Turnkey Acoustic Treatment PackagesJun 1, 2002, By Randy Alberts Are you thinking about adding a new edit suite or doubling your studio floor space? You can easily turn an unused storage area into a tracking room or create a new voice-over recording booth almost from thin air, thanks to several complete D.I.Y. acoustical materials packages and iso booths on the market.... The Class of 2002Jun 1, 2002, By the Mix Editors Setting Up the SANOct 1, 2001, By Philip De Lancie When Wade Norton, chief engineer at NRG Recording Services, describes the old days—before the studio installed a Fibre Channel SAN to link its Pro Tools systems—things sound a bit unstructured in the asset-management department. "We had the studio's Pro Tools systems and the clients' Pro Tools systems," he says, "with hot-swap drives being traded back and forth. There was no procedure for moving data around, no typical project workflow and no de facto standard for how things were done." ... Studio ConstructionJun 1, 2001, By Dave Malekpour As with any major financial endeavor, a studio construction project requires careful planning and a solid business plan. Here are some points—financial, entrepreneurial and technical—to consider before approaching your lender, brought to you by Dave Malekpour of Professional Audio Design.... A Sampling of Instant Audio EnvironmentsJun 1, 2001, By Randy Alberts When four walls, a ceiling, a floor and a door just won't do, and those dreams of floating the floors and triple-walling the new studio can't happen yet, it's time to bring in a box. Be it a 12-inch box for muffling your hard drive or a 12×12-foot iso booth big enough for a Bonham-sized kit, fully enclosed isolation devices create sound environments... Acoustic Maintenance for Subscriber StudiosJun 1, 2001, By Dan Daley The music industry has no shortage of consultants who offer, for a fee, to guide the uninitiated and veterans alike through the "business." Over the past decade, any number of marketing services popped up to help studios find new revenue streams. Before that, it was artist/producer managers. But where does a studio owner turn to learn about the performance of their rooms? ... You've Got to Keep 'Em SeparatedJun 1, 2001, By Randy Alberts Studio designers and engineers may quibble over equipment choices, but all must agree that, for best results, a recording space stands or falls on its acoustical characteristics. And, in all but a very few cases, those signature characteristics need to be controlled or modified for each project. Most engineers use a gobo... Facility Designer Russ BergerJun 1, 2000, By Maureen Droney Russ Berger's design philosophy, developed during 30 years of experience in the audio industry, is based on the theory that the perfect acoustic space is the one that's appropriate for the needs of the people who use it. That human touch has served him well in his work designing projects both large and small. His firm's credits include broadcast facilities all over the U.S., including production control rooms and support facilities for Saturday Night Live... Acoustic MakeoversJun 1, 2000, By Philip De Lancie The vast array of tools now available for recording, editing, processing and otherwise manipulating sound shows how far the applied science of audio-particularly in the digital domain-has developed during the past quarter-century. Yet for all our sophistication in using these tools, few audio professionals have a deep understanding of the science of sound itself, of why things sound the way they do in an actual acoustical environment. ... The Wide-Dispersion Listening SpaceNov 1, 1999, By Manny LaCarrubba Anyone who makes audio or music recordings will frequently ask themselves the question: "Does it sound good?" And if I'm about to spend my clients' money on recording rooms they plan to rent out, the room had better "sound good"! Equally important, any product leaving that studio must "sound good" elsewhere in the known universe if I ever want to work again. ... Recording Architecture: Change Soho, Then the WorldJun 1, 1999, By Dan Daley Roger D'Arcy, 42, and Nick Whitaker, 37, started the English firm Recording Architecture in 1987, believing that, when it comes to studio design, acoustics and architectural design are two sides of the same coin. "What we've been doing is building rooms that are honest-brutally honest, you could say," says D'Arcy, who, along with Whitaker and two associates, maintains an office just outside of London in Greenwich. ... Studio Wiring OptionsJun 1, 1999, By Philip De Lancie If audio signals are the lifeblood of an audio production facility, then wiring is the circulatory system through which those signals move. Once installed, wiring is both out of sight and out of mind. But the increasing digitization of audio production means that a facility's existing wiring systems can't be taken for granted. The wire itself, the routing and patching systems, the connectors and interfaces and even the conduits or troughs (the "wire management system")... John StorykJun 1, 1999, By Dan Daley John Storyk has been a fixture in studio design almost since there were studios to design. At 53, he can trace his professional lineage back to the days when recording studios began evolving from utilitarian boxes into actual musical instruments, a time when the term "design" began to precede the word "build" when it came to places in which people made serious sounds. ... Speaker Placement and Acoustic EnvironmentNov 1, 1995, By Bob Hodas As an independent recording engineer, I have been using near-field monitors for the past 14 years. The decision to purchase my own near-fields was made in 1980 after a disastrous recording project in Japan.... |
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