Studio Considerations
The wonder of the tracking studio has often mystified even the most veteran professionals. With all the knobs, switches and switches on various gear and large format consoles, no wonder confusion sets into most non-techies. Many people, especially artists, composers, makers, and engineers, will conclude putting together their own studio for writing and pre-production, with some eventually deciding to take the plunge and make a full-out recording complex that is capable of recording major albums. This article will try to explain on the considerations to consider when making a studio, whether it is a tiny home studio or a professional recording facility.
Is size important? A few may say it is so but this is simply not always the case. The proportions of the studio are incredibly important. A room too large can become over-reverberant or packed with unwanted echoes. A room too small may sound tight and not naturally made. It is important that the room size and room sound is important to the sort of music you are recording. You avoid when you go into a very small room to record BIG rock drums. Although, big room sounds can be performed by adding exterior reverb effects to imitate rooms another time when necessary.
It is best to find the bedroom that suits the sound you are trying to achieve from the beginning of the recording process. The smaller space, the smaller and tighter requirements will be; this is not necessarily a bad thing. Small tight rooms can be good for words, guitars, and percussion if you are going for a tight clean audio. Larger rooms have an overabundance air for the sound going in so it will have fact a bigger more open sound. The sound has an expanded travel time for the sound wave to move, therefore the reflection from the walls will take longer to bounce again creating a bigger more spacious sound. The decision of size and audio must be made early on before the recording starts off. One advantage a bigger room will have is the ability to be scaled down by concluding in the room using flip-up baffles or gobos (go-betweens). Gobos are structures that partition, that help to block sound by inserting them among the music artists, instruments, and microphones. Positioning the gobos throughout the mic at a close distance will help a huge room with too much atmosphere sound smaller. This will eliminate the reflections approaching off of the wall space that is further away.
Small rooms can produce big heavy tight tones with the absence of the decay from the reverb that is brought on by big rooms. Oftentimes a sizable room can appear like it's washed away, or far away. With a good engineer, any room can sound amazing with a little altering. A poor sounding room can be manipulated to sound good, although it requires much more work and time. Deciding on the proper room size for your preferences is critical to the sounds that get reproduced. This will highly dictate the sort of sound the microphones will pick up.
Clapping your hands in a room can give a good representation of what a room will sound like. The expression coming from the wall space will be picked up by a simple hands clap. The true test is to try away some instruments or words and position them in various sections of the space until reaching the maximum high quality. If one side of the room sounds bad to consider using a different spot or move about into a corner until the sound is improved.
Experimentation with different parts of the room also will keep requirements fresh when documenting many instruments. If the acoustic guitars are noted in the center of the space when the time comes to record the electric guitars you could try recording them in a corner of the room for a different sort of room audio. This gives clarity on the final mix creating separation and providing more distinction on various tones.
If you are starting your own studio, bear in mind that the bigger the studio the higher amount the bills will be. The advantage is that larger broadcasters may charge more for their studio rates.
Getting the Necessities
If however, you reach that elite 2% and become that, 000, 000 dollars, hit selling, famous producer or artist (or if you just succeed the lotto), then you might eventually think about buying serious studio items and setting up your own producer paradise.
Attaining the proper equipment and labor is vital to a great studio and successful recordings. Studio items are expensive and the knowledge of those who use the gear does indeed not come cheap. Employing the right people conserve money and time in the long run. Facility designers also are specialized breeds that can make or break your studio room. Your buddy Joe the carpenter may be able to help build it for less, yet if the studio is not properly isolated for requirements it is a great waste of time, energy, and finances.
The facilities engineer is also the center point of the audio that is established. Having an experienced engineer mixed up in a process will make your audio have a character of it. He is the extra set of hearing that gives another sizing to your productions. This individual is the critical asking partner when building or choosing to rent a studio. Allow the experts help you with advice, it is going to create less of a headache in the long run. The experienced manufacturer can fill you in on all the equipment needed for recording the music that is relevant to your world. This individual can also give some guidelines how the facilities should be setup before having to talk to a designer. There is no room for guessing or assumption on these issues.
