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When the sound reflections and other acoustic "monsters" begin to linger with you, affecting your proper monitoring of the recording sounds and mixing operations, all the romantic shackles that you originally had disappeared with the appearance of these problems. I have to get rid of it. The specific performance is that when your mix results are played back in other environments, the sound becomes very difficult, and the wonderful feelings that you show when you listen in the studio are gone. To make matters worse, because your studio is not tightly sealed, the sound leaks out, causing the former good neighbors to glare at you now.
In an instant, you realize the grim reality you face: the room in your room is not designed for a professional studio. Your recording dream is over! Is this really the case?
Still can't say that, there are still many ways to improve the acoustic performance of your room without spending too much. In fact, many of the methods and concepts used in the value-for-money professional listening studios and recording studios can be used in our personal music studio renovation project, and at this time, one can improve your room acoustic environment. The experts will be very helpful to you.
For this reason, we chose some very famous studio designers and then asked them a very simple and very confusing question: how to optimize the acoustic environment of a personal music studio consisting of a single room? It's amazing that even entry-level readers can benefit from the answers from these designers. You don't have to remodel your room, you don't have to push down a few walls, or you can spend expensive renovations. You only need to spend some time and money on improving the acoustic performance of the room. They are much cheaper than consulting you for spending thousands of dollars. Now let's officially start building your personal music studio to make your recordings. Dreams become reality.
Acoustic element
Often, pop singers, producers, and business people who hire designers to build studios are plenty of money to pay for the expenses, or they can at least afford an existing studio and then Renovate it according to your needs. At this time they will avoid many of the big acoustic problems, because these troubles have been solved when the studio is designed.
But unfortunately, for musicians who are recording at home, when he wants to simply convert his bedroom or garage into a studio, the choice is to push down several walls and start making changes. Your room is full of surfaces that cause sound to reflect, such as walls that are parallel to each other, which can cause changes and frequency distortions when the sound coming out of the speaker reaches your ear. Obviously, this environment is not suitable for recording and mixing.
Starting from your subjective wishes, what you want should be a place where the frequency response is as straight as possible. "George Newburn sees this problem like this. He is the main designer of the 440 Music Studio. He once designed music studios for MCA Music Publishing Company and Danny Elfman, Peter Frampton, etc. He continues to explain: "You don't want The frequency response in the room has too many bumps or blind spots, because you can never accurately describe the sounds you hear and then compensate them one by one during the mix. "
Therefore, how to reduce the acoustic defects in the room as much as possible without making major changes to the entire environment? The answer is to minimize the acoustic impact of the room environment on the listening position.
Mixing area
Fortunately, we can provide you with a number of very effective ways to help you avoid the effects of various acoustic defects in your room on your ears. First, you have to find the best place to place the console, because then you will be rigorously listening to the sound here. A world-renowned house designer, Chips Davis, who once designed the EFX studio at the MGM Grand Hotel in Las Vegas, recommends that you place your mix at a depth of about 1/3 of the front wall.
He also mentioned: "The choice of mixing location is very, very important, you may have spent a lot of time and money on yourself, built a very professional music studio, but if you install the mixer and speakers If the location is not correct, then everything is gone. For example, if you place the mixer too close to the back wall of the room, you will hear a lot of reflections, resulting in a location at your listening position. Excessive frequency rendering. Place your monitor speakers too close to the front wall, then the reflection from the back wall will have more time lag, so you won't benefit from the Hass effect. The Hass effect basically eliminates the effects of the rest of the room, allowing you to focus your attention on the sound of the speakers.
In a bedroom, a lot of space should be left behind the listener," Gary Hedden (he is the designer of the Hollywood Bakery studio and the studios of many musicians, including Adrian Belew and Chester Thompson, etc.) Said, "You want the reflection of the sound as far as possible from your mix position, and the worst thing at this time is that your back is sitting against the wall, because the sound coming out of the speaker will be reflected immediately. On the wall behind you, then into your ear. "
Speaker placement
The relative placement of the monitor speakers relative to the listener's head, the mixer, and other objects in the room is also a factor that has a significant impact on the mix results. In order to prevent the sound reflection from affecting the judgment of the sound, the two speakers should be placed symmetrically, and you should also be in a position symmetrical with the speaker. You need to create an equilateral triangle," said Jack Jacobsen (who is the designer and contractor of the Night Ranger Jefferson Starship music studio). "The distance between the two monitors, as well as your head and each speaker." The distance between them must be equal. For example, if the two speakers are six feet apart, then your head should not be six feet away from each speaker. Otherwise, you will not be able to make the best judgment on the stereo sound, and the secondary reflection will have an effect on the monitor. The surface of your mixer will also cause a certain degree of sound reflection. So what is the solution?
