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Acoustic Design for the Home Studio, by Mitch Gallagher
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In this handy guide, pro-audio expert Mitch Gallagher and many noted studio designers offer time-tested advice on science of acoustics and how to best take advantage of your recording space.
- Sales Rank: #18407008 in Books
- Published on: 2006-05-10
- Released on: 2006-05-10
- Original language: English
- Number of items: 1
- Binding: Paperback
- 160 pages
About the Author
Mitch Gallagher is senior editor for Sweetwater in Fort Wayne, Indiana. He's the former editor-in-chief of EQ magazine and also spent time as senior technical editor of Keyboard. He began working in music professionally 25 years ago. His background includes a degree in music, as well as extensive graduate studies in electronic music composition and classical guitar. An author, teacher, touring and studio musician, recording engineer, project studio/multimedia production company owner, studio consultant/technology expert, and award-winning composer, he hosted hundreds of studio recording, live sound, and MIDI seminars and classes.
Most helpful customer reviews
2 of 2 people found the following review helpful.
Erudite, to the point - demystifies often technical material that is intentionally complex, over written...
By SA
And actually quite simple when its told in a fashion for beginners, I even took Audio Tech 101 at Art Institute of Boston (AI) and our text books were far far far more intricate (needlessly) and talk about boring - I learned more from skimming this book than I did in my tenure there (not to mention, no one that I know of which graduated are even working in the field, even as an intern for bose or something, let alone as studio engineers).
When I opened the book, a quote from Dick Heyser of the JPL (Jet Propulsion Labs) really blew my mind in its impliciate simplicty whilst also being very profound and illuminating as to why acoustical treatment is arguably THE MOST IMPORTANT equiptment in your studio! Even with a couple hundred dollar condenser mic (like the Rode NT1A) and a decent preamp (Ill just use what I have for the time being a Focusrite Saffire 8i6) - if your tracking room is treated right - it will make a WORLD of difference, then imagine it with an amazing locker of mic's and pre's!)
Dick (RIP) of the JPL described sound as "...what happens when air gets pushed." That's the most simple elemental way of describing what sound is and its mechanism if you will, in physics - which is why we need aborbtion, isolation and/or diffusion - the block/absorb bass frequencies with lots and lots of mass - even more mass is needed if you want to isolate the outside world from the studio thus double walls, drop ceilings, floating floors etc - or reflect/absorb mid and high frequencies to slow their motion, or equally dissipate their heat (sound is air being pushed, this creates heat - sounds complicated but its simple if you think about what einstein said "Energy cannot die, only change" - paraphrasing) over a 180 degree audio spectrum as in the case of diffusion
Mitch makes what can be a tedious learning (and eventual planning & crafting of your home or project studio) into fun, and easy to learn. All the resources are there that you need for any application, including the best companies and who to contact - down to equiptment thats cheap and works for its purpose (like the tip of the radioshack digital sound level moniter).
Great quote from the Foreward by Russ Berger (of the Famous Russ Berger Design Group) states - "Acoustics is an applied science that is part art, and part science. That doesn't meant the "art" part is some form of obscure "black art"; instead it's a creative application of scientific acoustic principles comiined in a way taht produces the desired environment."
Also, not that I have a problem reading small text - the text is large, and again not over written just to the point. He goes through all the myths that get perpetuated time and time again - like using egg crates or cheap open cell foam instead of closed cell, rock wool and/or rigid fiber glass, that any foam will work (including highly dangerous flammable material like packing blankets or eggcrate foam intended for bedding), that bass trapping has to take up alot of space (it doesn't, you're just use to seeing the gigantic bass trapping a high end studios), and that EQ can solve all acoustical problems (yep, sorry, no way in hell).
