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Home studios are generally set up in the only room that happens to be available in the home, where enthusiasts install all the material they need for recording and then get started … and then cannot understand why, in spite of all the professional equipment they are using, the products they create are poor and only sound good in the studio. No attention has been paid to the room’s acoustics! They have adversely affected first the equality of the recordings themselves and then, to an even worse extent, that of the mixing.
The widespread conviction that the product’s quality standard depends on the equipment is just plain wrong.
The studio’s acoustics are a vital link in our equipment chains. The problem is sometimes considered, but design and construction are often expensive, leading clients to use advisers who do not have the necessary expertise, or even give up altogether.
Reson8 has developed a working model capable of supplying a “turnkey” home studio to any customer at an affordable cost, giving due consideration to soundproofing, acoustic treatment, technical fittings, air-conditioning and the installation and setup of all the equipment, in perfect harmony with the customer’s tastes and technical and practical needs.
Reson8 supplies a complete solution to guarantee efficiency and reliability, and enable customers to be certain of the total costs and precise design and realisation times of the planned works in advance.
A room’s acoustic defects are the main source of error when playing back a mixed track. The importance of good acoustics is often underestimated, because of the mistaken impression that investing in instrumentation (hardware and software) is enough to produce a good musical product.
Excessive reverberation and uncontrolled standing waves inside the room may generate misleading timbral effects. One of the most common errors is the belief that equalisation is enough to cover the room’s acoustic defects. Equalisation is only partially able to compensate the spectral defects that the shape of the room creates in the music, and the operation depends closely on the position from which the measurement is made.
The acoustic design of a studio includes the provision of a neutral listening area, which is a space of suitable size where the music can be heard flat, meaning without reflections or standing waves and with the right reverb time.
For customers requiring simple, inexpensive solutions with short installation times, Reson8 also offers ready-made acoustic treatment modules.
They come in 3 categories:
- absorbent modules
- diffuser modules
- acoustic traps for low frequencies
On the basis of a few simple calculations considering the room’s sizes and materials, these modules, appropriately placed, can give the room the acoustic characteristics needed to create a good quality home studio.
When it comes to soundproofing in a home studio, to avoid annoyance to neighbours and other family members and comply with the relevant legal requirements, the soundproofing of the room becomes very important. Various parts of the structure (walls, floors and ceilings) and access points (doors and windows, air-conditioning systems and electrical systems and wiring) are all involved in this process.
Low frequency soundproofing is the most critical aspect, and therefore a structure capable of containing these frequencies must be created.
The structure may be in multilayer plasterboard, including composite types, taking special care over joints and other points requiring filling, together with the use of elastic mounting joints in the anchor points. The floor must be mechanically decoupled, for example by installing several thin sheets of wood, fixed with glue, on top of a thermo-bonded polyester mattress.