Measuring and Treating a Home Studio Using FuzzMeasure Pro

[liscio]

Guitar amps- I raise or lower, move close to a wall or corner for tonal effect. They, nor electric guitars are not known for even response. Maybe your bass string pickup pole needs to be dropped a little. How's the balance on Hi Z DI? BTW, is that you singing?

That's Jimi Hendrix singing, on a backing track I found online. You have way too much faith in me…

The pickup height shouldn't be a problem, as all my guitars are set up in that regard by a local legend here. Also, the guitars both exhibit this bass-heaviness.

When the Traps arrive, get a friend and do the handclap thing. I have a panel of wrapped 703 which is light but the Bare or MicroTraps will do exactly the same thing. A Towel, Duvet, on a mic stand will also work, but not as well as a friend/ladder.

I may have to do this, thanks. If for nothing else but to plan the placement of the last two "floater" traps.

You can probably decide where to Trap purely visually also. A checkerboard pattern works great for a live but non fluttering space. But as I said I don't hear classic flutter. I suspect I hear the ceiling reflection plus a nice even room tone. You should be able to identify the slap I hear on screen, especially using FM. How are you planning to decide Trap placements?

I'm trying to decide using aesthetics, and 'rule of thumb' as my primary focuses. Also, I only have so much space in here (as pictured above)!

I know. I have offered to write your manual in another thread.... That is why I wrote the Room Analysis Primer. Many of the terms in your manual are unfamiliar to most of us. Some of you achieve a familiarity with higher math to the extent that it becomes part of your language, part of your thinking process. Some of us can be lent this understanding, but it needs to be done in English.

I never thought of my manual as too high-tech, really. If anything, it's a pretty simple run-down of the features, similar to the style used in many of Apple's own documentation. Basically, you find the section by function, and then run down the list of individual functions to get steps on how to perform them.

In most cases, a definition would be enough, without going PhD on it. Many people just want to drive the car. I recommend you take a look at that Primer, then take a look at REW help, the ETF tutorial is good and result orientated too. Several perspectives, which I reckon you are trying to steer a middle course through.

I'm far from a PhD on the topic. Much of this stuff often goes over my head when I'm reading it, myself… :P

Please don't. I hate Bloatware! Very few will ever achieve the skill necessary to utilise FM fully as it stands. Dirac / B &K do the Lab stuff very well. All is good.

There _is_ such a thing as highly-featured and yet still easy-to-use software. In fact, I think FuzzMeasure is there now. However, it could still stand to get even easier.

For instance, _lots_ of users monkey around with sweep settings when they really have no business doing so. I need to clean up that UI to make it harder to mess that bit up (yet still make it easy to locate for the folks who know what they're doing.)

[liscio]

I've updated the model a bit more to show the closet (which may be acting as a bit of a bass trap, as it's filled with coats right now ). I also placed the rest of the panels in the spots that they seem to make sense in.




This model is proving to be extremely handy for planning this space…

[liscio]

I just updated the article to include ETC plots for the Left and Right speakers (see the last pair of graphs). There is a consistent 0.69ms secondary peak for both graphs, which seems to correlate with my desktop being a primary reflection point (surprise, surprise…):

Measuring and Treating a Home Studio Using FuzzMeasure Pro: Part 1

Any recommendations for fixing this? Mounting the speakers a little higher—on the wall, and pointing down, perhaps?

Chris

[Ethan Winer]

Originally Posted by liscio

Chris, is there any way you can move your setup so the speakers are at the long end under the high window? That will give the room three lengths, which helps break up some of the most damaging bass reflections. Almost like having a huge QRD type diffusor on the rear wall.

--Ethan

[liscio]

Originally Posted by Ethan Winer

Chris, is there any way you can move your setup so the speakers are at the long end under the high window? That will give the room three lengths, which helps break up some of the most damaging bass reflections. Almost like having a huge QRD type diffusor on the rear wall.

I could try this out in the SketchUp document. Right now, the only thing stopping me from doing it is the fact that my desk fits so nicely in the alcove, and the ethernet wiring's all here.

Regarding the quantity / type of panels, though—I'm on the right track, correct? Or am I in for some major disappointment due to the way my desk/etc are facing?

I'll mess with SketchUp some more, and see where it goes…

Chris

[SAC]

I will note that I have questions regarding this measurement.

