Not 100% sure what is the least amount of material/layering required for 100% soundproofing?

 

 

 

 

My prime concern will be to keep noise in, as I like to play my guitar pretty load "is there any other way". There will also be a keyboard & maybe at a later date a drum set.

 

Given what he needs to accomplish.. a good hedge will likely prove beneficial and keep the authority's eyes off what's happening in the "tool shed". Cost? not much of anything.

 

Not sure how a hedge is going to help keep the sound in?

 

You have got to be kidding Miro'

 

Most every freeway in the country that cuts through a suburb is lined with a concrete wall and shrubs to wipe out the sound transmission.

 

...?

 

You only mentioned a "hedge"...so based on that, I was not kidding.

 

Also...those cement walls and hedges along freeways only deflect the brunt force of the noise...they do not do anything to "soundproof" the roads.

 

Trust me...if you have touchy neighbors living 50 feet away...even at low levels, having to listen to the dull "thump..thump, thump...thump" of drums, and other instruments as you rehearse parts/songs over and over...will become very annoying very fast!

 

So...soundproofing is one thing...attenuating to an "acceptable level" is another...and applying proper acoustic treatments on the inside, is a third.

 

But one more time...

Instead of all this speculation about what typical commercial/residential construction techniques can do for a music/recording studio build...

...just go over to the Acoustics Forum and ask some questions.

Only don't be too bummed out when you find out just how much work, time and money it will really take to achieve any one of the three requirements above.

 

There's too much guessing, speculating and armchair quarterbacking going on here by all involved (me included! )...

when there ARE a few experts over on the Acoustics Forums that can provide REAL answers.

 

 

[Shoes]

I should get used to the idea that you don't read my posts

 

The shelves are covered with copies of Home Recording & Recording magazine as well as several difinitive books on studio design and sound system engineering so I'm not at a loss for information on building a studio. Certainly don't need to go to the Studio forum to understand anything about traps, tiles and blankets.. they're just terribly expensive for the average Joe.

 

Falce walls, insulation and suspended surfaces from everyday materials is what most of us do on our own.

 

I thought I mentioned that... top of the page

 

ya.. I checked.. I did mention that :grin:

 

Cheers.. Miro!

[Fumblyfingers]

You know, I don't have much of a room...it is small and was built on a low budget. But, it is nice for what it is and if nothing else is a good place to come and practise, use the internet, study, record ideas and have some peace and quiet. I have avoided putting in a TV or game system in here because I would never leave.

 

I too read up as much as was feasible before I built it. I spent hours reading about sound waves and nodes, absorption, diffusion, bass traps etc etc . I also bought books and I studied Ethan Winer's site.

 

But the whole time I was studying up, I knew that at the end of the day I did not want to be an acoustics expert or acoustics expert wannabe. I just wanted some guidance.

 

So when asked about soundproofing or treating here, myself and others gave answers based on our knowledge, limited or not.

 

These questions were about low budget rooms, not world class studio's.

 

All of us were merely attempting to be helpful but Miroslav chooses to see this as armchair Quarterbacking, speculating, and guessing and suggests going to another forum where there are experts.

 

I get it that you are trying to be helpful also Miro, and this is as valid as anyone else, but there are these comments that keep coming out of your posts that seem to be argumentative.

 

Anyway, based on all the good things you have said about your own studio, I would love to see a pic or two of the interior and perhaps hear a mix you did in there. Do you have something you can rustle up?

 

[miroslav]

... they're just terribly expensive for the average Joe.

 

Falce walls, insulation and suspended surfaces from everyday materials is what most of us do on our own.

 

I thought I mentioned that... top of the page

 

ya.. I checked.. I did mention that :grin:

 

Look...using "expensive" as a reason/excuse...or saying "that's what most of us do on our own"...

STILL doesn't make "rock walls and hedges" any kind of real soundproofing solution for a studio.

Maybe AFTER you soundproof the studioTHEN you can play around with your landscaping to improve the look.

 

And if you DID run some of those ideas by the experts over on the Acoustics Forums...they would tell you the same thing.

But...it seems to be more fun to toss out "ideas" around here where most everyone's "acoustics knowledge" is based on the "thats what most of us do on our own".

 

 

I don't understand why it's easier to just "kick the can" here...instead of going to a very good expert source, liked he Acoustics Forum.

 

But never mind...I think I know why it's easier to debate acoustics here.

 

[miroslav]

So when asked about soundproofing or treating here, myself and others gave answers based on our knowledge, limited or not.

 

These questions were about low budget rooms, not world class studio's.

