Would I be correct in saying that the ideal control room environment would be one in which the sound is effectively projected through the mix position and then absorbed so that only the origional signal is heard by the engineer? In this case would any treatment really be required at the front of the room other than angling walls and ceiling to avoid reflections into the mix position? If this is so why do you see so many control rooms with overhead diffusers? Why not just absord everything past the mix position? If I have this concept all up the putt can someone please set me straight .
Thanks again.
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Divo, > So how do you determine the balance between live and
Divo,
> So how do you determine the balance between live and dead in a control room? <
Beats me. I've always alternated hard and soft surfaces, plus whatever other junk was in the room and on shelves, and it's always been fine. I don't know enough tell someone exactly what to do to make a typical project studio room perfect on the first try. I suggest you start with enough bass traps and maybe too little mid/high absorption, listen for a day, and then add more mid/high absorbtion as needed.
In case you couldn't tell, I'm an empirical kind of guy. :)
--Ethan
Divo, No, that is not correct. Although one goal of a mix roo
Divo,
No, that is not correct. Although one goal of a mix room is to be as flat and neutral as possible, another goal - which is just as important - is that it sound like a room and not an anechoic chamber!
--Ethan