Check List: Part 1
When purchasing studio supplies it is wise to research only what is absolutely essential for your look of music. If you aren't not recording live percussion in your studio, there is no need to buy a plethora of microphones for these people. By being patient and searching for the best prices, a mass amount of money can be saved in the end. When you save $50 to $22.99 bucks on each of your piece of gear it really accumulates in the end, and there is a load of gear needed to put a proper facility together. but if you not more budget, you can try to make studio music in the home
How to Put Together a Home Recording Studio
Below is a fundamental studio checklist that will be discussed in further detail in later articles. These are the requirements of modern day recordings and the tools that are most frequently used in the best studios around the world.
The Studio Gear Checklist:
Recording / Mixing Console
The professional or producer operates the console that controls all the levels for recording, record, and mixing.
This is the big board that has all the keys, switches, knobs, faders which control the amount and signal routing for each and every device. This could be known to as a plank, console or mixer. The most common consoles in major studios are SSL (Solid State Logic) or Neve. The console is the main piece of items in the studio. This controls the entire functions of signal flow and audio manipulation. The console allows for each and every instrument to be on its own route on the board. Every single channel may then have effects inserted into the signal way to boost the sound. A transmission can also be routed to exterior gear for further treatment. Anything that can be imagined, can be done. You will find no rules for tinkering with sound. A indicate can be sent to reverbs, delays, compressors, any guitar amps, speakers in hallways for re-recording
Each route strip on a reasonable console will contain: Faders, Preamps, Panning, Equalization, Filter systems, a Routing Matrix, AUX Sends and Returns, Aspect, Muting, & Solo.
Different Features Of The Gaming console: Inserts, Outputs, Monitoring, Motorisation, Fader Grouping, Bussing, Breaking...
Patchbay
Allows the studio room to incorporate interconnectivity with all the equipment by using patch cables. The patch bay can be configured for every single studio's specific equipment requirements. All the outboard gear, console and tracking devices inputs and results are hard-wired to the patchbay. The Patchbays can be-be analog or digital. The most common is the bantam TT wire configurations.
Check List Part 2:
Microphones pickup the initial audio source. The mic is the first source in it process obtaining and converting the sound say into electric power to be amplified, transmitted and noted.
Preamps Amplify the original signal coming from the mic or instrument. Offers initial control of the recording levels. Preamps are located on the system or an external outboard gear.
DI Boxes The Direct box is employed in hopes of instruments such as keys and bass sounds to be compatible with mic inputs. The PADA box transforms line levels of instruments to microphone level for console and preamp inputs.
Compressors Aid to further control levels and dynamics coming from the preamp or console. Generally comes in rack-mounted outboard gear or software plug-ins for DAWs. Compressors keep levels from peaking into distortion levels that help to bring lower levels louder.
FX Processors Intended for special effects like adding space, dimension, pitch and time delays on alerts and recorded tracks. Generally is available in rack-mounted outboard products or software plugins for DAWs. Multi-FX processors may have reverb, delay, flangers, EQ, compression and more all in one device.
FX Pedals Small floor foot pedals formerly suitable for guitar FX processing. These types of pedals are created for distortion and special results, which add space, dimensions, pitch and time on guitars mainly, but are an inexpensive alternative used as an outboard product for other instruments.
DAW The Digital Audio Workstation is like a complete studio in an a6105 computer. Protools, Logic, and Nuendo are simply a few DAWs that provide a digital multi-track recorder, a virtual gaming console, a wide variety of effects, editing, and sequencing(musical programming) possibilities. The DAW uses software, hardware, and computers in combo to operate.
Check List: Part 3
Control Surface The control surface acts as a console that handles a DAW or exterior machine. The control surface usually has faders, pulls, and buttons that are manipulated by the personal computer linked to a DAW. This makes operating the DAW similar to analog functions when you are able to put your hands on faders rather than clicking a mouse. Some control floors have all the same features as a system. The most typical control surfaces are made by Digidesign.
