studio vs basement

[tenkas]

How does acoustics interact with the sound I record when I crank up a 5150 and close mic it with a sm57.

Is there a big difference between the sound I will get in the studio and the one I will get in my basement? (I have many panels of 703 fiberglass to deaden the place).


I want to know if it's worth taking the time to put everything in the big studio (about 30 feet by 20 feet)

 

[jonnyc]

You can get some pretty damn good sounds in a basement so long as it's somewhat treated. IMO this pretty much just goes for close micing though, if you're room isn't great it's going to be apparent thru a room mic. I sucessfully record guitars in the basement all the time but it's a pretty decent sounding room for a basement.

 

[gtrman_66]

I don't mean to sound like a smartass, but there is only one real way to find out and that is to try it in each location and see which you like best. There are really so may variables that it's difficult if not impossible for one of us out here in cyber space to make a determination with 100% accuracy on what you'll experience there "on the ground" at your location.

What I can tell you is this. It has been my experience with close miking guitar amps that the room doesn't seem to have all that much effect on the sound,most of the time. YMMV depending on mic type and position, amp volume, position of the amp in the room etc. etc.

Now, if you are adding an ambience mic, backed off the amp, the whole equation changes.

But my reccomendation would be to haul it upstairs and try it there too and take the best sound. I know it's extra work, but isn't your music worth the effort?

 

[Flux]

Let me add this: is it better to record (and work) in your living environment or have a place where you can go to work then return home, leaving your work behind?

 

[turtlishous]

Let me add this: is it better to record (and work) in your living environment or have a place where you can go to work then return home, leaving your work behind?

WTF? is that supposed to mean? i can get your drift sorta....but don't we all write our music when the time fits? mostly at home? poll to follow

 

[cusebassman]

I think it all depends on whether you are currently in a fun, creative state with your recording process, or if it has become kind of a chore.

I don't have much choice but to essentially live in my studio... I live with three other people in a four-bedroom apartment (one floor of a house), so I have to keep the whole setup running in my bedroom (occasionally the living room if everyone is gone on break from school). I would prefer to either have a separate bedroom set aside for just the studio, or perhaps have a basement to set everything up in and leave where it is. Like anything else, even if you are completely passionate and obsessed with your work, you still need a break from it from time to time, and not living in the same area you work in forces you to always have that certain level of separation, so you retain some semblance of sanity.

I think anbother factor that comes into consideration is where or not music and recording are your day-to-day profession. I am a software engineer, and I love what I do, but when I go home at night after a 9 or 10 hour day, I don't want to look at a computer... probably part of the reason why I like using analog equipment, it distances me from PC technology... I think the same goes for professional musicians - no matter how much you love it, you are probably spending the better part of each day on it, and you need to get away from it. Hell - I like to get away from recording now and then, and I am confined to doing it on the side as it is! I would still like to have the studio close by in case a creative burst comes to mind, but that distance might be nice.

I'm sure some would say that needing to occasionally distance yourself from your work/art makes you less devoted than others, but I'll just say right now, I completely disagree. There are plenty of times when I am at home, that I don't feel like sitting down and working on a mix, or recording more overdubs, etc... sometimes I want to go do completely unrelated things, and I think that is a healthy outlook on any interest.

It also seems that the person who posed this question was not so much referring to where they write their music, and more to where they actually practice and get it down on tape. If that wasn't the case, I apologise for my apparently noncontextual rant, however, I believe the actual writing process does happen pretty much anywhere. I wouldn't say that if you aren't in the studio that you should forget any and all inspiration that comes to you - far from it... but in terms of actually sitting down and doing the "work"? Yes, I think you need to step back, if not for yourself, then for the mix itself. Coming back to something you have gotten away from can give you a fresh perspective; to help you see things you would not have seen after listening to something played back for the 30th time in a row.

 

[cusebassman]

Hmm, to get back to the original point, close mic'ing a cabinet with a little bit of room treatment should suffice. I'd say take it upstairs just to try it out (despite the effort needed), because you may very well find an unexpected, positive result!

 

[bigtoe]

it will make a difference. not as much as maybe a drum set...but it will make a difference...if it sounds cool in the basement - go for it. if it doesn't - don't!

i often times will put a packing blanket (quilt will work fine) over the amp/mic to cut down on the nasties in a basement type situation. try it...

 

[jonnyc]

it will make a difference. not as much as maybe a drum set...but it will make a difference...if it sounds cool in the basement - go for it. if it doesn't - don't!

i often times will put a packing blanket (quilt will work fine) over the amp/mic to cut down on the nasties in a basement type situation. try it...

Unless you're running a tube amp, do not throw a blanket over a tube amp or you're asking for trouble.

 

[warble2]

Unless you're running a tube amp, do not throw a blanket over a tube amp or you're asking for trouble.

Very sound advice.

 

[cusebassman]

Even tube amps I'd be afraid of overheating if completely covered in a blanket, I've never really owned a solid state amp, I don't know how much warmer they get...

 

[tenkas]

Thanks for the advices, I guess I will try it in different rooms and then I shall chose one.

 

[jonnyc]

Even tube amps I'd be afraid of overheating if completely covered in a blanket, I've never really owned a solid state amp, I don't know how much warmer they get...

Sorry, I worded that incorrectly. He said to throw a moving blanket over the amp my response is "ok, unless it's a tube amp" Tube amps seem to run much much hotter than solid state and you can do some serious damage to your amp and possible the rest of the house(in case of fire) if you throw a blanket over the amp. Now sometimes to cut down on noise I'll throw a blanket over the cab, that's why it's nice to use heads and cabs instead of combos, head stays in one room, cab in the other.

