Current CR design

[RICK FITZPATRICK]

Hello, Can anyone tell me if there currently exists, an optimized control room design, that is licensed for use, and or where I might find a (CR)design hiarchy/criteria list or publication. I've read Alton Everests books, and others, but I am not a reader of MIX or architectural/acoustics books too much anymore. I am just curious, what the state of the art(design wise) is, in control room authentification and scientific measurement. Being an old fart, the last I read it, was LEDE. Bet that brings a laugh by now. I've seen some state of the art studios lately, but nothing I've read suggeststhe use of a certain design, that is an industry standard, licenced, measured, tuned and trademarked, and or the criteria they use to do so. It would seem, if an optimized design exists, then it would be used in every pro studio in the world. Maybe, I'm just behind the times, but I still wonder..., so, tell me, when YOU design, do you just whittle down some kind of criteria, till it fits your budget and room? What design goals(acousticly) are you aiming at to achieve this design? I see a lot of design work here, but no definition of what the goal is. If control room/studio design has a final criteria, and IF, it has already been met somewhere, or defined somewhere, than any diviance from this design compromises the criteria, some how. Or can all studios meet this critera, if it exists, by manipulation of the interior space? Sonicly, there are many recording solutions that meet the best specifications. Does that translate acousticly as well? Thanks, just curious.
fitz

 

[Dioxide]

Not much help but

Hey besides my Mom and Dad i've never met or seen the last name Fitzpatrick anywhere I also happen to be part of the Fitzpatrick Clan. Sorry I can't be of any help though. Good luck.

Dioxide
(Nathan Fitzpatrick)

 

[frederic]

Sad to say, the three studios I've personally owned (aside from this home studio) we engineered the room the monkey way, i.e., construct, play sound, tear down and repeat until the engineer doesn't bitch and gripe.

We use pink or white noise generator (I forget which, its been a while) and a calibrated microphone and adjust the room accordingly. Sometimes EQ can resolve minor flaws, however the major stuff obviously requires adjustment of the room via wall angles, foam & materials, and monitor placement (or engineer placement ).

I have two books at home that have sections regarding acoustics in a room, as well as some diagrams of commerical studios (like Disney, Sony, Warner Brothers, etc), when I get home I can get you the ISBN numbers. I recall one book having less acoustical info than the other, however the other book had a huge section on acoustics and tons of disgusting math formulas associated with calculating this stuff. If I forget (since i'm on my honeymoon and not replying to your post just remind me in a week, I'll pull the book out for you, no sweat.

Hello, Can anyone tell me if there currently exists, an optimized control room design, that is licensed for use, and or where I might find a (CR)design hiarchy/criteria list or publication. I've read Alton Everests books, and others, but I am not a reader of MIX or architectural/acoustics books too much anymore. I am just curious, what the state of the art(design wise) is, in control room authentification and scientific measurement. Being an old fart, the last I read it, was LEDE. Bet that brings a laugh by now. I've seen some state of the art studios lately, but nothing I've read suggeststhe use of a certain design, that is an industry standard, licenced, measured, tuned and trademarked, and or the criteria they use to do so. It would seem, if an optimized design exists, then it would be used in every pro studio in the world. Maybe, I'm just behind the times, but I still wonder..., so, tell me, when YOU design, do you just whittle down some kind of criteria, till it fits your budget and room? What design goals(acousticly) are you aiming at to achieve this design? I see a lot of design work here, but no definition of what the goal is. If control room/studio design has a final criteria, and IF, it has already been met somewhere, or defined somewhere, than any diviance from this design compromises the criteria, some how. Or can all studios meet this critera, if it exists, by manipulation of the interior space? Sonicly, there are many recording solutions that meet the best specifications. Does that translate acousticly as well? Thanks, just curious.
fitz