Creating a good listening environment?

[Jeff Troiano]

There's been a little talk lately about sound, and I wanted to ask the resident sound guys (or anyone else who can help with this question).

Hopefully next year ill be buying a new house, and will be turning a room into a dedicated studio. I don't necessarily mean studio, like production studio, but studio in the sense that will be my work space for post production.

I'm wanting advice on making it the best listening environment as possible? With regards to setting up the room. Aside from my video post production equipment, I also have protools, and my audio I/O is an mbox pro. I went with the mbox pro for its ability to have a 5.1 monitoring setup. I have yet to buy monitors, as I'm trying to figure out the best setup for a complete novice (that's me). My rep at sweetwater has recommended some focal monitors, but I'm wondering if I should be looking into a 5.1 setup? Or just stick with stero monitoring? And then I will be adding a control surface, something along the lines of the digi8 or artist mix.

Ok back to my original question.

What can I do to my room to create the best listening environment? If I could do what I want, I'd build a separate garage type building, away from my house, and put my studio there. I don't know that is a possibility yet, maybe down the road. So for now, I'm assuming my room will be a bonus room, or 3rd bedroom type of room. I'm not against removing drywall and doing some sort of sound reinforcement. I don't know if I have the skill need to remove the floor to do the same. I doubt I'd be creating blockbusters in there (if I had a project like that, someone else would be handling post production of sound). Even if that we're the case, I like the idea of having a listening environment that I can receive their audio work, and be able to listen to it in a decent (non colored I think is the word) space.

Any advice will be welcomed. And please, to the sound guys. I understand what you do is very complicated, and I'm not taking anything away from that. Living in Nashville, I've spent a moment or 3 in some very cool music recording studios, and know just how hard it is what they do, and in turn how hard it is what you guys do on the film and tv side. I just want to create the best situation I can for myself.

 

[Alcove Audio]

Budget, budget, budget. That's what it all comes down to.

Just a reminder; there is a difference between sound isolation (keeping outside noises out, and the "noise" you make in) and sound treatment (controlling reflections and hyped frequencies).

For treating most basic home studios (you are not a "commercial" facility) some thick carpeting, acoustic ceiling tiles and a kit from Auralex or someone similar will suffice. You're probably looking at between $2k and $5k depending upon the size of the room (say a decently sized bedroom or den) and any specific issues that it may have. BTW, though the acoustic treatment kits are convenient each room is going to present unique problems/issues, so you may need to add some things.

You don't know what you will need until you have the space. And, if you build from scratch you can design for sound from the beginning

 

[Jeff Troiano]

With regards to acoustic ceiling tiles. Would I want to keep the ceiling parallel to the floor? Or hang a drop ceiling at an angle to the floor?

I was just searching out "Auralex" and came across their acoustics101.com site. I will be giving that a thorough reading.

 

[Alcove Audio]

If you have the room for airspace it is ALWAYS a good thing.

You may find this of interest:

http://www.ethanwiner.com/acoustics.html

A far as speakers go, once again you should wait to choose make/model until you have your room. You don't want them to be underpowered, or you may save a few bucks by not buying something bigger than you need. Plus there's always new stuff coming out all the time.

Stereo or 5.1; hhhmmmmmmm... Unless you are doing lots of action/adventure films it isn't a requirement to have surround for editing. Are you mixing yourself, or will you be going to other facilities? If you are mixing at your place and decide to go 5.1 you may want to (probably should) invest more (a lot more) in detailed sound isolation and treatment as well as the speakers.

You see, here we go again - budget, budget, budget.

The Focals have gained some popularity in the past year or so, but the "standard" out-of-the-box choices are still are Genelecs and JBLs; Adam is pretty high on the list as well. However, keep in mind that once you step into the realm of mega-budgets just about anything goes and speaker systems can be custom designed for the room, especially mix rooms/stages.

I'm strictly stereo, and use the original Mackie 824 speakers (I lost the sub when I was flooded in '07. I also lost my Alesis Cubes in the flood - they were roughly analogous to Avantone Mix Cubes). They fit my room and my ears, and I don't get ear fatigue with them; one of my primary considerations. I also use some old Tannoy PBM-8 speakers with a Crown studio amp (what I originally got 20+ years ago) and some Harmon-Kardon computer speakers (no sub).

