sjoko2
New member
This was a bit of a risk.
One of the reasons we selected the place where NGS's new studio is build was the shape of the main 'barn'.
The idea was to re-design the interior to, in addition to soundproofing of cause, provide for a long 'cathedral-like' decay, so we would need a much lesser reliance on equipment to induce ambiance, by being able to track sound they way it sounds best, naturally.
Another reason behind it was to create a natural environment for recording in surround.
The biggest problem in designing a large, live room with a long decay is standing waves, thereafter flutter. The less absorbant the wall and floor surfaces, the bigger the problem, the more equal the surfaces, the bigger the problem.
To counteract the waves and flutter present in the building, I build a 6 corner booth in the room, with 6 top (above the windows) parts angled at 22 degrees, and a dipped / curved / waving roof.
IT WORKS!!! They finished the drywall yesterday (the only thing I didn't do myself, drywall the ceilings).
The decay in the room is exactly 3 seconds, the same wherever you go in the room, there are no waves, no flutter, nothing. Just a huge beautiful, natural sound.
Of cause not everything needs a long decay, so acoustic control will be by means of large curtains suspended from the ceiling, which can be raised or lowered. Therefore, when you are tracking, you can adjust the acoustics to suit (EQ by wire).
The acoustics in the tracking room will be further enhanced by a 112 cubic feet bass trap under the control room window, which will ensure the low frequencies stay tight, even with the room operating at maximum decay.
Another experiment is the building of 2 traps in the booth. A small one, designed to absorb anything under 65 cycles, and a 22 square feet broad spectrum absorbsion chamber in the roof cavity. The booth is quite large, and I didn't want it to sound totally dead. The traps keep it nice and warm, but tight sounding.
There is no way to calculate "feel", so the way I build it is bit-by-bit, and having Uru come in and sing every day, long notes, short notes, high, low, and then I build the next part depending on what I hear.
The reason I'm so exited by this? I designed quite a few places over the years. Whenever I came up with a design which was somewhat "controversial", without using all the artificial / chemical crappy foams, fiber panels etc. people asked me to 'tone it down' and go for something more 'normal'. Nobody trusted my beliefs that it was possible to do things a more 'organic' way. That is why I had to take a whole year off, to design and build the whole thing myself. To prove a point.
Now I'm going to prove another point. I've made some damn good records over the years, but now I'm going to make some absolutely fucking killer ones, and for the first time in 36 years, I'm going to put my own name on them (don't keep me to that one
One of the reasons we selected the place where NGS's new studio is build was the shape of the main 'barn'.
The idea was to re-design the interior to, in addition to soundproofing of cause, provide for a long 'cathedral-like' decay, so we would need a much lesser reliance on equipment to induce ambiance, by being able to track sound they way it sounds best, naturally.
Another reason behind it was to create a natural environment for recording in surround.
The biggest problem in designing a large, live room with a long decay is standing waves, thereafter flutter. The less absorbant the wall and floor surfaces, the bigger the problem, the more equal the surfaces, the bigger the problem.
To counteract the waves and flutter present in the building, I build a 6 corner booth in the room, with 6 top (above the windows) parts angled at 22 degrees, and a dipped / curved / waving roof.
IT WORKS!!! They finished the drywall yesterday (the only thing I didn't do myself, drywall the ceilings).
The decay in the room is exactly 3 seconds, the same wherever you go in the room, there are no waves, no flutter, nothing. Just a huge beautiful, natural sound.
Of cause not everything needs a long decay, so acoustic control will be by means of large curtains suspended from the ceiling, which can be raised or lowered. Therefore, when you are tracking, you can adjust the acoustics to suit (EQ by wire).
The acoustics in the tracking room will be further enhanced by a 112 cubic feet bass trap under the control room window, which will ensure the low frequencies stay tight, even with the room operating at maximum decay.
Another experiment is the building of 2 traps in the booth. A small one, designed to absorb anything under 65 cycles, and a 22 square feet broad spectrum absorbsion chamber in the roof cavity. The booth is quite large, and I didn't want it to sound totally dead. The traps keep it nice and warm, but tight sounding.
There is no way to calculate "feel", so the way I build it is bit-by-bit, and having Uru come in and sing every day, long notes, short notes, high, low, and then I build the next part depending on what I hear.
The reason I'm so exited by this? I designed quite a few places over the years. Whenever I came up with a design which was somewhat "controversial", without using all the artificial / chemical crappy foams, fiber panels etc. people asked me to 'tone it down' and go for something more 'normal'. Nobody trusted my beliefs that it was possible to do things a more 'organic' way. That is why I had to take a whole year off, to design and build the whole thing myself. To prove a point.
Now I'm going to prove another point. I've made some damn good records over the years, but now I'm going to make some absolutely fucking killer ones, and for the first time in 36 years, I'm going to put my own name on them (don't keep me to that one
