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Topic Handout
Studio Design
© 2011 SAE Education Ltd. | Subject to change without notice! INSTITUTE
Table of Contents
Studio Design ___________________________________________1
Control Room Design History ____________________________1
The Live End Dead End Concept ________________________1
L.E.D.E. Characteristics _____________________________2
Universal Concepts in Control Room Design _____________3
Universal Concepts in Live Room Design _________________4
1970’s
• Important studies in acoustics (Tom Hidley / Don Davis).
• Stereo recordings.
• Control room expanded partially to accommodate a larger mixing
console / new equipment.
• Attention paid to coloration (non-parallel surfaces / L-R symmetry).
• Different shapes / Materials (e.g. stone walls).
• Flush mounted monitors.
1980’s
• LEDE dominates the industry.
1990’s
• Scattering / Control rooms more reflective.
• Surround.
Parallel Surfaces
Generally avoided to prevent standing waves and flutter echoes (when a sound
reflects between two parallel walls and a fast, repetitive echo is heard)
Room Shape
• Polygonal shapes are preferred (spaces may start out as rectangular and
be modified)
• Outer shell (i.e. structural) of the studio must be heavy, solid and with high
STC rating.
• Inner shell provides ideal acoustic space
• Corners may be removed via the use panels or poly absorbers/diffusers.
• Flush mounted monitors modify the front corner
Speakers
Monitors should not be placed very near to sidewalls, as the very early reflections
produced may cause comb filtering.
Console
Consoles can be a source of early reflections and cause comb filtering.
Possible solutions:
• Angle of the console may be increased.
• Monitors may be placed as low as possible.
Classical Music
• Conventionally balanced groups.
• Performance space constitutes an important part of the performance.
• Size and shape of the studio must allow musicians to hear each other
clearly in order to maintain level balance.
• Orchestral musicians require a minimum of 2-3 metres squared of floor
space each.
• Walls should not be too close.
• High ceilings are best (9 – 10 m) providing reflections after a suitable delay.
• General range – 10000 m3 for symphonic studios and 1000 m3 for small
chamber studios.
• Optimum reverberation time may be dictated by the music style.
• Diffusion more important than absorption.
• Two schools of thoughts on shape of reverberation time/frequency
characteristics: flat curve / Rise at low frequencies (warmth / concert hall)
Pop Music
• Natural acoustics of rooms not as significant but still dictated by style.
• Multi-tracking (simultaneous) may require a less reverberant environment
(absence of conventional balance).
• Close microphone techniques and separation (screens) used to isolate
instruments.
• Overdubbing allows for different environments to be explored.