In fact, it is impossible for you to place the monitor speakers in a position that does not reflect the surface of the mixer, but we can optimize it as much as possible. "Bob Hodas (he is a very respected acoustics expert who improved his hundreds of music studios with his Bob Hodas acoustic analysis)," said placing your monitor speakers on the mixer's slant The top is arguably the worst thing, because the sound coming out of the speakers immediately reaches the surface of the mixer and is reflected by the surface to reach your ears. If your monitor speakers are standing upright, move them backwards by 0.2 meters, so you change the angle of the sound reflected from the mixer's surface. At this point, most of the reflected sound is reflected to the position below your head, which will not affect your monitoring. Davis also recommends using an absorbent pad that hangs above the mixer's head to reduce sound reflections.
This absorbent pad should be about 25 mm thick," he said. "The position of the sound absorbing pad should not be as close as possible to the sight of your watch. The higher the position where the pad is hung, the better it is to prevent the sound waves from being reflected on the surface of the mixer. Make sure you sit high enough that your knees are almost at the height of the console. At this point, the sound waves reflected on the surface of the mixer will not enter your ears, they will be hit your stomach and chest. "
Studio symmetry
It can be said that "harmony" is a very fascinating state in life. Similarly, it is also the most basic requirement in music studios. Changing the state of either side of your listening position will affect the balance of the sound produced by your monitor.
“Symmetry is a very important factor in building a music studio,†Hodas said. “If you can't make the environment in the music studio symmetrical, it will indicate that you will hear from your speakers. An incorrect stereo picture, and the low frequency components will be stirred up. If there is a bench on one side of your music studio and nothing on the other side, then the low frequency component passes through the bench in the room. On one side, it will be 'strenuous' because the big object is there. Obviously, when you are mixing, this difference will cause you to deviate from the low-frequency sound judgment."
“You want any acoustic treatment in the space to be symmetrical,†Hodas continued. “If there is a glass window on one side of your room, and you have a reflective foam on the other side of the wall. Plastic, then you will get a very unbalanced stereo picture, especially when the window and foam are installed in the front half of the room, you will be the first to reflect the effect of the sound. The resulting comb filtering effect will result in An imbalance in frequency response.
Peter Grueneisen (the ace designer at the bau:ton music studio, who designed the famous Bad Animals music studio in Seattle) also agreed with the above-mentioned views on symmetry and the balance of frequency response of the left and right speakers. “When you sit in the mix position and look at your sides, their situation should be the same,†he said. “For example, you have to place one speaker too close to the wall and another speaker. Have to be far from the wall."
Hedden described to us in more detail: "If you draw a line between your mixing position and the middle point of the two speakers, the situation on the left side of the line should be exactly the same as the situation on the right side of the line. Consistency includes the surface finish, shape and location of the wall, and the arrangement of the equipment. Any reflection, absorption, resonance near the monitor, and any reflection, absorption, and resonance between each speaker and you should be It's exactly the same. Otherwise, your feeling of balance between the left and right channels is nonsense. If you can't guarantee very strict symmetry, then you will reduce these asymmetric objects to a position below the shoulder, making them The damage to the sound is minimized. The key here is to let the unbalanced reflections occur below the shoulders of the monitor and not into the ears.
Low frequency monster
In the music studio environment, low frequency components can cause many annoying phenomena to occur. For example, walls that are parallel to each other cause low-frequency sounds to continually reflect back and forth in the room, creating an annoying reverberation. However, these embarrassing enemies also have their weaknesses, and the low-frequency components tend to be generated in the corners of the room, so we can use a device called bass trap (we give it a name: low-frequency trap), his role It is specially designed to absorb the low-frequency components in the sound, and the low-frequency trap can be prevented from reaching the corner, which can reduce the impact of low-frequency sound.
