The problem of course is that few home- and small-studio owners can justify the expense of bespoke design by a professional acoustician. And if achieving that justifies a few Hobnob-related calories, so much the better. Having a good room to mix and track in, with excessive bass energy absorbed and standing waves and flutter echoes dispersed, can make a world of difference to the final quality of the mixes that emerge from it. If there’s something we’ve all learnt from the pages of SOS over the years, it’s that for most studios, well-judged acoustic treatment matters at least as much as gear, and perhaps even more so. I thank you again for your input, Brad, but I really just need to cut to the chase here and determine which hardware/software package will work best for the room calibrations I'll be doing for the forseeable future.The first step towards treating room acoustics is identifying the problem areas - and that’s where FuzzMeasure can help. I promise you, none of them have the least bit of interest, or budget, for gearing up with DAWs, mom's Dell or otherwise. They spend their non-performance time teaching their students, taking lessons themselves, or locked in a room four to five hours a day rehearsing their own voice/instrument. why should musicians hire you to record them if they can just do it at home with their mom's Dell? Wouldn't that self-taught 'engineering' experience be better for their careers long term?īecause almost all of the musicians I know and record are classically trained operatic singers or orchestral musicians. ![]() So, since I'm addressing many different recording spaces, then yes, I'll be effectively maintaining an ever changing acoustic space.Īnd, it would certainly be cost prohibitive to hire an acoustician to precede me at every new location gig. Additionally, I have my current home studio, and am making plans for a new studio, as well as my home theater. However, my business (location recording) often allows me to temporarily modify someone else's space prior to recording in it. You might be correct if my concerns were only limited to one specific room. ![]() In order to take the next step, I now need tools to turn my qualitative assessments into quantitative evaluations, then to verify that any room modifications I make are indeed improvements. But knowing a room sounds bad, and knowing what's needed to fix it are two different things, and I'm in the learning stages right now about room calibration. In fact, I do have "years of studying and trial-and-error experience," with audio/acoustics (going way back to the 70's), and I know very well when rooms sound good or bad. Acoustics aren't a simple thing, and anyone who tells you you can teach yourself to make a great sounding room without years of studying and trial-and-error experience is wrong. Second, there should be no need to 'maintain' the acoustics of your rooms - either they sound good or they don't.ĭo what you wish, but you have to ask yourself (according to your own logic) - why should musicians hire you to record them if they can just do it at home with their mom's Dell? Wouldn't that self-taught 'engineering' experience be better for their careers long term?įirst, there's a reason real acousticians exist, and it's not because of laziness on the studio owner's part. A good acoustician is like a good accountant - they pay for themselves in what they save you in the long run. ![]() Sure, you might get lucky and end up with a good sounding room, but more often than not there will be acoustic compromises. If I go hire an "actual acoustician" to do this, then how am I going to learn this very important and necessary aspect of configuring and maintaining a recording studio ?įirst, there's a reason real acousticians exist, and it's not because of laziness on the studio owner's part.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |