[Download in PDF] Hooked: How to Build Habit-Forming Products by - Nir Eyal [Download in PDF] Home Recording Studio: Build It Like the Pros by - Rod. THIS ISAN E-BOOK =DIGITAL BOOK: AVAILABLE INPDF VERSION. AVAILABLE INPDF VERSION. NOT THE PHYSICAL BOOK AS HARD BOOK. Hi Guys, Moving to a new house in a couple of weeks and i am going to start build my own studio. I have bought a few books including Rod.
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Home Recording Studio: Build It Like the Pros Companies like Joemeek®, Tascam, PreSonus, M-Audio, and more all give you a wide variety of options for your. This books (Home Recording Studio: Build It Like the Pros [PDF]) Made by Rod Gervais About Books Paperback. Pub Date: 09 Pages. Home Recording Studio: Build It Like the Pros. La description: Paperback. Pub Date: 09 Pages: in Publisher: Cengage Learning With the advances in .
But the gear is only part of the equation when it comes to recording and mixing. The next part is finding a soundproof room that you can produce it in. Unfortunately, any old room in your house will not suffice for a quality recording. Without a decent room, you'l never be able to record a With the advances in digital technology, musicians can now produce their own music. Without a decent room, you'l never be able to record a studio-quality recording you'll be proud of and excited to have other people hear. So how do you go about creating a space in your home that has similar acoustics to that of a world-class studio? How do you soundproof this room to keep your sound in and outside noise out?
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Views Total views. Actions Shares. Embeds 0 No embeds. No notes for slide. Book details Author: Rod Gervais Pages: English ISBN Description this book Paperback. If you want to download this book, click link in the last page 5. Download Free Home Recording Studio: You just clipped your first slide!
Unfortunately, the market crashed, as did our house sale but Ihad become attached to the idea of owning my own studio, touring less and working at home. After much searching, Ifound adisused laundry building in Sheffield and anew dream was born. Obviously, by this point the idea had grown out of all proportion to my original concept. Inow had abusiness partner and alarge building that needed to pay its way. Iwas no longer building asingle studio, but fitting as many control rooms as Icould into the space and sub-letting them.
I had read countless books, visited numerous forums and web sites. Ihad The DIY Route If your studio is to be amoney-making venture, investing in professional design and construction advice is very worthwhile, as youll discover in the main text of this article. But what about those of us whose ambitions, and budgets, are more humble? If you dont have the money to pay for tailored professional advice, you dont need structural work, and you are just trying to convert abedroom or spare room into amusic-writing space, do you turn to companies that provide balanced room kits, or search the Internet for do-it-yourself sites and advice?
And how do you know which advice will be sound, or relevant? One of the great things about music is peoples willingness to share ideas and experience, and this crosses over to studio design. The many forums that are out there are testament to this. Aquestion can be asked and adozen replies arrive overnight one look at the SOS forum will provide you with many examples!
At the beginning of my own build, Ipored over countless sites and read numerous pages. Ialso encountered contradictory information, as well as some that was just plain wrong! An online calculator that appeared on several sites was posted on another with acorrection, as the equation used originally had been mistyped!
There are some very good reference books out there, aimed at different sections of the market, and some great self-build sites. Iwould, however, cross-reference everything you do, read more than one article and more than one book, and see what the tried and trusted methods are. The nature of sound means that preference does come into play, but this doesnt mean that good studio acoustics are not quantifiable. The subject was broached many years ago by such organisations as the BBC, and guidelines laid down, depending on the studios use, stating the reverberation times best for different uses.
Studio sizes were debated and ratios of room dimensions detailed between small, medium and large rooms. Almost all this information is in the public domain, although sifting through it is time-consuming and can be confusing.
As Bob says, Even if someone is just beginning to record with asmall setup in their basement or spare room, major acoustic changes can be made just by incorporating some appropriately placed acoustic materials and rearranging furniture as has been shown countless times in Sound On Sound magazines Studio SOS articles.
In those cases, the suggestions are made by professionals and are generally low-cost and easy to do. The hope is that those who receive the help, and those who read the SOS articles, will take those lessons learned and continue to utilise professionals as their studio facilities change and grow.
