Acoustic treatment on the move....

Steve Smith · 11th December 2002

Ok all, I narrowly avoided a gig this new Years ( I say avoided,because I really did not want to do it, my folks are here this NYE for the first time on 6 yrs...) that would have placed me, my DA 78's and a console with some trimmings in a huge venue ( convention center that seats 20 000 ) with NOWHERE to be iso'ed.. seriously, not even a bathroom within 200 feet....

Now, I would normally just set up at monitors or FOH, but they wanted me to do a video mix as well, so I was going to set up in an untreated SEMI trailer and just bring in a bunch of blankets and sonex with some bass traps and make it happen.. my question is... ( finally)

What do you all bring with you on a reg basis whan yo have a rig in cases to get whatever room you might be in to sound acceptable? Do you have a "default" set of treatment tools that are generic enough to get you by?

**Remoteness** · 11th December 2002

Man, another great post. Thanks for the killer topics my man.

... And you even responded to the "Role Call" thread. Awesome!

Steve,

When there's nowhere to set up an isolated CRM, I insist on the FOH position. It's the only logical place to be, if you install time delayed nearfield speakers at your mix position. Seriously, it really works. I like to keep my speakers just above the room tone. Not loud enough to disturb anyone around you, but perfect to get a decent two mix to tape. I've even done TV music mixes next to FOH with good results.

Setting up in an untreated semi trailer can work if you're not dealing with isolation issues. If the trailer is far enough from the stage and PA system and/or other loud sound sources, it can work (fairly) well with portable acoustic treatment. It's not perfect, but much better then doing nothing.

We usually start off with hanging sound blankets at least 3 inches off the trailer walls. We may add Sonex foam panels where necessary. Then we bring in our Studio Tube Traps and arrange them around the CRM area as per our needs.

If more isolation is necessary, Taytrix Inc. makes these wonderful portable gobos that are fully modular and stackable. This gobo system is called Stackit. They're the only stackable gobo system I am aware of. They can be set up in various combinations to suit your needs.

Setting up all this sh*t is not as easy as it sounds. Providing acoustic treatment with your recording service can cost your client as much as or even more then bringing in a recording truck in the first place. Many times, it's just better to bring in a truck when the numbers get up there. Sometimes, it's not about the economics when you have no other choice but to do it as a flypack.

Fuzzy Logic · 20th January 2003

Sounds like a big pain in the neck. Bringing in a truck seems like a simpler solution.

With all the equipment set up and room treatment, doesn't the portable stuff cost as much to rent as a truck????

**Remoteness** · 21st January 2003

Yes, It can be a "big" pain in the neck. Showing up to the venue with a truck to park, power and setup is a much easier solution in most cases.

Many potential clients assume it's cheaper to come in with a portable or "flypack" rig then a real truck. With the potential of extra set up time and additional crew, it can be as expensive as bringing in a mid sized truck. Don't get me wrong, a portable system can come in lower then a truck and crew's daily rate.

The price point really depends on the gear you're using. Equal quality in equipment should equate to similar pricing, shouldn't it? Sometimes, even more then a truck's day rate.

If it's just about saving 200 to 500 bucks, I say, bring in a truck. If the cable run is impossible, or no parking is available, etc., then sure ... flypack does it just right, but do you have a decent room to set up in? Or are you stuck in a dusty closet of a room? Bringing in a truck may seem like a simpler solution.

Liberty Studio · 9th November 2011

Hopefully no one is too pissed at me for resurrecting an old thread, but what about acoustic treatment on the move for features, short films, and other videos. I've witnessed times where sound blankets were used (on c-stands) and on one occasion the production had bought a ton of fiberglass panels and we were able to put those on frames in warehouse where we were shooting.

Does anyone have any good ideas or notable ways they deal with mobile treatment when having to shoot in a "bad" room or reflective, harsh area? Anything cheaper than using sound blankets and c-stands?

I'm hoping to find something good here in the Dallas area eventually. So far I've been lucky enough to have had other people help with this issue in the cases before.