He teaches the importance of Bass Treatment (Bass Traps and Broadband Absorbtion panels). How furniture in the studio can creat acoustic problems, with comb filtering but can help as a ghetto bass trap (and you need somewhere to sit so, if it works with your acoustics use it). How to use a hollow wall (like a walk in closet, treated) as a sort of bass trap that aborbs the bass frequencies, allowing them to pass through - and bouncing the high and mid frequencies back. How carpet isnt good at sound absorption at all, if you carpet your walls, floors and ceiling expect a boomy muddy jam, listening or tracking room. Hard wood floors can add warmth to a room, which is good if it has the proper isolation beneathe it (either floating floor situation or something with alot of mass - like lead mass-loaded vinyl). The importance of treating your ceiling to get rid of ceiling reflections, reverb, flutter and slap-back. Explains diffusion, how it works - how its difficult but you can build your own citing plans online (and many companies build Quadradic Diffusers that you can drop right into your ceiling or attach to the wall. Many of the biggest names in audio contributed to this book including Auralex providing all the graphs and room layouts, RealTraps providing materials and photos used as examples, more than I can name really, the Walters-Storyk Design Group, Primacoustics, and alot of people from the Thomson Course Technolog PTR (Auralex Acoustics even includes "the fantasy studio design", that even the author of the book cannot afford haha we can all dream).
He gives you simple (what I consider fun, compared to winging it) ways to find your reflection points using a mirror, a friend, you in your listening position and your moniters triangulated on your lsitening position. Aswell as where to put ceiling reflectors. Ive learned all this and I havent even read the book just eagerly skimmed it haha. Im about ready to start treating my studio (montarily) and I just happen upon Mitch Gallagher's project studio video on Sweetwater and after seeing his set up, and him explaining things so succinctly and to the point. I immediately bought the book knowing it would help me immensely not just in this intial build but in tweaking it to become perfect and building even better studios in the future (inevitable with changing technologies, monetary situations and how often people move around - not to mention helping other artists with their own studios). Even my friend whom usual acoustics (and alot of other things like signal flow) go over his head - realized how easy it would be to learn from this book (which is also used in universities, mitch gallagher has a treasure trove of titles hes held from reviewer, contributer and editor/cheif editor of many'a well known and famous musical magazines, and he's engineering, mixed, produced, mastered, of all sorts of different styles, teaches guitar and is an accomplished guitarist.) Mitch effectively shows you how to utilize any space you've had (because he's built studios everywhere) from the corner of a living room, a basement, an extra bedroom, an attic and a garage (but aslong as you have a decent ammount of space, and youd be surprised at how little you need if you treat it properly - you could make a studio set up just about anywhere). He flawlessly explains the different acoustical challenges a room can give you, and the confusion behind most acoustics in general such as...acoustics verses sound isolation, basics of sound, how sound works in a room, first reflections, flutter echo, Reverberant Decay, Controlling Reflections & Reverberation. Gives you the low down on Room Modes and Standing Waves & The Three types of Room Modes aswell as the Good, The Bad and The Ugly when it comes to (perfect or completely imperfect) Room Dimensions, Room Shapes, and how really...it's not the end of the world and their's solutions for all your problems (wether its creatively that you build or something someone else thought up available commercially - or if you compensate for that say extra 10% of loss from electrical plugs, screw holes in the wall, windows, non-acoustical or storm doors with spectral anaylsis, mixing headphones or learning your room enough to know that you need bass boost here because its not treated quite right).
He also answers the popular question "Why not just use EQ" which is basically say "Why not just fix it in the mix" - like engineers love telling people, because its impossible to "Polish a Turd" no matter how hard you mix, swap out punches or instruments, if the recording, mic technique or how it was captured by your DAW is flawed - theres nothing the best mixing engineer or mastering house in the world can do for you. Not saying you cant fix some things here and there (with the use of limiters or compression on a bus, so you can take it off or on/tweak it and its not recorded that way) but you'll always get a better mix from an flawless recording and preformance! If the DIY method isnt for you he reccomends quite a few companies, well known for their top notch equiptment - that have out of the box room kits, just install and record (tweak as needed). Shows you how to chose the best room and the easiest ways of checking it to see if its acoustically solid (using programs, graphs and sound level moniters - cardioid reference mics if you can affords them haha) and how to design/set it up best for your need and room set up. The issues taht can arise with symmetry (boxy sound), getting another pair of ears in (pref. professional acoustical consultation) your finished studio, cleaning it all out and playing tones/music so you have an A/B comparison of before and after (and youll be able to notice more of what further needs treatment and what is good as is). He discusses, getting everything properly orient, moniter speaker and treatment placement and listening position (Triangulated at your head! If the desk doesnt accomodate get yourself a good pair of moniter stands, and make sure they' and the desk are atleast 2 feet away from the back wall, and how critical (simple seemingly no brainer) things are to your mix - try walking in and out of the sweet spot, especially with a room microphone on, you'll tell the difference).He discusses creating a RFZ (Reflection Free Zone). Also for you no-budgeter out there have no fear, whilst not the optimuum position - you can still create an environment conductive to creativity and recording (perhaps not mixing/mastering) with chapter 10's no budget home studio plan discussin common household items, and a brand new way of looking at it. Even goes over things most people overlook until the last second - like noise control (equiptment noise from amplifies, ground electrical noise, HVAC systems (which you need ventilation in and out, because your creating an airtight environment - otherwise you suffocate). He goes into how to go about sound isolation, without building a room within a rom, and lastly the last few chapters are examples of many different studios and how they were set up from designs to their pros and cons from home officce, basement, bedrom, bonus rooms, a recording booth and machine room. The Appendix is full of resources studio deisgners and online resorces that will be invaluable to anyone setting up a studio - giving you all the information, materials, software, hardware and where to find it.
