Longitudinal Section

bridge above the main window. This arrangement freed up the center of the room for a client couch and social area instead of being dominated by a massive mixing console.

The studio consists of three rooms accessed from a small foyer separating the studio from the control room. Foyers can sometimes be used as isolation rooms particularly if there is a need for feedback such as with an electric guitar. Two isolation booths, with sliding glass doors, are available for individual instruments such as a piano or vocals. The walls and ceiling are constructed of multiple layers of drywall with a wood panel finish on the ceiling. Quilted absorbers are hung from hooks on the walls and can be removed or folded to reduce their area. The mid-frequency reverberation time is about 1.2 sec and flat with frequency. Bass trapping is done using the return-air plenum built above the ceiling. The segmented ceiling requires surface-applied wood diffusers to control flutter echo.

The control room is designed to be much deader, about 0.5 sec at mid-frequencies. The walls are faced with 2" (52 mm) cloth-wrapped fiberglass panels. The ceiling is hard— two layers of 5/8" drywall hung from springs. Bass traps are built into the space above the equipment closet and into the video monitor enclosure. Windows are arranged so that there is visual contact between the control room and any point in the studio, including the isolation booths.

Foley and ADR

Foley stages, where sound effects are generated by physical manipulation of devices, are often indistinguishable from landfills, due to the general clutter. A typical Foley stage consists of a dead room with walls and ceiling covered in broadband absorption and a hard-surface floor

Figure 21.26 Foley Stage

Shelf Storage with Absorptive Panel Doors



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