There should be more significant reflections that are less than 25-30dB down relative to the direct signal assuming that this is still a 'to be treated' room. Otherwise it seems to say it is overdamped and on its way to being an RFZ except for the early order reflections.

Also, it would be nice to have additional 'detail' for the time less than 50-60 ms.

In reference to the speaker placement, this is a fatal flaw that is all too common in such workstation/table oriented environments. The work surface will create a significant early reflection that will not only impact intelligibility and skew the image, but you will have significant comb filtering and polar lobing in the direct signal.

One can try damping the work surface, but I suspect a reorientation of the workspace is the fundamental solution where the work surface is pulled further from the wall and the speakers are mounted behind the surface and the where the work surface is isolated similarly to how pedestal mounting of the speakers relative to a large mix console where the negative angled direct signal dispersion is absorbed by the back of the board rather than being reflected off the work surface.

But this change is not trivial and will encounter objections from those who place convenience over function.

EDIT: {In the ETC, the direct signal arrives at ~45ms. Thereafter the first reflection arrives at ~45.1ms - a travel time of ~.1ms //.11feet (perhaps a diffraction issue with the speaker). The second reflection arrives at ~46.25 ms, a travel time of 1.25ms // 1.4feet. The next significant reflection arrives at about 49.6ms or a travel time of ~4.1ms //4.6 feet. The next is at 50.5ms or a travel time of 5ms // 5.7feet. But all of these subsequent reflections, and the later arriving reflections are all down ~30db! } End edit

Not knowing the exact placement of the speakers, it is difficult to identify a reference point from which to speculate about the specific reflection origins, be they side wall, irregular work surface (and possibly ceiling, and various sidewall surfaces) in the irregularly shaped small room. But the attached procedure, assuming FM does not auto-generate time/distance calculations allows one to identify the particular paths and reflection incident points without difficulty.

I would heartily agree with Ethan regarding moving the speakers to the window-wall. This would provide symmetry for the early reflections greatly impacting imaging. And later arriving reflections from an uneven rear wall are comparatively rather easily addressed.

[liscio]

Originally Posted by SAC

I will note that I have questions regarding this measurement.

Thanks for the detailed analysis attached in the image. Is there a specific time scale you'd like to see me show instead? Should I make the graph extend out only to the 60ms data point? Right now, it's 1ms / horiz div.

There should be more significant reflections that are less than 25-30dB down relative to the direct signal assuming that this is still a 'to be treated' room. Otherwise it seems to say it is overdamped and on its way to being an RFZ except for the early order reflections.

Interesting. So by "on its way to being an RFZ", you are speaking about the panels I've proposed in the layout images shown earlier?

Also, it would be nice to have additional 'detail' for the time less than 50-60 ms.

So you'd like to see the current graph (which begins at t=~45ms) shown up to t=55ms or 60ms? Here they are to 55ms:

http://www.supermegaultragroovy.com/...ght_45to55.png

http://www.supermegaultragroovy.com/...eft_45to55.png

In reference to the speaker placement, this is a fatal flaw that is all too common in such workstation/table oriented environments. The work surface will create a significant early reflection that will not only impact intelligibility and skew the image, but you will have significant comb filtering and polar lobing in the direct signal.

One can try damping the work surface, but I suspect a reorientation of the workspace is the fundamental solution where the work surface is pulled further from the wall and the speakers are mounted behind the surface and the where the work surface is isolated similarly to how pedestal mounting of the speakers relative to a large mix console where the negative angled direct signal dispersion is absorbed by the back of the board rather than being reflected off the work surface.

What about the alternative of raising my speakers off the surface, and pointing them at a downward angle to my head? Not as effective?

But this change is not trivial and will encounter objections from those who place convenience over function.

Well, I think it'd affect function, also, because moving in and out of the space could prove to be a challenge… It's already a very tight space.

In the ETC, the direct signal arrives at ~5ms. Thereafter the first reflection arrives at ~10.1ms - a travel time of ~5.1ms //5.8feet. the second reflection arrives at ~10.25 ms, a travel time of 5.25ms // 5.9 feet. The next significant reflection arrives at about 18 ms with a travel time of ~13ms //14.7 feet.

I think you're mis-reading the graph, which is partly my fault. The direct signal arrives at ~45.5ms, and according to your marks on the image, the 1st reflection is just a fraction of a ms thereafter.

(I obviously mis-read the 1st reflection as the 2nd, but looking at the graph more closely, as you requested, the 1st reflection is made more clear now.)

