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Recording

Studio
Design
with Omid Bürgin
Introduction
Why do you need
to know about acoustics?
Recording
EQ
Tuning Placement

Acoustics Compression

Miking Filtering
Monitoring
Case #1 Case #2
Bedroom Kitchen
Original
Room Response

FLAT
Room Response Musical Spectrum

+
=
Room Response Musical Spectrum

+
=
Expected Result
Room

Mixing
Starting from data below:
Room Response Musical Spectrum Desired Result

Q1: How would you equalize?


Q2: What will you hear?

1 2 3
Equalize:

1 2 3

Hear:

1 2 3
From this scenary:

+
correction monitored

Which version will arrive at the Mastering Studio?


Which one should have arrived at the Mastering Studio?

1 2 3
Mix coming to Mastering:

1 2 3

How it should be:

1 2 3
You have to be
able to take the
music out of the
room, as it is very
difficult to take
the room out
of the music!
Peter D’Antonio, RPG Inc.
Preliminaries
Create
Check list
Size Use

Necessities Neighborhood
First sketch Developed study
Internet research
Seven
1. Layout, room symmetry
& equipment setup

basic 2. Basic isolation


3. Room modes

acoustical
4. Speaker boundary
interference

rules
5. Early reflections
6. Late reflections
7. Reverb times
1. Layout, Room Symmetry
and Equipment Setup
?
?
d

d
d”

d”

2d”

d”
A

L R

60º

100º 100º
120º 120º

LS LS
2. Basic Isolation
Mass
Separation

8” 2” 16”
6”
Space

8” 8” 5”
2” 6” 6”
Floating
Mixed
Materials
Resilient
Channels
Box in a Box
Case Study:
House

+
Floating Mass
Case Study:
Appartment

+
Mixed
Floating Materials
det
3. Room Modes
Standing Speaker
Reflections
Waves Boundary

200 Hz 500 Hz
f4 260 Hz – C3

f3 195 Hz – G2

f2 130 HZ – C2

f1 65 HZ – C1
f2 f3 f4 f1
C1 C2 G2 C3 E3

f1 f2 f3 f4 f5

Hz
f4

f3

f2

f1
4. Speaker Boundary
Interference
dB

Hz
Absorptive

Reflective
LEDE

Live End / Dead End


5. Early Reflections
Early
Reflection

Direct Late
Sound Reflection
DS Early reflection Reverberation

1st
Reflection

ITDG Late Reflection


v [dB]

DS

Early reflection

t [s]

ITDG Late Reflection


6. Late Reflections
R

? R
Space Time

Reflection

Absorption

Diffusion
[dB]

DS Reverberation

Early reflection

t [s]
ITDG Late Reflection 
Planta
1/4
y
(fmin)

1/2
y
(fmax)
p
n
5 7 11
0 1 0 0
1 4 1 1
2 4 4 4
3 1 4 9
4 0 2 5
5 2 3
6 4 3
7 1 5
8 0 9
9 4
10 1
11 0
Whenever
p=5
n n 2
bigger Sn
than p, n2 - p (example)

0 0 0 0
1 1 1 1
2 4 4 4
3 9 9 9-5=4
4 16 16 16-3x5=1
5 25 25 25-5x5=0
6 36
7 49
dB fmin fmax

L M H

Hz

0 1 4 4 1 0
7. Reverb Time
RT = 0.049 V
∑A + mv
RT = 0.049 V
∑A + mv
Porous Absorbers

CA[a]

f [Hz]
Membrane Absorbers

CA[a]

f [Hz]
Broadband Absorbers

CA[a]

(BP) *broad f [Hz]


Helmholtz Absorbers

CA[a]

*narrow f [Hz]
8.Conclusion
Layout

X
Isolation

0.8”
0.8”
0.6”

acrylic x glass
Isolation

Direct contact Floated


dB
Speaker
boundary
interference

Room
modes Reflections

200 500 Hz
How would you fill
this barrel?
Reverberation
Reflections
SBI
Modes
Room modes
Before After

Choose
your
room X
carefully

Bass traps
Speaker/Boundary
Interference

Before After
Absorption
d d d d

=
Early Reflections

Absorption Reflection
X
Late Reflections

Absorption Reflection
Reverb Time

Absorption Reflection
“Toothpaste equation”
(Pareto Principle)
Result

Effort
Recording
Studio
Design
with Omid Bürgin