 

[Flux]

WTF? is that supposed to mean? i can get your drift sorta....but don't we all write our music when the time fits? mostly at home? poll to follow

Didn't want to hijack the thread, but it seems to me that if Tenkas has the options of home or studio as locations, then other factors come into play, especially if the recording process requires further treatments (sound dampening etc) Of course, as mentioned, the simple answer to the question is: try the amp in every location. However, I made the point, as Cusebassman picked up on, because other than acoustics, each enviroment has it's merits and drawbacks. These days I mostly play in my home or at friend's homes - very comfortable, but dependant on the schedules of the residents. For quite some time I was involved in a small commercial studio operation. At that time I was able to immerse myself in the recording process free from any interference and at pretty much any time of the day or night, by myself or with various 'guest stars' Needless to say, I was more productive in the studio environment. But, like I said, I don't want to hijack the thread, merely point out that sometimes there's other choices that come into play and are worth considering.

 

[TexRoadkill]

If you are close micing it is all going to sound the same. The difference is that in a nice sounding room, studio or not, you dont have to close mic. Being able to mic the room gives you a whole new pallette of sounds.

 

[cusebassman]

I've actually looked into getting custom cabs built to put the head from my Blues DeVille and the speakers in, respectively, so I could do things like that without worrying about burning the house down, since those tube amps get so hot, hehe... I found a site that makes custom Fender boxes a while back, but I've since been unable to find em...

 

[jonnyc]

Who's the stupid piece of shit that neg'd me for poor grammer? Get a fucking life asshole.

 

[mixmkr]

If you are close micing it is all going to sound the same. The difference is that in a nice sounding room, studio or not, you dont have to close mic. Being able to mic the room gives you a whole new pallette of sounds.

It took 14 replies until someone said it right. Good post Tex and right on the money.

 

[LeeRosario]

How does acoustics interact with the sound I record when I crank up a 5150 and close mic it with a sm57.

Is there a big difference between the sound I will get in the studio and the one I will get in my basement? (I have many panels of 703 fiberglass to deaden the place).


I want to know if it's worth taking the time to put everything in the big studio (about 30 feet by 20 feet)

to answer you question directly and hopefully educationally, yes but always with a big fat "maybe".

The acoustics are about 70% of the battle, but when you're paying for time at a "recording" studio, you're usually paying for the following things:

the gear, the engineer, his/her experience, the staff, the environment (especially acoustics), equipment rental and the reputation of that particular studio.

If you're considering that leap, you really have to know about the reputable studios in your area. For me personally, I think the staff and facility credits/work history always come first in starting to determine whas legit and whats bullshit. Also, I look for consistency in thier sample work.

Since no one's health is immediately in danger from a bad recording, there's not any kind of official "recording" credits any studio needs to have to prove they are worth the money.

You have to consider that good studios are the ones who go through the pain of spending the cash to develope the building, invest the money into serious gear and then hiring the best staff they can to get you to sound good. Ideally, that's what a good recording studio should represent.

I've been in many situations where clowns tell me, "hey Lee, you should come check out the studio man, bring business to us and we'll work out a deal". Then I get there and there they are ready to work nothing more than an 002 rack, a few plug-ins, a couple of outboard bullshit pieces of gear, and a few so-so mics in a room that yes, is pretty big, but nothing more than a painted up office space. I am always quick to say, "sorry fellas, I'm not working here" and I peace out within minutes of walking in. Then they have the nerve of trying to charge me 70 bucks an hour. I can get a room with an API board for about that. In fact, I tell them, "I'd rather have my people pay more just to have it right the first time".

In other words, you'd have to develope good knowledge for what you're going after if you decide on the studio route. At least that way you can visit the best studio for your budget and not waste your time and money.

To me, a good studio would start with at least a decent sized and reputable console in good working condition (24 channels, reputable preamps), a well versed and good sized mic selection, at least a decent selection of good outboard dynamic and time based processing, a patchbay and routing to work with, a solid and acoustically treated control room and live room, a good sized control room and live room, (especially for drums, you're looking at maybe something starting at 600sqft with at least 12ft ceilings) as well as people that are willing to get things ready for me in a professional and timely fashion.

Of course, you'd have to have a pretty good idea of what are bad signs at a recording studio.

So yes, there's a huge difference in the sound you can get at home versus the studio. I would always recommend anyone at least take a tour of a good studio to really see what it is to "produce music" outside the house.

However, if you do end up doing the studio route (and a good one at that) and find out that you could of done it better at home, sometimes it takes a little money to find that out.


Hope that puts another perspective on your desicion.

 

[bigtoe]

Unless you're running a tube amp, do not throw a blanket over a tube amp or you're asking for trouble.

true. i've been doing it for a while so i guess i forgot to mention...leave room for ventilation on amps. i cover up the mic and the front of the amp...like a tent. i usually secure the blanket thru the carrying handle.

"Originally Posted by TexRoadkill
If you are close micing it is all going to sound the same. The difference is that in a nice sounding room, studio or not, you dont have to close mic. Being able to mic the room gives you a whole new pallette of sounds.


It took 14 replies until someone said it right. Good post Tex and right on the money."

not true AT ALL! close micing will minimize reflections but not to the point of making them not a factor in your sound...by a long shot...and i'm talking using mics with a fairly tight pattern, too. the room can make a substantial difference.