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Dead or Live feel..

Hi,

I got a Control Room about 20ft x 13ft & a Vocal Room bout 13ft x 13ft.

How is the Sound Booth/Prove s'ld i consider?Dead,Really Dead or Live?

how s'ld i consider it?how to taste it or any Standard can i follow?

Comments

Pro Audio Guest Wed, 07/11/2007 - 03:47
gullfo wrote: i'd work to change the shape of the booth so its not square.

Funny you should say that. I was in an old style church over the weekend, type type with a curved roof and arches and though now much better the acoustic was than another church which is basically like a large shoe box.

This set me thinking - is the downfall of some of the room simulation reverbs that they simulate a room which has perfectly parallel walls etc. and for a nice, natural sound it needs just the opposite?

gullfo Mon, 07/02/2007 - 19:40
i'd work to change the shape of the booth so its not square. i'd treat it with slat resonators to angle the walls and treat low-mids. i'd build some reversible treatments so i can keep it live (default) or deaden it. overhead a small cloud, on the floor a small carpet. depending on height - diffusors instead of the cloud (if over 10') with the option to fly a cloud overhead.

TheFraz Mon, 07/23/2007 - 10:58
thouse church arches present their own acustic problems. they trap allot of the wave in them. thats why most churches used to record have an acustic fabric draped over the parts of the ceiling to prevent this.

but even with no preventative measure, an old wooden church can sound beautiful. i used to do the live sound for my catholic high school, so i ended up doing allot of masses, compleat with not only a choir but a band and organ, as well as a few podiums. With so many variables to a mass, even with un trained ears i could hear a drastic change in acoustics from church to church. It was always a treat for me to be able to do a mass outside of the schools gym (a giant wood and concrete shoe box).

I would love to have the opportunity to use an old church for recordings, they just sound amazing and live.
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