On Mon, 2014-08-04 at 01:05 +0200, Jostein Chr. Andersen wrote:
> First of all, no matter if the room is perfect or not: When you mix,
> do it at an amplitude where you can speak normally. That way, the
> room's impact is at a minimum
Somebody already mentioned that and in addition to use near-field
monitors. I will add that any speakers with less Watt, build to work at
low levels are ok. Some small speakers have good cases and produce good
bass sound.
> most sound engineers [...] have also learned their rooms and gear.
Also this already was mentioned. Perhaps it already was done by you?
Full ACK to both points. Btw. I experienced a lot of cheap control rooms
were it wasn't pleasant to stay. A home studio with a room that has got
a living room acoustic isn't the perfect control room, but OTOH the
acoustic of a living room is an ambience to feel well and people listen
to music while being in a living room, car, office, IOW sometimes
efforts to build a control room with less money and without the needed
knowledge doesn't result with a better room for mixing music. A coloured
wall, a window and some refelections for a room you're free to do what
you like to do could be better than a grey sound absorbing room without
daylight, but with a smoking, eating and drinking ban.
Assumed the room and speaker positions should be perfect, are the
monitors and amps perfect? It's an endless chain that can't be solved
for amateur and small professional studios. The people living above my
music room 24/7 run a circulating pump of an aircon, if the location
isn't perfect, there always will be similar ambient noise we can't get
rid of by deafen a wall. It's not only important what happens inside the
control room, but also to care about the things that come from outside
the room, such as subsonic noise, that will disturb your perception.
The most important IMO is to learn our rooms and gear.
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Received on Mon Aug 4 12:15:01 2014
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