Not knowing the exact placement of the speakers, it is difficult to identify a reference point from which to speculate. But the attached procedure, assuming FM does not auto-generate time/distance calculations allows one to identify the particular paths and reflection incident points without difficulty.

You can see the placement of the speakers in the images in the original article. I've got them in the SketchUp models now, though, and will post some revisions soon.

[liscio]

Ethan,

Originally Posted by Ethan Winer

Chris, is there any way you can move your setup so the speakers are at the long end under the high window? That will give the room three lengths, which helps break up some of the most damaging bass reflections. Almost like having a huge QRD type diffusor on the rear wall.

Here's the alternative layout you suggested:



(Man, I'm getting fast at moving stuff around in SketchUp…)

[SAC]

Yes, in my rushing around and playing with this on a portable while traveling (I know - braindead...) I misread the scale.

So your rig has a latency (propagation delay) of ~45.6ms....as I cannot ascertain the actual zero reference point relative to the speaker itself to determine the distance of the mic from the speaker. And I doubt it it 45.6 ms, as that would mean that the mic was 51.5 feet away....

My comments in large measure still stand. Take a look at the attached annotated ETC for updated arrival times and corresponding distances.

The remaining reflections are ~30 or more dB down, rendering them 'insignificant' relative the the direct signal. As each vertical gain graticule is 10 dB (I think this is what sidetracked me above with the time graticules. but no excuse!) It is the level of the reflections relative to the direct signal that prompted me to comment regarding the RFZ! As you aspire to this level of absorption in the ISD gap! ;-)

But I might recommend you isolate each of the later arriving paths and use your absorption to treat them. As the later arriving soundfield decays, their additional gain relative to the soundfield can become a problem and cause image shifts, although they are still too early to be perceived as distinct echoes (that occurs over ~ 80ms of delay). It would be worth isolating one or two and noting any audible differences. Or even better, diffusing them the create a bit more of s semi-diffuse soundfield.

And regarding the workstation orientation relative to the speakers - yes, the inconvenience is exactly why I suggested optimal solutions are difficult. Angling them down might help a Little, but it will not remove the reflection problem off the work surface to any significant degree. You will still have a strong early reflection off the work surface!

Bear with me here, as I am running in and out today...
If you like, PM me and we can talk via Skype or YahooMessenger, or if in the US, by phone. We should be able to dial this in rather quickly.

Here is a quickly annotated graph using the one you chose. Hopefully my math and quick notations are correct! (Note almost all reflections are near 30 db down.)

[liscio]

Originally Posted by SAC

Yes, in my rushing around and playing with this on a portable while traveling (I know - braindead...) I misread the scale.
But this raises an BIG question regarding the measurement procedure!

Fair enough.

So your rig has a latency of ~45ms....

Correct. I didn't use the automatic correction feature which corrects for this delay (because I'm interested in relative times more than absolute). However, it's probably a good idea to re-run the procedure with this stuff in mind, to make readings clearer.

The ETC is a new feature for FuzzMeasure 3.2, so I'm still getting used to using it properly. So your information regarding its use/interpretation is very enlightening…

(In the ETC, the direct signal arrives at ~45ms. Thereafter the first reflection arrives at ~45.1ms - a travel time of ~.1ms //.11feet (perhaps a diffraction issue with the speaker). The second reflection arrives at ~46.25 ms, a travel time of 1.25ms // 1.4feet. The next significant reflection arrives at about 49.6ms or a travel time of ~4.1ms //4.6 feet. The next is at 50.5ms or a travel time of 5ms // 5.7feet. But all of these subsequent reflections, and the later arriving reflections are all down ~30db! )

I wonder if my absorption performance is improved considerably by the berber carpeting, and its thick underpad…

The remaining reflections are ~30 or more dB down, rendering them insignificant! As each vertical gain graticule is 10 dB (I think this is what sidetracked me above with the time graticules.) It is the level of the reflections relative to the direct signal that prompted me to comment regarding the RFZ! As you aspire to this level in the ISD gap! ;-)

So what I should be looking at instead, is a more focused ETC:

LeftETC_taketwo.png
RightETC_taketwo.png

And regarding the workstation orientation relative to the speakers - yes, the inconvenience is exactly why I suggested optimal solutions are difficult. Angling them down might help a Little, but it will not remove the reflection problem to any significant degree. You will still have a strong early reflection off the work surface!

