Studio treatment

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#41

One more thing,

as your side wall on the left of the desk seems quite diffusive, you can spread the panels to improve absorption efficiency.
The principle is based on Fresnel zones.

This video is a good example of it, even if it is not that accurate scientifically, it shows you that you do not need to cover the entire wall to be effective (the guy still have some flutter echo as he uses thin panels, if he would be using thicker panels (80 mm or more) the flutter echo would disappear).

https://youtu.be/cp56A6TcL1E


#42

looks great!
you probably put the drums in the best sounding spot, studios are defined by their drum sound
take time, trust your ears…
if the tile floors make it overly reflective, add some rugs :slightly_smiling_face:


#43

Man, that would be super useful and amazing!

By “room model” do you mean detailed sketch and spatial/physical measurements, or do you mean sweeps and audio measurements? I can make some IRs of the room, but again, not really sure where to place the speaker(s) and/or mics to measure “the whole room”.

The first reflection stuff makes sense, as I guess that’s a good way to maximize the impact around the mixing area without having to treat everything.

One thing that’s different is that I’m not actually planning on “enclosing” the mixing area like in their spec. That doesn’t really make sense in the room, and I will likely spend far less time on the monitors than I would in the room at large, so physically setting up obstacles in the main space isn’t ideal.

It’s also good that one of the walls is textured/irregular stone wall, so that will help in general (I would think).

I was definitely planning on putting some panels on the wall directly behind me (if facing the speakers/desk), as well as some behind/above the monitors too.

Yeah. Already have one really big rug along with a smaller one. I was thinking of adding more, though long long term I will probably swap the floor out to wood, but that won’t be for a while yet.


#44

Hey @Rodrigo
I am sorry I have underestmated how busy December can be.

I cannot promise anything but if you can take IRs measurements at a constant distance from your sweet spot and on your sweet spot, I can tell you if there is any room modes problem.
Also it is good to have reference of the other area of the room.

Reverberation time (and modal decay) is function of source receiver position, although modal decay in small room look more indipendent of this due to the locations you can leave the microphone being constrined.

How do you capture the IRs? do you use Alex Harker IR tools?
or do you use REW?


#45

Hey man, no worries. Any help/input is appreciated, and at any point. I’m not in a big rush to put up the panels as it’s just my home studio that I’m casually using.

It will be a couple of weeks before I can do any of this anyways on my side.

So by “constant distance from your sweet spot” do you mean, like taking recordings that are say 1m away from the sweet spot (but would be closer and further to the speakers), or do you mean constant distance from the speakers (i.e. 1.5m from the speakers fanning out).

And is it best, for this purpose, to create stereo or mono IRs (and then 2 channel or 4 channel stereo (speakerL to micL, speakerL to micR, speakerR to micL, speakerR to micR))?

And in terms of mic, I don’t have a proper reference mic, but I have some ok mics. My “good” options are DPA 4060s (omni) or AKG C214 (cardioid). I have a large diaphragm condenser that’s been modded (new capsule/transformer/etc…) and sounds great, but is an unknown in terms of exact frequency response.

I presume the C214 would be better here for it’s pickup pattern, but I suspect the DPA is flatter sounding.

I was going to use the HISS tools IR stuff. I’ve not used REW before (downloading it now). For some reason I thought it was Windows only…

edit: hmm, REW looks pretty useful. Would you suggest I just do everything in there? (since I presume it’s more tailored to this actual process)


#46

About to receive the remaining materials to finish ‘phase 1’ of my shed studio build. I am attempting to create a ‘minimum viable space’ to house my nomadic, box-ridden hoarde… It started off as a very standard shed with shiplap cladding on 3x1 timber frame and only half a very leaky roof. 4 weeks or so into the build, things are looking surprisingly plausible!

Here are the decisions I made to try and finish on a small but not tiny budget:

  • 18mm OSB for all internal walls, allowing easy mounting of shelves/work surfaces using woodscrews and shelf brackets
  • Opted to not use resilient bar or wall suspension - seems not worth it without installing double glazing
  • Rwa45 (high density rockwool) doubles as main sound and thermal insulation in wall cavity
  • Interior roof will be rwa45, chicken wire and packing blankets stapled to rafters
  • Built a new sloping roof out of 18mm OSB and 2 layer torchdown bituminous felt.
  • Have beefed up existing shed double doors into an attempt at soundproof using several cans of expanding foam and more 18mm OSB

Will report back on acoustics of this build as well as soundproofing when I am finally done.

Anyone care to comment on acoustic effects due to floating Vs rigid walls?