 

All of us were merely attempting to be helpful but Miroslav chooses to see this as armchair Quarterbacking, speculating, and guessing and suggests going to another forum where there are experts.

 

I get it that you are trying to be helpful also Miro, and this is as valid as anyone else, but there are these comments that keep coming out of your posts that seem to be argumentative.

 

Anyway, based on all the good things you have said about your own studio, I would love to see a pic or two of the interior and perhaps hear a mix you did in there. Do you have something you can rustle up?

 

I think you interpreted my comments as argumentative.

I was only shooting for accuracy in acoustics information.

 

There area LOT of studios that fall in-between "world class and the basement/bedroom".

The first question that should be asked/answered before ANY "how to" suggestions are offered...is where do you want YOUR studio to fit in?

I think too often guys who are on a very limited budget will argue or convince themselves that they can build a much higher quality studio than realistically possiblewith just a couple of trips to Home Depot.

And of course...6 months later...their scratching their heads wondering why their recordings sound the way they do.

All I'm saying is...you can't dodge physics.

 

Now...there's nothing wrong with using your basement for a studio.

Toss up some blankets on the cement walls...a shag rug on the cement floor...a couple of lava lamps...

..and call it a studio!

Just as long as you are realistic about what it's going to be good for, and how much you will be able to get out of it, sonically.

And I'm not saying that to have ANY kind of "studio digs" requires everyone/anyone to drop a small fortune. I'm just saying that if you DO want to do it the right way...then go to the experts and take heed of what they say. And if they tell you that "NO, that wall will not do ANYTHING to soundproof the room"...you can either believe them...or just ignore them.

 

It's your choice.

 

A for as my own studio.

Its far from "world class" or "perfect".and I did not get as crazy with the construction I see some people do.

I have little concern for soundproofing at my place. My only concern was controlling the sound quality inside the studio. I did acoustic treatments on the walls...which include absorption and diffusion...and likewise to the ceiling.

The floor is a solid cement slab...so that did not require any "floating"...etc....I just applied wood parquet at the mix position...and the rest is carpet. I can use some more bass trapping in a couple of spots...but it's a minor issue. And of coursesome of it has to do with the layout and the positioning of speakers and equipmentand also the dimensions used.

 

As far as showing you a picture...well, I've had quite a few posted up over the last couple of years, but here's the latest one that I just posted over on the Photography thread...only because it's a real cool shot of a reflection in a light scone on my back wall:

 

http://i17.photobucket.com/albums/b70/miroslavl/Studio_fisheye.jpg

 

As far as audio samples...I'm still working through a major album project right now...and when it's done, I'll offer up some CDs to the forum membership. By the end of the spring...early summer...?

(OhI don't ever put up any "works in progress" clips.)

[Fumblyfingers]

Agreed on the many different "levels" of rooms....the home studio is a big money maker and the amount of gear available in all different price ranges is mind-boggling. This is almost a separate point for discussion, how the manufacturers are tailoring to suit budgets...after all the really high end stuff is still the best mostly, and it seems there is a lot of gear that is being made that comes in just below, so someone can afford it. Under that is a model line and under that is a model line etc etc and I wonder if they plan it knowing the purchaser will soon find himself upgrading so as to get a feature not available on the version he has.

 

Your picture is, while nice and artsy, a bit dark but it looks good in there. I like the eye level cabinets for the rack gear next to the tape machine. I really dislike having to stoop to use a piece of equipment.

 

You are right again. I did indeed interpret your comments, here and elsewhere, as argumentative.

 

You are very lucky to be living in an area where you never have to worry about jet airliner noise, helicopter rotor noise, police sirens, Harley's with loud pipes, feuding neighbors with Kalashnikov's, mating hippo's and other loud noises coming in to the studio in the middle of the best acoustic solo you have ever played. After all soundproofing is as much keeping it from getting in as keeping it from getting out.

 

I built on a slab also. My understanding is that sound will transmit through the slab and may cause the structure to resonate and allow the sound to transfer to the outside...which is why I did what I could to decouple the floor. But since you don't have a close neighbor problem, perhaps you don't need that.

 

I read an article in one of the recording magazines about Little Feat's studio, The Barn. This is just that, a wooden barn in Topanga Canyon, a highly populated area in the Los Angeles area. Very canyony, lot's of trees, windy narrow roads, in some places the houses are very close together, mostly rustic living.

