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Post by seaofwine1982 on Nov 21, 2016 12:45:06 GMT
Hello everyone, I used to have a home studio room that made it from scratch. It’s in my my basement and soon I realized that is humid and as I am unable to dehumidify it I decided to move out. Besides, there are some more cons such as no light in there, no ventilation at all and the most important a long long drywall at the right side. So the decision is definitive. I post some pics of my old studio room so that you understand that I am familiar with acoustic treatment construction (panels, bass traps and stuff).      The new era Now, I decided to relocate my studio to the upper floor of my home. I am in a far smaller room but a very “gentle” one that inspires me a lot because there’s daylight (one window) and great mountain view. As I m about to start the acoustic treatment from scratch I have the tools, the hands and the patience to do so but I certainly don’t have the knowledge of acoustics. I’ ve read a lot and watched many videos but still I don’t want to randomize the whole construction so I need experienced advices. Exact spot and orientation for the deck, panels position, bass traps position, maybe a diffuser cause room is small and everything else you think. As it is now, I ve noticed many low frequencies and low reflections. Really poor in high ones. I think it’s a good start for a nice conversation. To be more precise I ll give you 3 pics of : Floor plan, and 2 elevations (unfortunately is in meters)    And to have a better idea some pics of the room as it is now:         Obviously, I will remove all the furniture and I will put back in place some of them. I look forward to read your posts. Thank you in advance, Haris |
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Post by Ethan Winer on Nov 21, 2016 20:10:26 GMT
All of my best advice for your room is in the READ THIS FIRST "sticky" post. Basically you need bass traps in the corners, more thick absorption behind you, and broadband absorbers at the side-wall and ceiling reflection points.
--Ethan
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Post by seaofwine1982 on Nov 21, 2016 21:37:15 GMT
I will certainly put bass traps but cause of the niche at the opposite side of the window I have to cover 5 corners. Should I cover all of em? Could you please take a look of my desired position of setup: imgur.com/a/9P8IdThis position has an esthetic quality as I face the window and view is in my eyes as I work. Just I m afraid reflections of the speakers should bounce at the opposite part of the room, a terrible indent left to the door, the biggest issue that troubles me hard. Do you find it's the proper place the desk? And do you think this indent can be "healed"? Thank you very much |
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Post by Hexspa on Nov 22, 2016 0:54:24 GMT
The desk position is good. You just need absorption everywhere.
-m
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Post by seaofwine1982 on Nov 22, 2016 10:12:19 GMT
So I came up with this plan. Just the floor plan with treatment. A little issue: I record at the same room where I mix so I end up with something like that  |
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Post by rock on Nov 22, 2016 13:04:54 GMT
Your early reflection panels need to be moved forward. They should at a point on the wall between your speakers and you. A cloud over your desk is good too. For recording, it's good to have absorption (moveable on stands?) behind and the sides of the talent in the direction the mic is pointing (behind the mic is OK too) to help eliminate room sound.
Cheers,
Rock
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Post by Hexspa on Nov 23, 2016 8:44:58 GMT
Yes, additionally use a cloud above the performer.
As per Ethan, iirc, the performer should ideally face INTO a well-treated corner when performing. It sounds counter-intuitive and contradicts what Rock says but, at least for small rooms, it has been verified that this makes the recording subject to much less room tone.
Please remember also that ALL corners are suitable for angled broadband trapping - including the ones on the floor and ceiling.
You'll run out of room before you put too much treatment in that space so I encourage you to be generous with the amount of treatment you employ.
Thanks,
-m
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Post by Hexspa on Nov 23, 2016 8:46:09 GMT
As a courtesy, I believe Ethan requested that images posted be no larger than 100KB in size.