To get alarger manufacturers point of view, Ispoke to the ever-enthusiastic Peter Janis at Radial Engineering, who have been involved with studio acoustics for many years now, with their popular Primacoustic range. After seeing the first Digidesign software in around , Isketched out aplan for the folks Iused to work with that basically put the computer in the centre of the studio and analogue gear as acircle around it.
Part of this vision included room acoustics. When Iwent out on my own in , Iapproached Sonex, who at that time was the market leader, and became the Canadian distributor. Isoon realised their focus as acompany was more on the architectural side of the business, not the recording studio, which is more of my passion.
So Idecided to launch Primacoustic to better suit the need of the burgeoning home studio. Primacoustic, along with companies like Auralex and Vicoustic, have become stalwarts of the small studio, offering out of the box solutions. Peter goes on: Over the years, we changed our product offering to fill the gap between entry-level foam panels and the high-end studio finishes that can be very expensive.
By creating amodular system using high-performance acoustic panels, we enable the home-studio engineer to produce recordings that are aleap above the typical demo quality that is produced in ahome, and these are usually good enough to be confidently transferred to the larger recording facilities for mixdown. As an acoustic panel manufacturer, we do not so much provide services, but provide the products, basic know-how, and guidance on what to use where for good results.
We also offer complete solutions in the form of London room kits that will turn aspare room into afunctional facility and get you 90 percent there. Peter is quick to point out that it is important to quantify your expectation. If you want afully fledged recording studio, to achieve 99 percent [of the performance of aprofessional facility], you will need to hire adesigner and invest alot of money to build it from the ground up.
But Ican tell you that some of the top artists in the industry have home-built studios that use our Broadway panels and MaxTrap bass traps, and they get 95 percent, which is very acceptable. No matter how big the name, how good the design, you will always hear of folks being either satisfied or disappointed. Ultimately, you will get used to the room you have and likely tweak it as you go forward.
Go listen to various rooms and walk around to hear how the bass and lower-mids work. If the room is balanced, then Ithink you have agood designer. If it had just been me, Iam sure Iwould have forged on, but as Iwas now spending my business partners money as well, Idecided to seek help. Having engineered for many years, Iknew many artists who had their own studios.
Aquick call around some of them still failed to get me anywhere positive.
Most had done it themselves, and had not had agreat time doing it. However, afew names did crop up, and Ispoke in depth to several companies and even visited afew.
One company stood out, and Iarranged to travel to Greenwich to meet with Recording Architecture for apaid consultation. The cost was relatively low, at around , but the idea of paying for help with my studio design still represented aleap of faith for me! I dutifully arrived at the offices with areasonably accurate floor plan of my building. The next two hours were what can only be described as an epiphany!
Roger DArcy, the architect, proceeded to sketch out in pencil the rough shape of five control rooms around acentral live area. He also managed to do something Ihad failed to conceptualise in the previous months: get all the rooms connected by asingle corridor, with doors entering into the rooms at the correct place. Iwatched in wonder as my studio took shape.
Roger admitted that after so many years of drawing studios, he had afair idea of what he wanted to achieve and that it was just acase of making it fit! I signed up on the spot and agreed to pay for his most basic service.
For afew One of the control rooms in the Laundry Rooms. The acoustic treatment was built to Recording Architecture designs. Some will say that is aconsiderable sum, and indeed it is, but it is also the cost of agood mastering EQ or top-end nearfield monitors.
What this money did pay for was asolid design on which to start work. Inow knew what Iwas building, how, and why it was being built that way!
All through the build, Roger and his drawing partner Hugh Flynn were there with support, helping us with extra drawings, explaining further bits we didnt understand even redrawing two rooms when we decided to double the area of the live room. They were also able to tell us which parts of the plan we could change and which aspects were crucial. This meant that we could prioritise our expenditure on the most important parts and scrimp and save on things that werent. The Professionals I decided to talk to Roger as well as afew other professionals in the field, to find out what prospective self-builders could learn from the professionals.
Having left university in , Roger worked as an architectural designer at Andy Munros Turnkey Two until , when he teamed up with building technologist Hugh Flynn to form RA. Recording Architecture was commercially set up to provide full architectural, acoustic design and project management services for larger commercial and institutional facilities, frequently built from the ground up. That said, maybe some 30 to 50 percent of the 15 to 20 projects that we handled per year could be considered small some very successful project studios for notable artists and producers have been extremely small, often no more than asingle room within aprivate residence, such as Neneh Cherrys or Sades.