11th December 2002	#1
Steve Smith Lives for gear Joined: Jun 2002 Location: Chicago, IL Posts: 1,384 Thread Starter	Acoustic treatment on the move.... Ok all, I narrowly avoided a gig this new Years ( I say avoided,because I really did not want to do it, my folks are here this NYE for the first time on 6 yrs...) that would have placed me, my DA 78's and a console with some trimmings in a huge venue ( convention center that seats 20 000 ) with NOWHERE to be iso'ed.. seriously, not even a bathroom within 200 feet.... Now, I would normally just set up at monitors or FOH, but they wanted me to do a video mix as well, so I was going to set up in an untreated SEMI trailer and just bring in a bunch of blankets and sonex with some bass traps and make it happen.. my question is... ( finally) What do you all bring with you on a reg basis whan yo have a rig in cases to get whatever room you might be in to sound acceptable? Do you have a "default" set of treatment tools that are generic enough to get you by? __________________ Steve Smith - Unorignal, yet commonplace.

11th December 2002	#2
Remoteness Super Moderator Joined: Aug 2002 Location: NYC Posts: 7,405	Man, another great post. Thanks for the killer topics my man. ... And you even responded to the "Role Call" thread. Awesome! Steve, When there's nowhere to set up an isolated CRM, I insist on the FOH position. It's the only logical place to be, if you install time delayed nearfield speakers at your mix position. Seriously, it really works. I like to keep my speakers just above the room tone. Not loud enough to disturb anyone around you, but perfect to get a decent two mix to tape. I've even done TV music mixes next to FOH with good results. Setting up in an untreated semi trailer can work if you're not dealing with isolation issues. If the trailer is far enough from the stage and PA system and/or other loud sound sources, it can work (fairly) well with portable acoustic treatment. It's not perfect, but much better then doing nothing. We usually start off with hanging sound blankets at least 3 inches off the trailer walls. We may add Sonex foam panels where necessary. Then we bring in our Studio Tube Traps and arrange them around the CRM area as per our needs. If more isolation is necessary, Taytrix Inc. makes these wonderful portable gobos that are fully modular and stackable. This gobo system is called Stackit. They're the only stackable gobo system I am aware of. They can be set up in various combinations to suit your needs. Setting up all this sh*t is not as easy as it sounds. Providing acoustic treatment with your recording service can cost your client as much as or even more then bringing in a recording truck in the first place. Many times, it's just better to bring in a truck when the numbers get up there. Sometimes, it's not about the economics when you have no other choice but to do it as a flypack. __________________ Steve Remote AuraSonicLtd.com the home of ASL Mobile & Location Production Remoteness on the Linkedin Network What about my Facebook Profile? Remoteness on Myspace

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20th January 2003	#3
Fuzzy Logic Gear maniac Joined: Jan 2003 Posts: 266	Sounds like a big pain in the neck. Bringing in a truck seems like a simpler solution. With all the equipment set up and room treatment, doesn't the portable stuff cost as much to rent as a truck????

21st January 2003	#4
Remoteness Super Moderator Joined: Aug 2002 Location: NYC Posts: 7,405	Yes, It can be a "big" pain in the neck. Showing up to the venue with a truck to park, power and setup is a much easier solution in most cases. Many potential clients assume it's cheaper to come in with a portable or "flypack" rig then a real truck. With the potential of extra set up time and additional crew, it can be as expensive as bringing in a mid sized truck. Don't get me wrong, a portable system can come in lower then a truck and crew's daily rate. The price point really depends on the gear you're using. Equal quality in equipment should equate to similar pricing, shouldn't it? Sometimes, even more then a truck's day rate. If it's just about saving 200 to 500 bucks, I say, bring in a truck. If the cable run is impossible, or no parking is available, etc., then sure ... flypack does it just right, but do you have a decent room to set up in? Or are you stuck in a dusty closet of a room? Bringing in a truck may seem like a simpler solution.

9th November 2011	#5
Liberty Studio Gear nut Joined: Sep 2010 Location: McPherson, Kansas - Dallas, TX Posts: 110	Hopefully no one is too pissed at me for resurrecting an old thread, but what about acoustic treatment on the move for features, short films, and other videos. I've witnessed times where sound blankets were used (on c-stands) and on one occasion the production had bought a ton of fiberglass panels and we were able to put those on frames in warehouse where we were shooting. Does anyone have any good ideas or notable ways they deal with mobile treatment when having to shoot in a "bad" room or reflective, harsh area? Anything cheaper than using sound blankets and c-stands? I'm hoping to find something good here in the Dallas area eventually. So far I've been lucky enough to have had other people help with this issue in the cases before.