Clocking Digital recorders use different clocking formats to operate properly. Digital units test the sound to be replicated. Clocking refers to how much time in between samples taken for duplication. If the digital clocking is off it will sound jittery or add noise to the audio in the analog to digital conversion. A quality clock will increase the audio. Some common digital time sources can be found in products made by Prism, Rosendahl, DCS, and Aardsync to name a few. Some clocks have sync generators built in to lock up to machines.
Sync Generator Produces tones to allow communication between machines so that several recording devices can be synchronized together and operate at the same speed. Clocking works together match-up (sync) when analog and digital equipment is merged. Sync uses SMPTE, THIS BRAND (midi time code), Middle-sized Clock, MMC (midi machine control) to allow documenting on several DAWs and tape machines to be linked up together.
COMPACT DISC Recorder Records and performs back music CDs. Offers the ability to track record stereo mixes and play-back these mixes on other CD players. CD standard for consumer playback is a sample rate of 16 bit and a sampling rate of forty-four. 1kHz. Sony, Tascam, Alesis, and Yamaha all make good studio CD recorders.
Tape Machines Recording machines involving analog or digital tape for recording and playback of music. Several purists in sound saving choose to sound of analog tape. There are many digital tape machines used for recording both music and video.
Cabling Virtually miles of various wiring could be needed for an individual studio. Common wires in sound reproduction are XLR balanced mic wires and Unbalanced 1/4 in instrument cables.
Monitors, as well as Amps Speakers in the studio, are referred to as Monitors. Powerful clean amps are necessary to run monitors. Many monitors are self-powered, which means that they may have built/in amplifiers. Monitors usually are made up of high-frequency tweeters, low-frequency woofers, and cabinets that may contain the speakers and components.
Headphones / Distribution By simply by using a set of headphones this enables communication between the control room and the studio, also allows pre-recorded tracks to be noticed during the overdubbing process. Headphones are also called cups.
Instruments / Keyboards as well as Drums / Guitars These types of are more of the tools of the hobby. You may have best wishes studio gear in the world, although if the instruments appear bad you are starting in the wrong place. Anything could be considered a musical instrument if it makes noise that can possibly be recorded on a record.
Amplifiers This is often referred to as an amp. Amps raise the exuberance or volume of electric signals from the sound ocean. These are being used in energizing speakers. Guitar and Largemouth bass amps can be used for many other applications such as running a vocal or snare carol through them.
Microphone Stands upright A wide array of sizes and styles are essential for a proper studio. The microphone stand helps to get the microphone located properly for the best high quality possible.
Studio Pieces of furniture There are plenty of types of holders and furniture designed to hold consoles and outboard gear. The inside design of the studio completely sets the vibe of the working environment.
Electricity
Change work without electricity until you're jamming at the area drum circles down on outdoors. Electrical installation studio room power is often avoided. Studios will setup a "clean feed" that is a separate breaker from the rest of the general electricity is being used for ac, lamps and the basic needs of the rest of the building. Maybe you have at any time plugged something in and heard that horrific humming sound coming from the speakers or guitar amplifier? Normally, this is due to bad electrical wiring, which triggers ground noise. This can be the initial thing to listen for when entering a studio treatment. A straightforward solution to the challenge would be to use a simple ground trainer on the gear or lift the floor from a direct box which can also solve the downsides. All of us will go into details later.
Isolated electrical brake lines for every single individual room are a must in a recording studio. The proper amount of amperage is also a must. Insufficient amperage will surely cause your breakers to strike. Consult with an Electrical installer that is familiar with studio room setups to ensure that wiring and voltage are regulated and conforming to local codes.
Unregulated Electric power Supplies (UPS) should also be in place in the event there is an electricity failure. This will likely ensure that valuable equipment will not blow up or create a fire. In the event, there is a circumstance of any power outage the UPS will provide enough time to backup important computer files and properly turn off your equipment. Some studios will have complete generator systems in location to keep the facility running for the rest of the session.
Inappropriate lighting can also cause buzzing ground issues, especially fluorescent bulbs. Avoid using these in any facility. Dimmers can also cause many problems. The average household dimmers will surely put a damper into a clean sound. Produce sure that specialized dimmers are installed to avoid ground noise. Always hear carefully to signals being recorded before committing to one last take. There are many volumes of data files that the engineer understands electrical noise on calls for during the mixing process.
