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One Room studio setups (NOT bedrooms!) Ribbon Microphones
Old 29th January 2009
  #1
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One Room studio setups (NOT bedrooms!)

Id love to see pics or links to pros who have designed and built their studios around a one room design. Note: Designed and built!
Im not talking about bedroom studios and garages...
i am designing (and due to build) a space and would really love to do everything (track - produce - mix) in the one room and have it work nicely.
Any suggestions or pics? layout diagrams? anything would be helpful.
I have some ideas already but want to stretch my thinking on it to get the best result.
Old 29th January 2009
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Old 29th January 2009
  #3
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One room

I am in the process of ripping apart my old one room studio and rebuilding it into a one room studio with ISO booth (I guess that makes it 2...) Anyway when I am in some state of completion I will post some pics. The furniture and racks I am having built around my Neotek are going to be a sight!
Old 29th January 2009
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Quote:
Originally Posted by SaschaP View Post
I believe Mavericks in NYC is a one room set up.

Mavericksrecording.com
Beautiful..!..
Old 29th January 2009
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Old 29th January 2009
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Quote:
Originally Posted by CaptCrunch View Post
Bill Bottrell's studio, William's Place: Bill Bottrell - Studio
wow that place is sexy. heh
Old 30th January 2009
  #7
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i think the studio is no more, but this one at allaire is about as nice a one room as i'd hope to ever see
Old 30th January 2009
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Same studio?
CLASSIC TRACKS: 'Black Or White'

Can anyone explain how to isolate the noise from the Console PSU, Computer etc in a one room setup. Isolation box?

Last edited by maestro; 30th January 2009 at 02:23 AM.. Reason: add information
Old 30th January 2009
  #9
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Think Wavelab in Tucson is kinda a one-room studio, in that the control room is within the main tracking room. But I think they have some iso-boots/smaller tracking rooms as well. A few picks here:
MySpace.com - Wavelab Studio My Photos

Love a lot of the sounds Craig and the rest of the guys can get outta this studio (and the old one).
Old 30th January 2009
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maestro's Avatar
and how do you monitor? Headphones? surely not ideal?
Old 30th January 2009
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alexP
Old 30th January 2009
  #12
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Wow, that last one looks like a theme park!

I am about 2 months away from completing a brand new, built from the ground up, project studio (and house) in Central mexico.

The studio is something designer Ken Goerres laid out based on my drawings, having worked in one-room studios for most of my career. I did a live piano trio album that way in 2005 with Dan Richards engineering, and while I dug the intimacy (I was playing piano) when it came to mixdown I decided I'd created a little more trouble for myself than it was worth.

But...I still like the one-room idea, so here is what I'm doing in the new space:


Click for full size - Uploaded with plasq's Skitch

Since I often move from the engineering position to piano and keys for composing, that's the easiest transition. I also play drums, so it's a simple hop into the drum booth through a Milgard sliding glass door. The bass booth has a window so there is perfect visibility between the drummer, the bassist and both can easily see the piano player--eye contact is crucial for me.

There will be bass traps in every corner, and this is the proposed layout of clouds in the live room:


Click for full size - Uploaded with plasq's Skitch
Old 30th January 2009
  #13
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Old 30th January 2009
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RCM - Ronan's Avatar
When Lanois had Theatro in Oxnard, I think that was a one room place. Also its the exact opposite of a one room facility, but the big room at Real World was designed so that it could function as a one room work space.
Old 30th January 2009
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Old 30th January 2009
  #17
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Eddie Offord (producer of Yes / Emerson Lake and Palmer etc) almost always worked in one room. . . . with the band.
Old 30th January 2009
  #18
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I really like the concept of one room studios. Should be more common...

I guess Woodstock Studio in Melbourne is one. I remember that when I first saw that pic, I found out something "wrong" about it before I realised...
Old 31st January 2009
  #19
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cool thread. i've built up my rig slowly over time, still got a long way to go. as i still make myself myself, i need access to my guitars, drums (currently in storage), keys etc. also working/recording closely and producing other people, i don't ever want to let go of that intimate vibe.

so as my studio grows, i'm interested to know about ways of keeping this setup.

i've only ever monitored on headphones, and am usually only tracking 1 thing at a time, and i go elsewhere to track drums. it's usually fine. but if you for example have a loud guitar cab and you're monitoring in the same room with headphones, you can never get rid of the original/direct sound?

i'm wondering if tracking/setting up mics with just headphones... doesn't that suck. i am thinking the biggest advantage of having a live room is being able to set up a good tracking mix out of the speaker...

would love to see more pics, and hear opinions on how people get on with this kind of setup.

i think james lugo has an all in one setup, for tracking guitars, no?

thanks!
Old 31st January 2009
  #20
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It's kind of hard to tell from the site, but Mad Dog in Burbank is essentially one room. It's real nice too.
Old 31st January 2009
  #21
Quote:
Originally Posted by Kingtone View Post
Id love to see pics or links to pros who have designed and built their studios around a one room design. Note: Designed and built!
Im not talking about bedroom studios and garages...
i am designing (and due to build) a space and would really love to do everything (track - produce - mix) in the one room and have it work nicely.
Any suggestions or pics? layout diagrams? anything would be helpful.
I have some ideas already but want to stretch my thinking on it to get the best result.
Blackbird Studio C is another famous example of this.

