Y
yrs2012
New member
hey im starting to treat my home stuidio its in a basement and I need at least 127 sq ft of it any info on this thanks
Massive Master
www.massivemastering.com
I'm assuming you're not liking the answers you're getting on your other thread, but YOU DON'T NEED FOAM. You need BROADBAND treatment (and in a basement, LOTS of it).
127 square feet of foam is going to be worth about the same as a bowl of warm sinus fluid.
www.gikacoustics.com -- RealTraps - Home -- OC703/705/Roxul -- that sort of thing.
127 square feet of foam is going to be worth about the same as a bowl of warm sinus fluid.
www.gikacoustics.com -- RealTraps - Home -- OC703/705/Roxul -- that sort of thing.
Y
yrs2012
New member
where would I get that at and what does it do does this sound proof or does this do almost what acustic treatment does?
Steenamaroo
...
Sound proofing and acoustic treatment are two different things.
Soundproof means no sound gets in or out. If you're worried about traffic noise coming into your recording space or your drums carring out to the neighbours you should look into sound proofing.
You'll never fully sound proof an area, but you can reduce transmission from the outside in or vice versa.
Acoustic treatment controls reflections within a room.
In most home studios the bass frequencies are problematic and therefore, we use heavy dense corner traps and that kind of thing.
To some extent proper acoustic treatment will help to reduce sound coming into/going out of a room, so there is a bit of overlap I guess,
but double doors and triple glazed windows will help with soundproofing and do nothing to benefit the acoustics in a space.
Light foam could be considered 'the icing on the cake' in some spaces, but it's never likely to be the biggest contributor in taming the acoustics of a small space.
If you google standing waves and wavelengths, and their relationship to parallel walls in small spaces you should get an idea of why.
Hope that's useful.
Soundproof means no sound gets in or out. If you're worried about traffic noise coming into your recording space or your drums carring out to the neighbours you should look into sound proofing.
You'll never fully sound proof an area, but you can reduce transmission from the outside in or vice versa.
Acoustic treatment controls reflections within a room.
In most home studios the bass frequencies are problematic and therefore, we use heavy dense corner traps and that kind of thing.
To some extent proper acoustic treatment will help to reduce sound coming into/going out of a room, so there is a bit of overlap I guess,
but double doors and triple glazed windows will help with soundproofing and do nothing to benefit the acoustics in a space.
Light foam could be considered 'the icing on the cake' in some spaces, but it's never likely to be the biggest contributor in taming the acoustics of a small space.
If you google standing waves and wavelengths, and their relationship to parallel walls in small spaces you should get an idea of why.
Hope that's useful.
Massive Master
www.massivemastering.com
I put links right there in the post...
It doesn't "almost" do what acoustic treatment does -- This IS acoustic treatment. This is the "base" treatment (the base for the bass if you will).
EXACTLY - The icing on the cake - WITHOUT the cake.
Y
yrs2012
New member
well i have a few of my recordings on youtube under youngsrecordingservices there with your help might be able to tell me what I really need for the studio check out my new one I cant belive
Steenamaroo
...
I listened to your spoken advert and tracks called oh baby, and jessie girl.
Without being harsh, room treatment is certainly a concern, but probably the least of your concerns.
There's consistent hiss, electronic interference, and on jessie girl there's distortion - The bad kind.
Maybe you need to take a look at your signal path and technique?
Without being harsh, room treatment is certainly a concern, but probably the least of your concerns.
There's consistent hiss, electronic interference, and on jessie girl there's distortion - The bad kind.
Maybe you need to take a look at your signal path and technique?
Y
yrs2012
New member
well that was when i had a crappy sound card i just got a new computer and Jessie girl wit hthe lead guitar the electric was done on a tape deck at a friends bedroom
Y
yrs2012
New member
and be honest thats what i really care for to learn from my mistakes and get better
Steenamaroo
...
Post a direct link to something then.
I can't guess what your 'benchmark' track is.
Honestly? Anything with hiss, buzz or unintentional distortion is not a good advert.
Those are the kinds of problems that I'd want to deal with before I spent money on anything else.
Master will be the first to tell you that monitoring (that includes speakers/converters/environment) is the single most important thing, but you can still address these issues in the meantime.
Maybe post your gear list up in one of the forums and ask for advice about it?
Hope that's useful.
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Y
yrs2012
New member
well my stuff is good now the monitors are a pair of Bsoe 802's with a decent computer using cakwalk and the mixer a 1982 12 channel studiomaster
Y
yrs2012
New member
besides the point
Massive Master
www.massivemastering.com
I don't think you're going to find anyone to agree with that... Mainly the "Bose 802" and the "Good" in the same sentence part.
witzendoz
Senior Member
Bose 802's were designed for PA use, and they were crap at that too, except for folk groups that seemed to like them LOL.
Alan.
Alan.
Massive Master
www.massivemastering.com
I used to love crankin' the crap out of 802's... The big problem was that they were as homogeneous as headphones or exceptionally nice computer speakers. The greatest recordings in the world would sound "nice" through them -- But the worst recordings in the world would too.