Unfortunately, using a low-frequency capture device takes up space that is not spacious in the studio. The depth of the low-frequency trap (which is directly related to the size of its volume) depends on the portion of the frequency it is to absorb. Generally, the longer the wavelength to absorb the sound, the deeper the depth you need, the larger its volume. . “Low-frequency captures usually take up some space to be more efficient,†says Hodas. “For example, for a 100Hz sound, the wavelength of the sound you need to deal with is 3.048 meters. At this point, the low-frequency capture device needs 0.762 meters. Absorb it. Depending on the wavelength of the sound, we should use a 1/4 wavelength low frequency trap for absorption. For example, if you need to absorb the 40Hz frequency component, there may not be so much space in your room. A large enough low-frequency trap. (Approximately 1.9 meters deep) If space is a problem in your studio, you can use a parametric equalizer to help you adjust the sound characteristics of the system and the room. An external dual-channel equalizer is added to the stereo bus of your mixer to boost or attenuate the frequency that is easy to appear until a relatively flat frequency response curve is available at your listening position. .
“When your studio can't place a suitable low-frequency trap, it's a good idea to use a parametric equalizer (such as Meyer's CP10S parametric equalizer) to control the low-frequency components.†Hodas said, “Equilibrium processing There is no acoustic problem, but it can at least help you build a mix of spaces so that the sound in this space is something you can trust."
If you are lucky enough to find a larger house, try installing a low-frequency capture device from multiple manufacturers. The cost of doing this will be quite large, so budget considerations, we can make low-frequency captures ourselves, you can see this article.
It is very important that the self-made low frequency traps usually require spin glass fibers (a type of fiberglass under the trademark Owens Corning), but the glass fibers enter the air and are harmful to health. To ensure that the air in your music studio is not contaminated with fiberglass, be sure to wrap them in knitwear.
“You want to make sure that the knitwear used is 'transparent' to the sound,†Newbrun said. “The easiest and easiest way to test whether the selected knitwear is 'transparent' to the sound is to put the knitwear on your lips and see if you can breathe smoothly through it. If you can, the sound can pass through it. Decorative knitwear is not a good choice at this time because they are usually very thick, which makes the sound reflection more serious."
Hedden, a musician who is good at challenging the structure, suggests a very simple way to make low-frequency captures. “The simplest low-frequency trap is to use a fiberboard or plywood to place it in the corner of the room,†he explains. “You just need to put the fiberboard into the corner, so that's it. Of course, between the flat and the wall. The depth depends on the frequency of the sound you want to capture. My suggestion is to place one side of the tablet at a distance of 0.3 meters from the corner of the wall and 0.6 meters from the other side, so that it is at the corner. A triangular cavity is created.
According to Jacobsen, one of the cheapest low-frequency traps may already be installed in the corner of your room. This is the seat cushion. “The thick seat cushion has a very good low-frequency capture function,†he said. “The seat cushion has no reflection for the low-frequency components, and it also has a good absorption. In fact, placing any soft furniture at the corner will be a low-frequency The ingredients work.
High frequency noise
Now, we have basically solved the problem of low-frequency reflection, and then we have to deal with the high-frequency sound. Through a mirror, we can see the image of a glass. Similarly, for the mid-range and high-frequency sound components, we can also use the mirror to analyze the reflection of the sound.
“Sounds above 400Hz are very similar to light, so you can use a mirror to accurately predict where the first reflection will arrive,†Hodas said. “Sit in the position where you mix, ask a friend to hold it. A mirror that moves on the walls and ceiling of the studio until you see the front surface of the monitor in the mirror. If you see the image of the speaker in the mirror, the point at which the mirror is located Will produce the first reflection for your current mix position."
You also use a mirror to capture the surface of the device that produces the first reflection in the music studio. Most music equipment enclosures and equipment cabinets are made of metal, and these metal materials are good for reflecting sound. The angle at which the cabinet and music equipment are placed will directly affect whether there is a reflection correspondence between the monitor speakers and the mixing position, and the severity of the sound reflection problem.
“You can use a two-sided mirror and a flash to test whether the surface of these devices will produce a sound reflection at the mixing position,†Newburn said. “Place one mirror on the surface of the device where you suspect the problem may occur, and the other mirror on the front surface of the speaker, then from the mixing position, point the flash to the monitor speaker. If the light is reflected in the mirror of the speaker Then, it is reflected back to the other side of the mirror, and finally back to the mixing position, indicating that the location you originally suspected is indeed problematic."
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