Recording Studio Design
Uploaded by
Pedro RodriguesRecording Studio Design
Uploaded by
Pedro RodriguesRecording
Studio
Design
with Omid Bürgin
Introduction
Why do you need
to know about acoustics?
Recording
EQ
Tuning Placement
Acoustics Compression
Miking Filtering
Monitoring
Case #1 Case #2
Bedroom Kitchen
Original
Room Response
FLAT
Room Response Musical Spectrum
+
=
Room Response Musical Spectrum
+
=
Expected Result
Room
Mixing
Starting from data below:
Room Response Musical Spectrum Desired Result
Q1: How would you equalize?
Q2: What will you hear?
1 2 3
Equalize:
1 2 3
Hear:
1 2 3
From this scenary:
+
correction monitored
Which version will arrive at the Mastering Studio?
Which one should have arrived at the Mastering Studio?
1 2 3
Mix coming to Mastering:
1 2 3
How it should be:
1 2 3
You have to be
able to take the
music out of the
room, as it is very
difficult to take
the room out
of the music!
Peter D’Antonio, RPG Inc.
Preliminaries
Create
Check list
Size Use
Necessities Neighborhood
First sketch Developed study
Internet research
Seven
1. Layout, room symmetry
& equipment setup
basic 2. Basic isolation
3. Room modes
acoustical
4. Speaker boundary
interference
rules
5. Early reflections
6. Late reflections
7. Reverb times
1. Layout, Room Symmetry
and Equipment Setup
?
?
d
d
d”
d”
2d”
d”
A
L R
60º
100º 100º
120º 120º
LS LS
2. Basic Isolation
Mass
Separation
8” 2” 16”
6”
Space
8” 8” 5”
2” 6” 6”
Floating
Mixed
Materials
Resilient
Channels
Box in a Box
Case Study:
House
+
Floating Mass
Case Study:
Appartment
+
Mixed
Floating Materials
det
3. Room Modes
Standing Speaker
Reflections
Waves Boundary
200 Hz 500 Hz
f4 260 Hz – C3
f3 195 Hz – G2
f2 130 HZ – C2
f1 65 HZ – C1
f2 f3 f4 f1
C1 C2 G2 C3 E3
f1 f2 f3 f4 f5
Hz
f4
f3
f2
f1
4. Speaker Boundary
Interference
dB
Hz
Absorptive
Reflective
LEDE
Live End / Dead End
5. Early Reflections
Early
Reflection
Direct Late
Sound Reflection
DS Early reflection Reverberation
1st
Reflection
ITDG Late Reflection
v [dB]
DS
Early reflection
t [s]
ITDG Late Reflection
6. Late Reflections
R
? R
Space Time
Reflection
Absorption
Diffusion
[dB]
DS Reverberation
Early reflection
t [s]
ITDG Late Reflection
Planta
1/4
y
(fmin)
1/2
y
(fmax)
p
n
5 7 11
0 1 0 0
1 4 1 1
2 4 4 4
3 1 4 9
4 0 2 5
5 2 3
6 4 3
7 1 5
8 0 9
9 4
10 1
11 0
Whenever
p=5
n n 2
bigger Sn
than p, n2 - p (example)
0 0 0 0
1 1 1 1
2 4 4 4
3 9 9 9-5=4
4 16 16 16-3x5=1
5 25 25 25-5x5=0
6 36
7 49
dB fmin fmax
L M H
Hz
0 1 4 4 1 0
7. Reverb Time
RT = 0.049 V
∑A + mv
RT = 0.049 V
∑A + mv
Porous Absorbers
CA[a]
f [Hz]
Membrane Absorbers
CA[a]
f [Hz]
Broadband Absorbers
CA[a]
(BP) *broad f [Hz]
Helmholtz Absorbers
CA[a]
*narrow f [Hz]
8.Conclusion
Layout
X
Isolation
0.8”
0.8”
0.6”
acrylic x glass
Isolation
Direct contact Floated
dB
Speaker
boundary
interference
Room
modes Reflections
200 500 Hz
How would you fill
this barrel?
Reverberation
Reflections
SBI
Modes
Room modes
Before After
Choose
your
room X
carefully
Bass traps
Speaker/Boundary
Interference
Before After
Absorption
d d d d
=
Early Reflections
Absorption Reflection
X
Late Reflections
Absorption Reflection
Reverb Time
Absorption Reflection
“Toothpaste equation”
(Pareto Principle)
Result
Effort
Recording
Studio
Design
with Omid Bürgin