If you are serious about your studio, may I suggest balance electric power or a separated snowboard with neutral power health and fitness? The evil problems of ground issues are a direct reflection of resources returning or buying different ground. The voltage potential between neutral and surface will certainly make a way of looking at things... for example,. 5 v between neutral and the ground is the maximum allowance by UL code that electronics will operate optimally without potential debut? initiation? inauguration? introduction issues. I would suggest using a meter installed to rate this. Logging this information and having a good rapport with the local electric company would not hurt at all.
Air Conditioning/HVAC
This can be another very important area that is often not considered. Studio gear gets very hot. The lack of satisfactory cooling could bring about equipment failure or destruction. Blowing up machines are no fun and it gets very expensive. A lot of recording studios have a separate Machine Room for computers, tape machines and power amps that are highly air-conditioned to keep everything cool. This also cuts down on the noise from the followers on such units, which can distract concentration from listening in depth in the control room. Having too much air-con could also bring about moisture or moisture build-up or condensation build-up that may also damage the gear. Drinking water, generally, is bad for electronic gear.
The go back air system can be used to pull heat out of needed areas and also provides an air absorption for the AC products. They are located in key locations where there is a build-up of high temperature from the gear, for example near to the console or in the equipment room.
Separate Rooms: Control Room
Many studios have several separated areas for recording, combining, and production. Soundproofing is the key agenda when creating multiple rooms in a studio. To achieve this, the key objective is to make the rooms soundproof. If air cannot flow in or out of a room, there will be less chance of sound leaking in or out as well.
Just about all pro studios have two times doors that create a sound lock to help prevent noise leakage. That they also have very solid double walls with in-house air gaps to also help trap unwanted audio. The floors in the studio should also be floated which means they are lifted from the beginning to help further prevent extra vibrations and leakage.
The first concentrate could be the Control Room where the mixing console and outboard gear are included. This is where all the recording and mixing is controlled, hence control room. The acoustics in this room should be suitable for hearing the exact audio that is being registered or mixed. The audio of the room should be as natural as is feasible for accurate representation of the original sound converted to the speakers in the room.
The first rule for the right sound treated room is the fact there should be no parallel walls. My spouse and if you would have been to clap your hands in an area with hard parallel wall surfaces you would hear the sound bouncing back and forth, this is known as a flutter match. This is neither best for recording or mixing. The trapping of unwanted bass sounds is important for a room to sound great as well. Twenty-five percent of the space should be assigned for bass blocks for an enough blending room.
Acoustics
Requirements is a wave, just like the ripples on a still body of water when a rock and roll is dropped into it. The bigger the say, the lower the build. Lower tones, known as bass frequencies, travel in wide long waves while higher tones known as treble frequencies travel in a tighter, shorter trend. Frequencies heard by the human ear range from 20Hz to 20K. Simply as the, a piano's range, possibly the widest range of any instrument, is from 39Hz on the low note and 3Khz on the high notice.
The sound is stored in decibels also symbolized as dB. An average concert is approximately 95-100 die Bahn while great rock conjunction or hip-hop concert could reach amounts of 130dB. This kind of is above the tolerance of pain; so make sure you wear your earplugs which can be designed to protect your hearing when in extreme sound levels. Interestingly enough, whales can actually produce levels of up to 180dB. It should be remembered that taking treatment of your ears is the main thing that can be done to prevent damage and have a sustained career. Thus don't hang out with any whales and put some protection in your ears when confronted with noisy volumes.
Absorption is the act of a sensible wave being soaked up with a particular material. This is measured by co-efficient ratings. The larger the sound absorption co-efficient ranking, the more sound that has been eliminated from bothered spots in your room. A different section of the room may require different co-efficient ratings. Remember that studios start off as an empty shell. Hard surfaces and walls need treatment to give a great sounding room. Pertaining to example, 20 gauge cinema curtains are commonly used in studios. They are made up of a thick purple velvet material, which is great for absorbing high-end frequencies. The thinner materials take in higher frequencies.
