Primary Factors Governing Studio and Control Room Acoustics:
Regardless of which type of studio facility is being designed, built and used . . . there are a number of primary concerns that should be addressed in order to achieve the best possible acoustic results. In this section, we’ll take a close look at such important and relevant aspects of acoustics as:
^ Acoustic isolation
^ Symmetry in control room and monitoring design
^ Frequency balance
^ Absorption
^ Reflection
^ Reverberation
In addition to these factors, the following considerations should also be taken into account:
^ Equipment noise in the control room
^ Power conditioning in the studio and control room
^ Proper grounding techniques in the studio and control room
Although several mathematical formulas have been included in the following sections, it’s by no means necessary that you memorize or worry about them. By far, I feel that it’s more important that you grasp the basic principles of acoustics rather than fret over the underlying math. Remember—more often than not, acoustics is an artistic science that blends math with the art of intuition and experience.
Acoustic Isolation:
Because most commercial and project studio environments make use of an acoustic space to record sound, it’s often wise and necessary to employ effective isolation techniques into their design in order to keep external noises to a minimum. Whether that noise is transmitted through the medium of air (e.g., from nearby auto, train, or jet traffic) or through solids (e.g., from air-conditioner rumble, underground subways, or nearby businesses), special construction techniques will often be required to dampen down these extraneous sounds. If you happen to have the luxury of building a studio facility from the ground up, a great deal of thought should be put into selecting the studio’s location. If a location has considerable neighborhood noise, you might have to resort to extensive (and expensive) construction techniques that can ‘‘float’’ the rooms (a process that effectively isolates and uncouples the inner rooms from the building’s outer foundations). If there’s absolutely no choice of studio location and the studio happens to be located next to a factory, just under the airport’s main landing path, or over the subway’s uptown line . . . you’ll simply have to give in to destiny and build acoustical barriers to these outside interferences.
Regardless of which type of studio facility is being designed, built and used . . . there are a number of primary concerns that should be addressed in order to achieve the best possible acoustic results. In this section, we’ll take a close look at such important and relevant aspects of acoustics as:
^ Acoustic isolation
^ Symmetry in control room and monitoring design
^ Frequency balance
^ Absorption
^ Reflection
^ Reverberation
In addition to these factors, the following considerations should also be taken into account:
^ Equipment noise in the control room
^ Power conditioning in the studio and control room
^ Proper grounding techniques in the studio and control room
Although several mathematical formulas have been included in the following sections, it’s by no means necessary that you memorize or worry about them. By far, I feel that it’s more important that you grasp the basic principles of acoustics rather than fret over the underlying math. Remember—more often than not, acoustics is an artistic science that blends math with the art of intuition and experience.
Acoustic Isolation:
Because most commercial and project studio environments make use of an acoustic space to record sound, it’s often wise and necessary to employ effective isolation techniques into their design in order to keep external noises to a minimum. Whether that noise is transmitted through the medium of air (e.g., from nearby auto, train, or jet traffic) or through solids (e.g., from air-conditioner rumble, underground subways, or nearby businesses), special construction techniques will often be required to dampen down these extraneous sounds. If you happen to have the luxury of building a studio facility from the ground up, a great deal of thought should be put into selecting the studio’s location. If a location has considerable neighborhood noise, you might have to resort to extensive (and expensive) construction techniques that can ‘‘float’’ the rooms (a process that effectively isolates and uncouples the inner rooms from the building’s outer foundations). If there’s absolutely no choice of studio location and the studio happens to be located next to a factory, just under the airport’s main landing path, or over the subway’s uptown line . . . you’ll simply have to give in to destiny and build acoustical barriers to these outside interferences.
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