Hmm. OK. I'll have to play around with this idea a bit.

[Ethan Winer]

Originally Posted by liscio

Here's the alternative layout you suggested:

Excellent! Only two more comments and you're golden:

1) What matters most with corner bass traps are the outer-most corners. So the trap behind the chaise lounge should probably straddle that corner. More than the trap behind the drummer's seat, though I'd leave that as is anyway.

2) The trap in the farthest rear corner should straddle too. I assume you have it flat on the wall because the corner is too close to the window to be at 45 degrees? The exact angle doesn't matter so much. Better to angle the trap a bit to straddle, even if it straddles only a little.

2-1/2) Can the drums be slid back even half a foot? I'm just concerned about ringing cymbals and rattling snares so close to you when mixing. Maybe swap the chaise and drums?

--Ethan

[Jeffrey Hedback]

thoughts, tweaks...

If the closet is an "accordian style" two panel door and you can bring it into the room in "V" profile...that will help all functions (mix, tracking and trapping).

? Ceiling: did I not see? beyond what you may already be planing (likely on panels above mix)...if there is a carpet with med/heavy pad...you could successfully use diffusion on ceiling (even above drums). Would need to clarify to point toward better options.

[liscio]

Originally Posted by Ethan Winer

1) What matters most with corner bass traps are the outer-most corners. So the trap behind the chaise lounge should probably straddle that corner. More than the trap behind the drummer's seat, though I'd leave that as is anyway.

The trouble there, is that there's a closet (with a bi-fold door) on that wall, so the corner's not really accessible for mounting. :(

When I get the new configuration actually set up, I should re-run the tests, and do the filtered pink noise test w/ a SPL meter to see how those two corners are. I'm betting that the one where the drum set is going to be is going to be the stronger of the two (mostly because the closet does let some air through, and is currently filled with coats—a natural bass trap?? )

2) The trap in the farthest rear corner should straddle too. I assume you have it flat on the wall because the corner is too close to the window to be at 45 degrees? The exact angle doesn't matter so much. Better to angle the trap a bit to straddle, even if it straddles only a little.

That trap in the farthest rear corner is HF, and one of the two that'll be removable for Gobo duty. That corner is, unfortunately, impeded by the door trim if I did want to mount a panel there. I'll have to use the SPL meter test + pink noise test here as well.

2-1/2) Can the drums be slid back even half a foot? I'm just concerned about ringing cymbals and rattling snares so close to you when mixing. Maybe swap the chaise and drums?

Maybe I should set the drums up to face the panels instead? Behind the wall is "unexcavated". Actually, it's about 12" of poured concrete foundation which has an approx. 5' cavity of gravel behind it.

Chris

[liscio]

Originally Posted by Jeffrey Hedback

thoughts, tweaks...

Which are much appreciated, thanks.

If the closet is an "accordian style" two panel door and you can bring it into the room in "V" profile...that will help all functions (mix, tracking and trapping).

It _is_ an accordion door—that's a great point!

? Ceiling: did I not see? beyond what you may already be planing (likely on panels above mix)...if there is a carpet with med/heavy pad...you could successfully use diffusion on ceiling (even above drums). Would need to clarify to point toward better options.

I hid the ceiling in most of the models. There's a bulkhead which runs the length of the room, which is better visible in this image:



For what it's worth, I want to try and avoid ceiling treatments for now, but I'm open to trying them out if I encounter further trouble…

[Jeffrey Hedback]

gotcha on trying to keep ceiling as is...seeing the space better, three 2x4 panels that start at front edge of speaker and run front to back could help mix, drums needs (as they would cover a reasonable portion of kit) and address early reflections off bulkhead as well as edge diffraction off the same. I would space these panels 6" apart for total area of 7' W x 4' D.

Food for thought at least as your proceed.

I love SU as well.

[liscio]

Originally Posted by Jeffrey Hedback

three 2x4 panels that start at front edge of speaker and run front to back could help mix, drums needs (as they would cover a reasonable portion of kit) and address early reflections off bulkhead as well as edge diffraction off the same. I would space these panels 6" apart for total area of 7' W x 4' D.

So, in essence, replace the white strat on the wall with a 3rd panel, stealing one off the opposite wall. They're all spaced only 3" apart right now, so spacing to 6" would open that wall up a lot more.

Am I following you correctly?

[Jeffrey Hedback]

not quite (should have been more specific).

