Joel, thanks for that advice, i've heard about the asymetry thing before but not about only damping part of the room. I'm gonna look more into it.

-Dan-

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DD,

Make an unsymmetrical room, dampen 70 percent of the room and use bass traps in the corners. Put the speakers away from the walls and toe them in toward the sweet spot. Be about as far away from the speakers as they are from each other.

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Business is very food.

DD,

Make an unsymmetrical room, dampen 70 percent of the room and use bass traps in the corners. Put the speakers away from the walls and toe them in toward the sweet spot. Be about as far away from the speakers as they are from each other.

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Business is very food.

Etherium: Thanks for the advice

Does anyone have plans of a studio they built? I mean i've read and heard about studio design theory before, but i want to know if anyone has actually built a studio and how it all worked out for them. Also, i'm not building a mastering suite, just a workplace where i can have my computer and some gear in a separate enclosure, i'm not trying to acheive incredible aural dynamics quite yet, i dont even have any good monitors as of right now. So if anyone has some real world advice for me that would be great.

Thanks,
-Dan-

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quote:

Originally posted by danieldavid Etherium: Thanks for the advice Does anyone have plans of a studio they built? I mean i've read and heard about studio design theory before, but i want to know if anyone has actually built a studio and how it all worked out for them. Also, i'm not building a mastering suite, just a workplace where i can have my computer and some gear in a separate enclosure, i'm not trying to acheive incredible aural dynamics quite yet, i dont even have any good monitors as of right now. So if anyone has some real world advice for me that would be great. Thanks, -Dan-

Check my site
www.joelkalsi.com -> Studio Ice Cube -> "Building the studio"
We'll still need basstraps to it, and I'd recommend that first 70% of the room being acousted.

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Regards,
- J. Kalsi / www.joelkalsi.com

Thank you Joel.

How do you feel about the common practice of damping front and rear walls only? I've worked in a few studios set up this way, but the walls were 100% covered in acoustic foam, front and rear, but with nothing on the sides. The rooms were not asymetrical. I've also seen some instalations where damping is installed in small 1x1' panels spaced about the wall, with occasional basstraps.

I do not have any working experience with this, but im looking to get a pretty neutral sounding room, i dont have to worry about glass, but materials are an issue, normal gypsum walls and a concrete floor with carpet over. If anyone has advice for me, or people looking to build a studio in general please post it.

Thanks!
-Dan-

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quote:

Originally posted by danieldavid Thank you Joel. How do you feel about the common practice of damping front and rear walls only? I've worked in a few studios set up this way, but the walls were 100% covered in acoustic foam, front and rear, but with nothing on the sides. The rooms were not asymetrical. I've also seen some instalations where damping is installed in small 1x1' panels spaced about the wall, with occasional basstraps. I do not have any working experience with this, but im looking to get a pretty neutral sounding room, i dont have to worry about glass, but materials are an issue, normal gypsum walls and a concrete floor with carpet over. If anyone has advice for me, or people looking to build a studio in general please post it. Thanks! -Dan-

If you're really short on money for acousting, the most important thing would be to have acoustic foam / plates placed between the mixing point and the monitoring to avoid the worst reflections coming from the walls, and the same goes with the roof of course. It's good to have the back end of your room acousted too, but it doesn't count that much as the walls.

If you have some money to spend on it, you can always build a floating floor and possibly a floating roof too, and there are probably lots of instructions in the web for building floating floors. We'd need to build a floating floor for ourselves since our floor is relatively thin and it rumbles a bit while playing out loud. However we haven't had time, money and interest for it yet. The same goes for basstraps.. there's a picture I draw of a nice building instruction for a powerful bass-trap (designed by Ethan Winer) available on my site too, at Docs & Files -> Acousting. Such traps are cheap to build and small to place in your studio, and I've heard they're powerful on killing those standing waves. I wish I only had more money for progressing with the workshop

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Regards,
- J. Kalsi / www.joelkalsi.com

Well, after reading through everything you did to create that studio its hard to believe you need to do any more work. On the site you said that the sawdust in the corners was working as a basstrap. Are you saying that its just not working as well as a specific basstrap, or that its not working on the same frequencies as a specific basstrap?

