WOOD!
- Thread starter Wallycleaver
- Start date
John Sayers
Solar Power!!
What you said should work OK camus - what you suggested is to get rid of the lows as well - hey people are starting to understand where I'm coming from!! - homerecording is about using what you've got - and spending some amount on acoustics as well as NT1 mics etc.
Cheers
John
I'm finally getting thru .... yeah.....yeah....yeah....
Cheers
John
I'm finally getting thru .... yeah.....yeah....yeah....
Brian Grey
New member
John Sayers said:What you said should work OK camus - what you suggested is to get rid of the lows as well - hey people are starting to understand where I'm coming from!! - homerecording is about using what you've got - and spending some amount on acoustics as well as NT1 mics etc.
Cheers
John
I'm finally getting thru .... yeah.....yeah....yeah....
I like the "let's see what we can afford" aproach to homerecording. I'm not rich... AT ALL... I BARELY make it by every month, but I somehow can afford to build a recording studio. It's all in what you really want to do. Of course if all you want is to do recordings that sound like they were done at home, I guess that's fine, and maybe you don't care. But I want to trick people into thinking they're listening to a recording that came from a $10,000,000 studio in L.A. when they listen to something I recorded at home.
Using what you have is definately good though
First of all, John - really like your absorbers, they look awsome. Did you / do you seperate the different area's into chamber? Or is the rear abosrbsion material all the same?
I just had an interesting problem, building a 2 control room / central machine room studio, in 2 different adjacent buildings, one a 60' x 28' x 26' high barn, with a first floor control room looking down into a tracking room - the other a smaller barn.
The air / heating / water heating is located on the first floor, with what was an access door into the new control room. This control room's front and rear walls are build at 45 degree angles (interesting problem all on its own).
Bass trapping will be a biggy here. As I had to remove the door to soundproof the wall, I reduced the size of the entry and build a Helmholtz, a 2 x 4 frame, a back of 3/4" high density particle board with mineral loaded vinyl glued on the inside. 2" of rockwool stapled to this (ideal way of fixing rockwool or fiberglass - get some wire and staple over the wire). On the front of the 2 x 4 frame I "beat-in" a heavy gauge welding rod a 1/4" from the inside edge. Covered this with a sheet of 5/16" of beach finishing ply, fastened to the frame with close spaced 1/2" screws, each hole pre-drilled and counter-sunk. fasten the screws with the lowest torque setting. Result? a totally tunable bass trap, low cost, about 1 1/2 hours work.
Another nice feature is that the panel does not need hinges or fasteners - the rear of the panel sticks out 1" underneath, which slots over the threshold, the weight of the rear locks the whole thing firmly in place.
The next experiment will be fitting of straw batt panels for absorbsion / diffusion - just had them flown in from Oz! they caused some hassle at LA customs - they refused to believe that someone would bother to airfreight straw and took 2 4' x 8' panels apart to look for drug or something!
I just had an interesting problem, building a 2 control room / central machine room studio, in 2 different adjacent buildings, one a 60' x 28' x 26' high barn, with a first floor control room looking down into a tracking room - the other a smaller barn.
The air / heating / water heating is located on the first floor, with what was an access door into the new control room. This control room's front and rear walls are build at 45 degree angles (interesting problem all on its own).
Bass trapping will be a biggy here. As I had to remove the door to soundproof the wall, I reduced the size of the entry and build a Helmholtz, a 2 x 4 frame, a back of 3/4" high density particle board with mineral loaded vinyl glued on the inside. 2" of rockwool stapled to this (ideal way of fixing rockwool or fiberglass - get some wire and staple over the wire). On the front of the 2 x 4 frame I "beat-in" a heavy gauge welding rod a 1/4" from the inside edge. Covered this with a sheet of 5/16" of beach finishing ply, fastened to the frame with close spaced 1/2" screws, each hole pre-drilled and counter-sunk. fasten the screws with the lowest torque setting. Result? a totally tunable bass trap, low cost, about 1 1/2 hours work.
Another nice feature is that the panel does not need hinges or fasteners - the rear of the panel sticks out 1" underneath, which slots over the threshold, the weight of the rear locks the whole thing firmly in place.
The next experiment will be fitting of straw batt panels for absorbsion / diffusion - just had them flown in from Oz! they caused some hassle at LA customs - they refused to believe that someone would bother to airfreight straw and took 2 4' x 8' panels apart to look for drug or something!
Tim Brown
New member
Brian Grey said:
But I want to trick people into thinking they're listening to a recording that came from a $10,000,000 studio in L.A. when they listen to something I recorded at home.
Using what you have is definately good though
Heck man-why worry about that?!
Let me tell you a secret.
I have a "long lost cousin" (I met the guy, and we later found out that there's a family relation there).
He produced a ton of decent selling records (essentially he was an "understudy" under Alan Parsons, he was there when they recorded APP), and he's worked with some of the biggest names in the business.
He designed and built 3 major studios in L.A.
Now, he's set up his own studio.
Wanna know what he's using?
He's recording on a 500+(I know it's more than 500 but I can't remember offhand)--it IS 5:00 AM in the morning, and yes I have been up all night
Megahertz PC, using SEK'd's Samplitude, 3 ADAT's (simply for converting to digital and Lightpipe into the PC) and a Ghost Mixer.He even does Mastering with this gear. He's worked on all the other stuff out there, and said this stuff is just as good; actually better in some instances, because he doesn't have to go and rent certain studios for $1,000+ per day (1 place was $250.00 per hour , with an 8 hour minimum Man that's $2,000 for 1 day in a Mastering Studio.
He said whereas he used to have to Charge a ton-because he had to rent a facility to Master-and it sure wasn't going to come out of his pocket, now He can do Mastering for 1/2 what he used to charge, and he gets twice the business, and it all goes in his pocket.
I know some people who have paid $5,000 for Mastering, and it wasn't even a mastering Engineer that I recognized.
Hell, locally, one of the "Butchers" (meaning a guy that doesn't know his ass from a hole in the ground-but constantly gets hired by studios. He is my local nemesis Hahaha) is charging people $100-150 per song to "master"(with a 4 song minimum-the price is higher for less songs, and it's higher if you want to be there-why? because if You're there, he has to look like he's really doing something, other than running ypur stereotracks through some software!) and all he's doing is normalizing it.
I'm seriously re-thiking my whole "studio" concept, and I am seriously leaning towards opening a Studio...
There has to be a ton of business, because we have a bunch of Studios, and even though they are putting out junk for the most part-they are getting repeat business.
Tim
Brian Grey
New member
Tim,
Everything you just said supports what I mean when I say "trick people into thinking they're listening to something recorded at a $10,000,000 studio in L.A." If what we can do sounds just as good then awesome, more power to us. But really what I was talking about was more of a "room" based theory. Without good rooms your final sound won't be good. It alllllll starts with a good room, THEN it stems to equipment... mics and what-not.
Later,
-Brian
Everything you just said supports what I mean when I say "trick people into thinking they're listening to something recorded at a $10,000,000 studio in L.A." If what we can do sounds just as good then awesome, more power to us. But really what I was talking about was more of a "room" based theory. Without good rooms your final sound won't be good. It alllllll starts with a good room, THEN it stems to equipment... mics and what-not.
Later,
-Brian