Referring to the ceiling, simply that three 2'x4 panel would be very helpful located just about 1' off front wall and extending back toward rear of room.

And I should add, I would drop these 2-4" off ceiling surface.

The front wall as you have it could be just fine..."might" need panel behind speaker for SBIR.

[liscio]

Originally Posted by Jeffrey Hedback

not quite (should have been more specific).

Referring to the ceiling, simply that three 2'x4 panel would be very helpful located just about 1' off front wall and extending back toward rear of room.

And I should add, I would drop these 2-4" off ceiling surface.

OHHHH!

Big difference from what I thought. I'll keep this in mind.

The front wall as you have it could be just fine..."might" need panel behind speaker for SBIR.

Also noted for future reference. I'll have to set up the room in this new configuration soon to start figuring things out again.

Furthermore, now that the kit's in the room, I can see how feasible the layout will be in practice.

[liscio]

So after rearranging my office, I took a few very quick captures today. One thing seemed to be prevalent: a very sharp resonance at approx 150Hz, and a prominent room mode at 30Hz.

Here are the big differences since I took the first measurements:

• I now have a subwoofer set up
• The drums are in the room
• I used automatic correction in FuzzMeasure to keep the times accurate
• My son took his finger and pushed in one of my aluminum dome tweeters

Here's a shot of the waterfall:



I am willing to bet the 150Hz mode is likely caused by the drum kit. Running a signal generator at ~160Hz causes my snares to buzz loudly, so that seems to make some sense…

The "new" mode at 30Hz is likely nothing new from before, as I now have a subwoofer in place that's able to excite the room at that frequency to begin with. I expect that the bass trapping I have on order should help to tame that.

And the new ETC:



Note that the 2nd highest reflection is now much further away from the initial sound than in previous measurements. This corresponds with the rear wall being further than before.

Unlike the old layout, though, there will now be no HF absorbers coming to the rear wall. The side walls are going to get the bulk of the treatment, because the rear wall does not have very much mounting area available…

[DanDan]

I was going to suggest you consult Ethan as to Trap placement!

Forgive me if I repeat here but some thoughts-

150Hz is a singular issue. Check the dimensions of your smaller sub spaces, i.e. alcoves using a room mode calculator. www.bobgolds.com
This should show the culprit.
With respect to Ethan's filtered pink, I have tried it but I find sines pinpoint the hotspots much more certainly and easily.

That 30Hz would not bother me much. It seems short enough. Kick drum will like it!

The room is very good as it is. Probably not an ideal subject for the article.
I reckon as is, you probably have an excellent drum sound. I would normally place drums in a corner to get the LF boost of the corner horn. I do not use HF damping, except for overhead. This eliminates combing and what I call active combing, i.e the swaying cymbals do a great phaser imitation!
+1 on Jeff's recommendation on ceiling treatment. I would go further. Essential over listening, vocal, or drum areas.
Given such a cloud I would place plywood under the drums.

Hilti plastic plasterboard plugs plus plastic cable ties make it extremely easy to hang traps. The holes are easily filled if you change your mind or room purpose.

I have finally notice that your stated priority is to make this room perform as a recording rather than listening space. Sorry it took so long for that understanding. That kinda reverses a few things. You may need to get hold of a pretty punchy powered speaker for the following. A decent modern PA speaker would do. You might be able to hire a Duodecahedron. This is a powered omnidirectional speaker with decent frequency response. The response is known and you could dial it into FM as a correction curve. Place your doudec/powered monitor or whatever, in the areas you want to record in. Take IR's at likely mic angles and distances.
Try some different speaker and mic locations to get to know the room.
Now we have FM doing something it shines at, and thus IMHO great article material.
Lct Gtr- for interest, how about running a sweep through your amp? Try positions etc.

From my recording experiences-
Drums need bass and like lots of early side reflections, high or treated ceiling to keep the overhead mics clear, plus a nice bright room tone.- Corner plus cloud.
They also like a kick from underneath, plywood or MDF sheet. I have heard of a little mound of rocks under the snare- diffusion and sizzle.
Vocals need to be uncoloured, no reflections.- Under a cloud, room centre. Put 3 traps on mic stands to create a portable booth.

Cool thread, DD

[liscio]

Originally Posted by DanDan

I was going to suggest you consult Ethan as to Trap placement!

Yeah, he's been consulted from fairly early on in the process, which is how I ended up with a lot of HF trapping.