Unfortunately, money is an issue for me right now, so i can't go crazy on acousting materials. But i'm going to make sure to get the front wall damped for now, work on the rest later.

-Dan-

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quote:

Originally posted by danieldavid Well, after reading through everything you did to create that studio its hard to believe you need to do any more work. On the site you said that the sawdust in the corners was working as a basstrap. Are you saying that its just not working as well as a specific basstrap, or that its not working on the same frequencies as a specific basstrap? Unfortunately, money is an issue for me right now, so i can't go crazy on acousting materials. But i'm going to make sure to get the front wall damped for now, work on the rest later. -Dan-

The sawdust in corners isn't working as a basstrap but it breaks down a bit of those low end reflections (each corner in a room boosts low end by 3dB, so an imaginary room would be some sort of a modified oval-ball... maybe an asymmetrical raindrop shape would be great? ). The whole acousting thing didn't cost that much; We got all the woodstuff, wool and acousting panels for around 350E in overall, and the sawdust was free of charge. I really would like to build a 2nd floor on top of the current one and put some wool in between. It would also be great to wire things up so that the wiring was done inside the floor instead of having wires circling all around. It would also let us use shorter wires too, leading to gain of quality in the recordings a bit that way as well (would probably gain the quality a lot more if we bought some high-end cables to replace the current ones though)

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Regards,
- J. Kalsi / www.joelkalsi.com

quote:

Originally posted by frykshun that quote from AVB is garbage.If you TRULY want to be original with your sound then you make your own sounds with the JP with a Virus with a DX7 with whatever you got.The JP is a great sound creating tool in my opinion.Yeah the factory presets are played out but if you are someone who makes your tunes by using factory presets then well you probably wont like the JP or any of the other popular AM type synths as most of their presets are played out.To make youre songs unique you gotta make your own sounds and to me the Jp series is a very capable and easily programable machine.

so true... if you want to go for presets, go for a cassio keyboard $100 at best buy. I bet you not many tracks use the patches there and they are not played out.

I'm surprised Armin said that... It's like saying "Color blue is so overused in todays painting... You should ditch it or people will not think you are original"....

I'm sure Armin was just teasing... Besides, Access Virus is probably the most overused synth, yet it is in every producer's studio.

I was reading an article with Front 242 in the Future Musik mag and something to the effect of "You gotta reach in the belly of the machine to get the sound you want" - very accurate. Using patches is for lamers. Make your own sound - that's what sound synthesis is all about. I can hit one note on a JP8080 and modulate the crap out of it to sound wikkid...

Make your own impression... that's the bottomline.

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Proud member of the "Filthy Zionist" coalition

quote:

Originally posted by Joel Kalsi The sawdust in corners isn't working as a basstrap but it breaks down a bit of those low end reflections (each corner in a room boosts low end by 3dB, so an imaginary room would be some sort of a modified oval-ball... maybe an asymmetrical raindrop shape would be great? ). The whole acousting thing didn't cost that much; We got all the woodstuff, wool and acousting panels for around 350E in overall, and the sawdust was free of charge. I really would like to build a 2nd floor on top of the current one and put some wool in between. It would also be great to wire things up so that the wiring was done inside the floor instead of having wires circling all around. It would also let us use shorter wires too, leading to gain of quality in the recordings a bit that way as well (would probably gain the quality a lot more if we bought some high-end cables to replace the current ones though)

Alright, i guess i misunderstood what you were writing in the website, i thought you were saying that sawdust worked as a basstrap, but it really just works to damp out low end in the corners, gotcha.

So as a revised design i was thinking about building out an almost octagonal room, except the walls would not be of equal length. Think square with corners cut off, but not a the same angles front and rear. That would alleviate the boost that you would see in corners, and if i get the angles right, reflections will not bounce back to the source... What do you think?

-Dan-

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