The thicker materials soak up lower eq. This is why solid bass traps are incredibly large and contain ports or holes to trap low-end frequencies. The bigger the port, the lower the frequency absorption.
There are endless amounts of products and designs that are being used in the industry. Wall structure panels are also commonly used to soak up a sound. These are made from a fiberglass product wrapped in a towel material. Various sizes and thickness are being used for problem frequencies. Again the skinny materials eliminate high end and thicker materials absorb low end.
Reflection is the opposite of ingestion. Imagine the sound as a wave hitting a mirror and bouncing again. This can be used as an advantage for a brighter tone. If perhaps a room has too much absorption creating the room to sound too dead, hard surfaces such as wood panels can be located in proper locations to add a more live sound to the room.
Some broadcasters have reversible hanging systems that can be turned between reflective and absorptive to improve the room audio at will. For words, the room may desire a more dead sounding absorptive room. Drums may require a much more live sounding room. John Bonham, from Led pre lit Zeppelin, had an incredibly huge live reflective carol sound. This became the goal for the big Rock drum sound.
Emporer is underestimated as a drummer. He has a great tight drum audio on his first record where he played all of the instruments as well as the percussion. The drums have the opposite effect using consumption in a tiny tight room creating a very in the face heavy Place drum sound.
These are not rules, only rules. Using your ears is often the key to getting the best sound.
Building a studio is quite an undertaking to do professionally. Each room is completely separated and cut off from one another. The most common technique is to actually build a room inside an a6105 room. The inner walls do not touch the outer surfaces, which creates an air gap that traps audio. Each wall can be many feet thick and multiple layers of heavy glass and doors break down the rooms.
The floor surfaces in each room are floated from the surface with spacers that also create an air space to lower vibrations that help to trap unwanted sound leakage. All floor surfaces will vary characteristics in the way sound surf bounce off from their surfaces. While wood flooring surfaces have a warm shade, concrete and tile have a brighter tone. This kind of also holds true for walls.
A great plan is needed to run wiring between rooms so that every room can be interconnected with the other person for microphone signal lines and headphone communication systems. Tailor-made made cable troughs or PVC tubing can be used to send groups of mic cables from a snowboard to the control room. From the control room, the Headphone lines would be run through the walls for communication between all of the rooms.
Materials and Tools
Drywall is needed for walls. The more layers of drywall added will increase the thickness of the studio walls. By using varying thicknesses of drywall stacked and shifted, alternating at the seams will help minimize sound transmission between rooms. Many drywall screws and a good electric drill will definitely come in handy if you are building a studio.
The fabric is used for making wall panels and ceiling clouds that control the absorption in the studio. There are specific fabrics that are designed for different frequency absorption. Each thickness and texture has varying co-efficient ratings at multiple frequency bands.
AC Duct Board and other fiberglass products are wrapped in fabric with spray glue to create absorbing panels called Wall Boxes and Bass Traps. Thermal Fiber or Fiberglass Insulation is inserted in between two sets of walls and ceiling to create an additional thickness providing an alternate texture, containing fiberglass, which is superb for capturing sound.
Sand is also an excellent alternative choice for filling walls to prevent sound wave transmission. Wood provides the skeleton for frames that hold the panels and boxes. Larger Bass Traps with large ports could be made from wood or fiberglass. RPG panels are a series of wooden slats mathematically designed to absorb and refract, or soak up and scatter sound inside a room. Wood can also be used to create custom racks to hold the outboard gear, console, and patchbay. Custom studios can be designed for any situation and style.
Doors, Walls, and Windows
Doors and walls are the single most important item where recording studio sound bleed is concerned. A small 1/4inch air gap at the bottom threshold of a door will release 30% of the sound. Creating airtight rooms are the first step in sealing all the gaps for optimum soundproofing. The transitions between where the rooms are connected have more possibilities for sound leakage. All corners, gaps, and frames for door and window cutaways must be sealed with a silicon or caulking material. Keep in mind that if air can escape through any passage then the sound will surely go through as well.