150Hz is a singular issue. Check the dimensions of your smaller sub spaces, i.e. alcoves using a room mode calculator. www.bobgolds.com
This should show the culprit.

Typically room mode calculators require pretty specific LxWxH entry values, which don't really apply to alcoves. Also, I don't have an alcove proper—it's really weird in here.

With respect to Ethan's filtered pink, I have tried it but I find sines pinpoint the hotspots much more certainly and easily.

You definitely get to tune into things.

That 30Hz would not bother me much. It seems short enough. Kick drum will like it!

Yeah, but it also may cause me to turn down bass in mixes. I'd rather apply a little EQ bump (if necessary) on the kick mic. Speaking of which…

I set up 3 mics in the room before I laid it out again, and mic'ed it with one overhead CAD M179, an SM57 on the snare, and my Earthworks M30 placed dead-center about 2" away from the kick drum.

Here's what the overhead sounds like on its own:
JustOverhead.m4a

Now, if I apply a little EQ (very little was needed on the kick, but I needed to notch that ring out), and mix the 3 mics together:
DrumsMixed.m4a

I can get a pretty natural sound, though the ring is still kicking around a bit—actually it might even be characterized as a 'springy' sound, consistent with flutter echo. What's odd about this ringing tone, is that it appears to be present even when the kick is hit (listen to the JustOverhead sample a few times if you don't hear it immediately).

Ideally I wouldn't want to hit the EQ at all to remove those kinds of issues. But, are those precisely the kinds of problems that creep up in an untreated room? I'm fine with having a more dead room (having to apply reverb later) if it means a tighter sounding kit. (And yes, I'm hitting the driest part of the snare, for the most part… )

The room is very good as it is. Probably not an ideal subject for the article.
I reckon as is, you probably have an excellent drum sound. I would normally place drums in a corner to get the LF boost of the corner horn.

I'll let you judge the drum samples above to get your thoughts on the pre-rearranged room as measured in the article as-is…

I do not use HF damping, except for overhead. This eliminates combing and what I call active combing, i.e the swaying cymbals do a great phaser imitation!

Wouldn't the damping on the floor achieve the same effect?

+1 on Jeff's recommendation on ceiling treatment. I would go further. Essential over listening, vocal, or drum areas.
Given such a cloud I would place plywood under the drums.

Strange. I've seen almost the opposite situation in certain studios. For instance, one large studio space had mostly hardwood floors, but a giant rug under the kit. :P

Hilti plastic plasterboard plugs plus plastic cable ties make it extremely easy to hang traps. The holes are easily filled if you change your mind or room purpose.

I'll have to track these down for if/when I put anything up high.

I have finally notice that your stated priority is to make this room perform as a recording rather than listening space. Sorry it took so long for that understanding.

Well, it has to be dual-function, but my limited budget seems to be better spent trying to tighten up the room's response overall, deadening things up a little for cleaner attacks in recordings (i.e. less combing), tighter (and more predictable) bass for guitar/bass/kick, etc.

That kinda reverses a few things. You may need to get hold of a pretty punchy powered speaker for the following. A decent modern PA speaker would do. You might be able to hire a Duodecahedron. This is a powered omnidirectional speaker with decent frequency response. The response is known and you could dial it into FM as a correction curve. Place your doudec/powered monitor or whatever, in the areas you want to record in. Take IR's at likely mic angles and distances.

So the dodec is a stand-in for the kit/guitar/etc. Interesting.

Try some different speaker and mic locations to get to know the room.
Now we have FM doing something it shines at, and thus IMHO great article material.
Lct Gtr- for interest, how about running a sweep through your amp? Try positions etc.

There could always be follow-on articles, I suppose…

From my recording experiences-
Drums need bass and like lots of early side reflections, high or treated ceiling to keep the overhead mics clear, plus a nice bright room tone.- Corner plus cloud.
They also like a kick from underneath, plywood or MDF sheet. I have heard of a little mound of rocks under the snare- diffusion and sizzle.
Vocals need to be uncoloured, no reflections.- Under a cloud, room centre. Put 3 traps on mic stands to create a portable booth.

This is interesting. Many times I see drummers in very cramped booths in studios…

Two of the HF panels that are shown on the wall will be able to come down set up as MiniGobos, to build a larger portable vocal booth, and also serve as something to put in front of the kit (and guitar amps) to suck up excess reflections.

Cool thread, DD

Indeed.