Even if I had paid better attention in Mr. Pelz’s high school, physics class, I probably wouldn’t remember the waves and frequencies stuff. I just read “Part 2: In Your Room” (I’m thinking there’s a little nod to the Beach Boys there) of Paul J. Stamler’s First Steps series in Recording magazine. Evidently I need to know a little about standing waves and the frequencies at which they develop – I emphasize the word “little.” I’ve just always not been much into the science or theory of music – it’s always been about the “feel” and sound to me. Perhaps it just laziness, but I prefer to think of it as a bit of Zen (spin?).
Lucky for me, a spreadsheet (and ReadMe file) is provided into which a room size can be input to determine if there are duplicates of standing wave frequencies within the room – which apparently is bad.
I’ve added studio monitors to my wishlist of equipment/peripherals/stuff for my home studio. He reinforces their need (previously expressed by other articles I’ve read and Get-Up keyboard player David Husted) by explaining that the “big problem is that headphones are too good.” He details why and relates, what probably should be obvious, that the music (if I’m lucky) will probably be played on a variety of devices ranging from laptop speakers to home stereo systems. Additionally, he dispels the myths associated with using egg cartons and blankets to solve sound issues, but does note that a floor-to-ceiling, filled bookcase may be used to change the room (in addition to other not-quite-so-simple remedies).
Next up for me is to measure the room I’m using, input the dimensions it into the aforementioned spreadsheet and determine the problem area(s). After all, admitting you have a problem is often the first step. 🙂
I also want to check out the books of acoustical engineer F. Alton Everest‘s books on small studio design and construction as recommended by the series’ author. This will all hopefully end up with minimal, in terms of work and expense, improvements to my room/studio.
-Edded in the Right Direction?
seems like you’re getting pretty far into the weeds on this — way past the “put the mics in the right place and hit ‘record'” where i’d probably quit. will be eager to hear how you work out those technical issues
I think when some kids were dreaming of being firemen or ballerinas (I know you still have the tutu), I wanted to be a sound engineer. This is a chance to get a piece of that dream. Everyone commenting and feeding the discussion is really wonderful.
Ah, the vicissitudes of sound…. Through another digital means I sent you some suggestions from a friend with a home studio He has panels affixed to his walls that do quite a nice job. AOH
Yes. Thank you. As I replied in that “other,” fine form, I’ve read that you need to go with the 6″, as opposed to 4″, fiberglass insulation for the homemade stuff. The other thing about my room is that it has sloped walls starting at about 3ft and a little dormer area. Not sure how that all factors in.
Ed, forget the audio engineer book. He will most likely overwhelm you with information which will not take you any closer to laying down better sounding music. I see your room in the photograph and it is perfect just as it is (far better than my arrangement). Forget standing waves and forget room measurements. Your Zen approach will take you further with original music. I see speakers in your room. Why not use them as your monitors? Problem solved. I currently use my 1987 Technics Stereo (my Edirol UA101 audio Interface L/R monitor outs in the back are connected to the Technics VCR2 L/R ins…I kid you not). This then powers two cheap $50 Carvin PM5s ….luv em. They work just fine. I recommend your far term goal should be the “studio in the box” concept…it’s a lot cheaper in the long run. I consider “room acoustics” at this stage as niceties not necessities. I think an “in the box” drum (with sample wavs or midi) a small midi keyboard (which you may have) and an “in the box” EQ , compressor and synth would take you further. I would also consider just direct plugging your guitar and bass into the A/I. You can use an “in the box” amp as your sound shaper then. I understand you have to work with what you got in the mean time. Again, these are just my opinions and I am looking at this through the lens/filter of a keyboardist who only depends on “out of the box” sound when I am doing vocal work. Cheers….Dave
Dave, I’ll probably end up somewhere in between. I do want to try some different things along the way. You make a few excellent points (especially when you wear that one gortex outfit). The drums are the thing I think I will struggle with the most. I so want to play the percussion, but I’m thinking it might be beyond my capabilities in the near future. Thank you very much for sharing wisdom gained from your experiences.