Although I'm in the process of building a studio with seven acoustic environments (3 iso booths, two sound locks, a large live room and a large control room), the facility is a "one room" facility: one control room, and every acoustic environment has sightlines to the control room and at least two other acoustic environments. In the smallest instance, the Control Room was designed to be a great mixing and tracking space, with a 16' ceiling peak, tons of diffusion, and 475 sq ft of floorspace.
But that space is expandable: first out to the soundlocks, then to the music room, and then to the booths. Indeed, with more than a dozen doors you can open and a panorama of nearly 24' of horizontal glass surrounding the mixing console, you could think of the space as a 3000 sq ft single room with some large fixed gobos if you wanted to.

Beyond that, I'm building the infrastructure so that it is quite possible to do the all-in-one-room thing, subject to one caveat: the analog nerve center (which resides in the control room) doesn't conveniently move out of the control room. However, a MADI-based digital mixer, such as a Harrison Trion, or an ethernet-based digital control surface, such as the D-control or D-command, can be supported in every single room (even the smallest ones). Indeed I do believe that my large live room, because of its shape and acoustic properties, would be a very interesting place for stage score mixing.

Back to the key questions you raised about the thinking behind the design...here are the principles that informed our design. For the purposes of this discussion, I'm considering both the control room and the music room as singular rooms from a design and workflow perspective.

1. Symmetry for mixing. The control room is symmetrical, and it opens to sound locks that are symmetrical to the control room. Moreover, the sound locks are placed symmetrically with respect to the music room.

The music room, too, has bi-axial symmetry, permitting one mix position that's "long" and another that's "wide". The parallelism of the music room is intentional, and the acoustic explanation as to why we can get away with this when so many speak of the importance of non-parallel walls is that the scale of the music room is such that the positives of parallelism outweigh the negatives. Boston's Symphony Hall is a larger example of good parallelism at work.

2. Diffusion for mixing and tracking. We don't go quite to the extremes that George Massenburg did in Blackbird's Studio C, but we have a 50/50 balance of absorption to diffusion in the control room, 35% diffusion in the music room (with absorption that can be tuned from neutral to 20%).

We have built diffusion into the architecture in both rooms, using hundreds of RPG diffusorblox.

3. Appropriate scale (to combat room modes and provide a decent RT60). The depth of the control room is longer than the quarter-wave cancellation mode of A0 on the piano, as is the height of the live room. The advantage to a single-room design is that you don't lose tons of sq ft to walls, allowing for larger acoustic spaces within a given design constraint.

We designed the music room to be "the largest acoustic space that would flatter, rather than overwhem, a solo instrument or small ensemble", and we expect a very nice, flat RT60 of at least one full second. Moreover, the music room can be extended to the isolation booths by the opening of 6 doors, providing nearly 150 sq ft of acoustic connection to an additional 500 sq ft of floor space.

4. Lots of infrastructure in the walls. With two panels and a patchbay in the control room, and three panels in the music room, its possible for lots of musicians to plug in without sending lots of cables across the center of the acoustic space. Less clutter equals more space.

After writing this list I realize it could be read to say that we have two "single room" facilities. If we achieve that, I'll be pretty happy!

I hope these ideas help inform your design.

Last edited by Clueless; 31st January 2009 at 02:43 PM.. Reason: clarified that 3000 referred to sq ft
Old 1st February 2009
  #22
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Peter Gabriel sells a prefab ONE ROOM studio SHED. It's pretty sweet and is modeled after his own studio in his backyard.

Check it out.

Jim
Old 1st February 2009
  #23
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Quote:
Originally Posted by Jazzooo View Post
Wow, that last one looks like a theme park!

I am about 2 months away from completing a brand new, built from the ground up, project studio (and house) in Central mexico.

The studio is something designer Ken Goerres laid out based on my drawings, having worked in one-room studios for most of my career. I did a live piano trio album that way in 2005 with Dan Richards engineering, and while I dug the intimacy (I was playing piano) when it came to mixdown I decided I'd created a little more trouble for myself than it was worth.

