spantini
COO of me, inc.
Ok. So making your recording space "soundproof" isn't desireable because you'll want some reflections to give "body" or "substance" to an instrument. In this pursuit, you tame and contour reflections with absorbers, deadeners and certain reflective materials - all placed in strategic areas and positions.
Now what if you were to approach this from the opposite end. Say you begin with an anechoic chamber (room) with negative decibles. Could you possibly place reflective materials of varying shapes and sizes in strategic positions to reflect enough desired frequencies and vibrations via specific paths, avoiding the absorbant areas and terminating at one or more microphones, to achieve the same or similar results? Would these results be acceptable for music production? Desireable?
I suppose placing reflective materials to focus frequencies on a microphone, avoiding the anechoic areas would be more sterile, like miking a small combo amp in a closet, or using a shotgun mic in the open.
This is just a thought experiment, so not looking for real world solutions.
Now what if you were to approach this from the opposite end. Say you begin with an anechoic chamber (room) with negative decibles. Could you possibly place reflective materials of varying shapes and sizes in strategic positions to reflect enough desired frequencies and vibrations via specific paths, avoiding the absorbant areas and terminating at one or more microphones, to achieve the same or similar results? Would these results be acceptable for music production? Desireable?
I suppose placing reflective materials to focus frequencies on a microphone, avoiding the anechoic areas would be more sterile, like miking a small combo amp in a closet, or using a shotgun mic in the open.
This is just a thought experiment, so not looking for real world solutions.