 

They decided to record an album in there so they set up but during rehearsals it became evident that the sound was just spreading all over the area and bothering the neighbors. So they went and got a whole bunch of old mattresses and rugs and strapped the mattresses to the outside of the structure and put the rugs all over the walls on the inside to make it manageable. The album they recorded in there, while perhaps not the best sounding release they have had, still sounds really good and I am sure has been a financial success for them.

 

Similarly, there have been other success stories about TV soundtrack stuff coming out of home studio's that are way below what might be considered any sort of industry standard.

 

So there are all kinds of rooms all over the place and any one of them may produce something either very good sounding, financially successful, or both.

 

I look forward to hearing your new album. When you say major album project, is this your own music or for a client. Do you have a label deal or is it a self-release?

 

 

[Trucks]

Seems you mentioned noise coming in, Fumbly. In a recording I did recently, right at the end I finished on a 2 finger chord hit pretty hard, then muted it (staccato?? I dunno, whatever) and IMMEDIATELY after that a load of fireworks went off outside to end the track LOL

 

Un-luckily the take absolutely sucked otherwise that would have been a keeper.

[Fumblyfingers]

Un-luckily the take absolutely sucked otherwise that would have been a keeper.

 

Wot...the recording of the fireworks?

[miroslav]

Your picture is, while nice and artsy, a bit dark but it looks good in there.

 

With the amount of lights that you see in the image...it's actually bright in the room...but this being a photo of a reflection, the camera interprets light differently than the human eye.

 

I can create a lot of different atmospheres with the lighting...or I can turn on some additional ones and make it feel like a well-lit office space.

When I'm working alone...I like it dark, with the lights focused only on my work area.

 

 

So there are all kinds of rooms all over the place and any one of them may produce something either very good sounding, financially successful, or both.

 

Absolutely.

I wouldn't dissuade anyone from trying to record in their make-shift basement studio...or out in the barn...or whatever. It takes a lot of work and money to create a "perfect" recording space.

That said...there are a lot of "home/project studio" recordings that sound like thata home recording.

That's the hard part...getting that pro sound in whatever recording environment you have at your disposal.

 

I look forward to hearing your new album. When you say major album project, is this your own music or for a client. Do you have a label deal or is it a self-release?

 

This is my project.

When I started setting up this studio, about 4-5 years ago (took over two years to get it to its current state)...my goal was to do a long-planned album of material I had (some only half finished).before getting into any outside band recording.

I've done a bit of cover band demo recording...friends and friends of friends...

...but for the last couple of years I've been mostly working on my songs.

Alsowith the exception of drums and some female BVox on a few cuts.Im doing everything else myself.

Two years on an album seems a like a long time...but when you write, arrange, play/sing all the partsand then DAW editand then finally mix...all by yourself...

...well, it just takes time. And I do spend most of my free time doing itwhich is not 24/7!

There are some big-name artists/bands that have taken MORE than two years to finish their album projects!

 

This is going to be a standard CD release...and no, I dont have a label at this time, but I have a few industry connections on tap...so I'll see how it goes after its done.

Even though I am recording everything as a typical CD release....my main goal is to sell the songsnot so much myself as an artist/musician.

But Im always open to anything.and I would not say NO to getting a band together again in order follow-up on the originals.

 

Its one day at a time for meIm not trying to prove anythingits more of a personal life statementandmy long term lifestyle.

I hope to be writing/recording into my 70sI truly enjoy the studio environment.

 

[miroslav]

Seems you mentioned noise coming in...

 

Since I did not get into any formal soundproofing...yeah, if you ran a lawn mower outside the studio...I would hear it.

 

But...I have real good distance from any neighbors...and the studio space is strategically located where only one of the walls is facing any neighbors.

Yeah...once in awhile I get a neighbor doing some tree cutting with a chainsaw...but that's rare, and in most cases, the studio is almost always dead quiet.

 

I'm in a rural-residential area...so there is only very light traffic...and my road is a dead-end, so there is no traffic. There are no commercial factories or buildings. I rarely get any planes overhead.

It works out well for me 90% of the time.

 

[Fumblyfingers]

You lucked out on the noise factor.

 

I still have my Fostex E-16 with the 4050 Autolocator and the Studiomaster board that it was hooked up to, in storage. I have been thinking about digging it out and doing some backwards stuff on it and importing into Pro Tools and having some fun with the files.Other than that I was never happy with the sound of that pairing. I never seemed to hear back what I put in, it was frustrating. I think the 15 ips also had something to do with it. I had it calibrated and the heads surfaced and aligned all that good stuff, by the best guy in LA....still was never that happy with it.

 

I am much happier with Pro Tools even with the factory 002R A/D converter.

 

What recording software are you using?