Of course you won t get the lush reverb of a big live room in a professional studio but you do get a bit of room ambience which enriches the sound of acoustic instruments in particular.
Recording studio live room acoustics.
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If possible you want to have a room for live recording and another separate room to do post production.
In pro studios where control rooms are used for mixing and live rooms are used for recording different acoustic treatment strategies exist for each purpose.
The studio acoustics of these rooms will have vastly different attributes to consider.
In any case the floor needs tend to be similar across all these applications.
Hard surfaces are good.
The names and functions of the rooms are.
But combined live and control rooms are increasingly common as you might find in a small home studio or medium sized project studio.
Combining them always muddies the situation but can to a point be achieved successfully.
The strategies we just covered are what you would typically use for a live room to get a nice sound from virtually anywhere in the room.
The other extreme is an overly damped dead space.
For the lead vocal all you have to do is move your mic to the dead end zone.
Design considerations for recording studios.
Gik acoustics is known for its expert room acoustics advice and as a.
And if you re going for a dry sound e g.
Control room the technical hub of the recording process studio the performance area and is also used to describe a facility booth refers to a smaller performance space.
Control room vs live room strategies.
It s critical to match the spl capabilities bass extension and off axis monitor response to both the recording studio s acoustics and the specific task.
Overly live room acoustics will impart that twangy coloration to the original music making it sound blurred and ill defined.
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This article will explore the most important design considerations for recording studios.
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Thick pile carpeting heavy floor to ceiling draperies and dense over stuffed furniture.