But...I still like the one-room idea, so here is what I'm doing in the new space:


Click for full size - Uploaded with plasq's Skitch

Since I often move from the engineering position to piano and keys for composing, that's the easiest transition. I also play drums, so it's a simple hop into the drum booth through a Milgard sliding glass door. The bass booth has a window so there is perfect visibility between the drummer, the bassist and both can easily see the piano player--eye contact is crucial for me.

There will be bass traps in every corner, and this is the proposed layout of clouds in the live room:


Click for full size - Uploaded with plasq's Skitch
I like that idea and layout
having the best of both worlds is really the idea idea in my mind.
Old 1st February 2009
  #24
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Old 1st February 2009
  #25
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Trey Anastasio (Phish guitarist) has a Barn in Vermont which is one huge room with an API Legacy ATC monitors and an JH24 and PTHD rig tucked off to one side. The power supply for the console and the automation computer are in quite boxes in a loft above the mixing area. The thing I find odd about working in there is that despite everyone being in the same room, headphones are often needed. The talkback facilities aren't great and the amount of time people spend donning and doffing headphones in order to talk to one another kind of defeats the purpose IMHO. There is a lot of eye contact, and the room itself is enormous and sounds great. But I can't imagine that carving out a space for a "proper" control room would do much to lessen any of that. Plus it would make mixing easier, in that a control room might be easier to work in with a shorter reverb time and fewer reflections than a full sized barn offers.

I love the idea of "one big room" in the abstract, but studios look similar for a reason. When it comes down to making the most of the space available, if there is room for a live space, some iso booths, a machine room, a control room, and lounge, there are plenty of times you want to use each of those spaces without a lot of leakage from the other spaces.
Old 1st February 2009
  #26
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Quote:
Originally Posted by Kingtone View Post
Id love to see pics or links to pros who have designed and built their studios around a one room design. Note: Designed and built!
Im not talking about bedroom studios and garages...
i am designing (and due to build) a space and would really love to do everything (track - produce - mix) in the one room and have it work nicely.
Any suggestions or pics? layout diagrams? anything would be helpful.
I have some ideas already but want to stretch my thinking on it to get the best result.
Dono if this counts but we have an ISO booth with close specs to the control room but bigger.

Parallel walls angled 12 degrees with at least 36in of Rock Wool behind all resonators. We have 3 giant bass traps built in and 6 traps in the ISO booth with the same 12 degrees angle among many many other things (like hangars in the speaker soffits and concrete blocks built around the speakers.....all that jazz).

We are located at 1771 W Katella Ave, Anaheim CA 92840. PM me if you would like to come in or are in the area.

P.S. These are REALLY old pictures, in fact this was when we first moved in for testing with a laptop. We didnt even have the racks in yet.
Attached Thumbnails
One Room studio setups (NOT bedrooms!)-dscf2126.jpg   One Room studio setups (NOT bedrooms!)-studio-002.jpg  
Old 1st February 2009
  #27
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Old 3rd February 2009
  #28
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[QUOTE=Pred80r;3864541]I am in the process of ripping apart my old one room studio and rebuilding it into a one room studio with ISO booth (I guess that makes it 2...) QUOTE]

What are you going to use the iso booth for? vocals? drums?
Old 3rd February 2009
  #29
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WiZKiD's Avatar
 

Quote:
Originally Posted by zoom View Post
...anyone mentioned George Massenburg's Blackbird's Studio C in Nashville?

This is a production (video @youtube) in this studio.
quite impressive!

Cheers
Stefan

AMAZING!!! this is such a great example of good music in our era. They say live recording is dead ....welcome to Nashville!! heh
Old 3rd February 2009
  #30
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Peter Gabriel's Real World Studios 'Big Room':

Real World Studios | Recording Studios | The Big Room | Description

Quote:
When owner Peter Gabriel first devised the concept of Real World Studios he had a strong, and at the time, quite radical view on how a recording session should be carried out. The traditional method of separating performers from each other and from the engineer(s) in isolated rooms felt both restrictive and a hindrance to the creative process.
Peter wanted to escape the claustrophobia of a typical recording studio, and was keen to explore the concept of recording in a more natural or 'live' atmosphere, breaking down the conventional boundaries that exist between performers, producers and engineers. Thus was born the idea behind the Big Room, and indeed, the rest of the Real World complex.
The magnificent and versatile main area with two adjoining isolation booths can be used along side the Wooden Room to provide a considerable number of options for recording almost anything. The 72 channel SSL 9000 XL K series analogue console has been custom installed to maximise its potential in the room, and one only has to look up from the desk to be reminded of the proximity of water by an intoxicating view of the millpond from the work area.
The Big Room is the very essence of Real World.
And one of the Milco studios in England:

Miloco Recording Studios London

Both seem very relevant (at perhaps a bigger scale) to what you are doing.



Garry
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