This book is really the end all be all for beginniners trying to get top notch quality sound. Highly reccomended.
1 of 1 people found the following review helpful.
Be Careful, you just might have fun.....
By Just For Me
I have read many books on acoustic design and many web postings and forums concerning the proper way to setup a home studio space on a limited budget. Most of these readings were presented in such a way that I felt like I needed an advanced degree in sonic studies. Mitch's book presents a lot of techie stuff in a way that the lay person or musician can clearly understand about how sound works and how to control it in small rooms. His writing style is clear and easily grasped. I think I have read this book 4 times now, not because I didn't understand the concepts; more for the fact that it is such a fun read (if something as dry a subject as acoustical science is concerned, anyway).
In fact, after reading the book for the second time, I decided to check out some of the venders he lists. All of them were legitt and thier prices were not that bad. I called one of them and mentioned this book and the person I was speaking with knew of the book and had in fact read it themselves (allthough I wasn't offered a discount for mentioning it). I made a purchase from them and was, and am, very pleased with my decision on what Mr. Gallagher recomended. In applying the tips and procedures that are outlined very well, I transformed my small home project studio into a very nice sounding room. I also used the same principles to treat my home theater space and have gotten glowing comments from family and friends about how great movies sound in said room. My mixes are much better and are translating to other playback systems much better than before I read this book.
You really don't need to have a home studio to benefit from the information contained in "Acoustic Design for the Home Studio". If you have a home theater setup with surround sound, or even just a Hi-Fi stereo system you use to listen to your favorite music on, you can learn a lot about what makes sound tick and how to tame it to make it sound like it was meant to sound when the artist recorded it. And if you are not careful, you might have a lot of fun in the proccess. I know I did!!!
18 of 19 people found the following review helpful.
Light on content
By Roger More
This book was a disappointment. It is extremely light in content. The text pages have two inch left margins, a huge font and tons of superfluous pictures. There is not much more information in this book than can be had in a single article on the subject. A website article, EQ/Mix/SOS article, or any gearslutz discussion would probably contain 95% of the information found in this book.
Of particular disappointment was the lack of information regarding acoustic design for recording, i.e. tracking. The book focuses on the creation of studios with flat response for monitoring/mixing. The advice can be summed up as: design a better room (which you can't because you're a home studio...) and then add bass traps and some reflective panels. But studios are more than control rooms! I really wanted to learn more about creating "live" rooms for tracking as this is a huge obstacle for the home studio. How live should a room be for tracking various instruments? Stereo vs. mono recording? Vocals? Only on page 165, buried in a case study, do we even get a hint of information regarding tracking when he states, "...will knock the decay down to 0.35 seconds - longer than desired for a control room, but the liveness will allow the room to be satisfactory for tracking as well." Unfortunately this point is never elaborated on. We have no way of judging what defines "satisfactory".
There is a case study on designing a vocal booth but it is again light on information and there is no discussion regarding the efficacy of portable vocal booths or mic stand absorption devices, and no discussion of "no cost" methods such as hanging comforters or going mobile and recording in bathrooms or closets.
Yet I'm rating it as two stars because it is at least comprehensive on what it does cover which is essentially the design of a home control room, and it does at least discuss the merits of various no cost solutions. It's just that the book provides a poor value proposition for this information.
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