 

[Jeff Troiano]

Thanks Alcove. Definitely a lot to take into consideration.

 

[AudioPostExpert]

I like the idea of having a listening environment that I can receive their audio work, and be able to listen to it in a decent (non colored I think is the word) space.

Creating a good monitoring environment is a bit like a logarithmic curve. To start with you get a lot of improvement for relatively little outlay but to get a room which is not coloured is near the top of the curve and in a small room is next to impossible, even with virtually unlimited funds. To get an un-coloured room you: 1. Have to know what the colouration of that particular room is, so you need some decent test equipment and of course know how to use it and 2. You then have to treat those problem frequencies and in a small room you get a lot more problem frequencies and not much physical space to treat them. BTW, by small room I mean anything under about 5,000ft³ in the case of TV/DVD work and anything under about 17,000ft³ in the case of theatrical work.

I'm not trying to put you off, I'm just trying to make sure your expectations are realistic, you're not going to get an un-coloured room! But, for the 2k-5k that Alcove is suggesting, you will get a very noticeable improvement over an ordinary, untreated room. And, as I'm sure you already know otherwise you wouldn't be asking, that room acoustics is at least, if not more important than the speakers you put in the room.

You will also find a lot of applicable info on DIY acoustics here.

I went with the mbox pro for its ability to have a 5.1 monitoring setup.

Yes, the mbox pro is capable of 5.1 but to use ProTools in a 5.1 configuration requires the ProTools HD software or the standard ProTools software with the Complete Production Toolkit (CPTK) and that's about $2k. Post a question here or PM me if you need any ProTools advice in the future.

G

 

[Jeff Troiano]

Yes, the mbox pro is capable of 5.1 but to use ProTools in a 5.1 configuration requires the ProTools HD software or the standard ProTools software with the Complete Production Toolkit (CPTK) and that's about $2k. Post a question here or PM me if you need any ProTools advice in the future.

G

This I didn't know, thank you for making that clear. Also that solves one situation for me. Stereo monitoring it will be.

Yeah, I'm not looking for major sound studio quality room. Want to create a better environment then 4 walls, a floor and a ceiling. This thing of ours (just wanted to throw that in) is a hobby for me (at this time). I'm single, not kids, and have a job that allows me to indulge myself. So I don't mind spending the money to create the best situation for myself as I can.

With the link Alcove gave me, and finding www.acoustcs101.com, I'm learning about what it takes to create a good listening environment.


Also, thank for the protools help (in advance). I know I will have tons of questions. I've messed with it a little, but haven't yet dove into learning. I have a date with lynda.com and some protools lessons there.

 

[AudioPostExpert]

Also, thank for the protools help (in advance). I know I will have tons of questions. I've messed with it a little, but haven't yet dove into learning. I have a date with lynda.com and some protools lessons there.

No problem. PT is one of those programs which is so packed with features, different ways of doing things and shortcuts, you never stop learning. I still learn new things about it fairly often and I've been using it professionally for over 15 years and am a certified ProTools instructor. The DUC is packed with PT knowledge and wisdom and you should find the link in my last post useful for acoustically treating a room yourself.

G

 

[Alcove Audio]

One of the things about Pro Tools is to become a more efficient operator you have to slow down.

What? I hear you cry!

Yes, when you find an "operation" you do frequently you stop and do a little research to see if there is a more efficient way to do it. It may be as simple as a short-cut key (or creating one), or it may have something to do with routing. After a few of these you are working MUCH faster.

This is a classic case of art pushing technology, and technology enhancing the creativity of the artist. It's not as efficient as it should be, but when enough people say "I want (insert tool here) to (insert desired function)," they eventually get it. For example, PT users wanted an easy "loop" function, and finally got it with PT9. I'm sure that FCP users have had similarly gratified requests.

I hear too often that PT is not "intuitive," whatever that means. It's just too deep for that. PT isn't riding a bicycle, it's flying a fighter jet in combat. It takes a long time to learn and you never really master it, as it is evolving all the time - partly at "your" on request.