Thanks,
-m
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Post by seaofwine1982 on Nov 23, 2016 11:14:53 GMT
As a courtesy, I believe Ethan requested that images posted be no larger than 100KB in size. Thanks, -m I hope now it's ok as I edit all my pics and really sorry Ι didn't intend to abuse or anything. Just a bit newbie !! By what you say instead of this  I should go for this?  I am such a starter to all this but I am afraid of much absorption. I don't want to get a "dead room" result. I have experienced this effect in the past and was horrible. Really thank you |
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Post by rock on Nov 23, 2016 13:34:45 GMT
Yes, additionally use a cloud above the performer. As per Ethan, iirc, the performer should ideally face INTO a well-treated corner when performing. It sounds counter-intuitive and contradicts what Rock says but, at least for small rooms, it has been verified that this makes the recording subject to much less room tone. Hi -m, I think see what you thought I meant, but no, I did not suggest the talent have his back to a corner if that's what you were thinking; I DID say there should be portable WB absorbers behind and to the sides (I didn't say how far but a few feet is what I use). Absorbers help to keep reflections from the room getting back to the mic. Sorry I missed Ethan's micing suggestion but I actually did not specify where the talent should be located... but if I would have, I'd suggest (and do use) in the middle of the room, away from walls and place portable 4" 2'x4' rockwool absorbers (centered about head hight) around the talent; behind, sides and front, (in front of talent/behind the back of the mic being the least necessary since a cardioid mics pattern picks up the least there). I don't have a cloud at this spot but I agree that's a good idea and something I've have not yet added. I think how ever it's done, if room sound is to be minimized, I consider two main points: 1. Distance from walls/ceiling VS talent to the "live" zone of the mic pickup pattern increases the ratio of direct to reflected sound and 2. Wideband absorbers to suppress reflections. I should add, I see now that Ethan's suggestions actually maximizes the distance from the mic "live" zone to the walls so that's better than the middle of the room, especially if the the room is fairly small. I'd still suggest portable absorber(s) behind the talent if available. Cheers, Rock |
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Post by seaofwine1982 on Nov 23, 2016 23:32:16 GMT
First of all really thanks guys. Sorry for my bad english (Im greek) but what do you mean with "talent"? I am about to start working on bass traps. I ended up with this treatment  After your very usefull suggestions I will put a cloud over my head at mix point and one at over the recording spot. It seems a good start isn't it? One more question: What if I put a diffuser at rear wall (at recording spot)? I am about to build portable rockwools absorbers so I can take them of and let the diffuser do the job during mix. Do you think it's necessary? |
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Post by Hexspa on Nov 24, 2016 10:31:29 GMT
Rock, I understand you mean enclose the performer in absorption far from walls. I think this is best for large rooms. For small rooms, face a well-treated corner and perform facing it. Because you are directing the sound toward the absorption, and since the rear surfaces are further, the room sound is minimized that way - much by the same principle that applies to treating your rear wall so heavily. An added benefit is that you don't have to assemble and deconstruct a temporary recording space - you can just leave one established which is functional regardless of application.
Sea, I advise against diffusion for now. Focus exclusively on same-sized broadband absorption for the best mix of effectiveness and flexibility. Also, add wall and ceiling absorption to the rear left corner (viewed from above) and point the mic away from the corner (rear of mic facing that rear left treated corner) and perform into the corner.
There is a post on GS demonstrating the difference and it is substantial.
And, Sea, yes - it's a wonderful start assuming you move your side RFZ panels between your speakers and you as per Rock.
That's my understanding.
-m
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Post by seaofwine1982 on Nov 24, 2016 11:55:53 GMT
I have a little problem with the front wall (the one behind the desk). I have 4" thickness recesses in the wall and don't know how to put the bass traps. This is the left corner  This is the right corner  Any ideas?? |
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Post by Ethan Winer on Nov 25, 2016 17:27:17 GMT
This thread is going well without me - thanks very much Rock and Hex! - so I'll add just one comment: The corner at the bottom, at the right of the recording area, that's not much of a corner. Sure, absorption in that entire area is good. But for bass trapping in the room generally, that corner is too shallow to catch much bass. So bass traps in the wall-ceiling or even wall-floor corners will give more benefit.
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Post by Hexspa on Nov 26, 2016 0:26:07 GMT
Providing additional detail to the above^ - there's considered to be a difference between 24" and 31" faced absorbers. It comes down to mass and surface area.
More is more!
-m
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