The No.1 Website for Pro Audio
 Search This Thread  Search This Forum  Search Gear for sale  Search Gearslutz Go Advanced
Acoustics/Treatment Reference Guide - LOOK HERE!
Old 19th September 2014
  #61
Gear interested
 
Noiseguy's Avatar
 

Just a quick one to add to the knowledge base on here. Here is an excel spread sheet containing values for various materials we have used in schools projects. It contains the Sound Reduction Indices for various materials along with Absorption Coefficients. I cant see a way to upload it on here, so I have put a direct link to it for the time being.

All the best

Eddie

http://ableacoustics.com/Documentation/SRI and Absorption Data.xlsx
Old 19th September 2014
  #62
Gear interested
 
Noiseguy's Avatar
 

Just a quick one to add to the knowledge base on here. Here is an excel spread sheet containing values for various materials we have used in schools projects. It contains the Sound Reduction Indices for various materials along with Absorption Coefficients. I cant see a way to upload it on here, so I have put a direct link to it for the time being.

All the best

Eddie

http://ableacoustics.com/Documentati...tion Data.xlsx
Old 22nd November 2014
  #63
Gear interested
 

hello,
I am new here, I just want to ask if any of you knows about online diploma for related to acoustic or noise and vibration control distance learning. My current location is here in Abu Dhabi, United Arab Emirates I am looking forward to my career path to acoustic. Any recommendation a website.I appreciate you help..

thanks,
Andy
Old 22nd November 2014
  #64
Gear Guru
 
DanDan's Avatar
Institute of Acoustics

Hi Andy, the IoA in the UK, do a Diploma in Acoustics and Noise Control. The format is 'tutored distance learning'. While I was there one of the students completed the course without being there, except for the practical Labs and Exams.
ioa

DD
Old 8th December 2014
  #65
Gear Guru
 
Glenn Kuras's Avatar
Newer article on the basics of set up and also placement of acoustics. Has links to other videos and articles that you might find handy.
Basics of Room Setup -
Old 17th December 2014
  #66
Gear Guru
 
Glenn Kuras's Avatar
Quote:
Originally Posted by Ethan Winer View Post
I don't want to bloat this thread with chit chat, but this is an important point:

Gearslutz is a public forum. This means you ask questions in public, and one or more people will reply to help you. The advantage is that everyone sees the answers and benefits, not just you. This also gives Jens fodder for links to important topics. heh

So please don't send PMs asking people to give you one on one personal private consulting. Most of the experts here charge for private consulting, even though they gladly pitch in publicly.

--Ethan
Just want to bump this up a bit. Seem to be getting a lot of private emails from guys that want advice on DIYing stuff. Ethan explained it perfectly!
Old 27th December 2014
  #67
Lives for gear
 

Thread Starter
It's been a long while since I last logged on here (been pretty busy with non-recording life, unfortunately), but I have to say that I'm very grateful to see you all still adding links and information to this resource! So glad to see it still growing!
Old 18th February 2015
  #68
Gear Nut
Nice, I'll go over this later :P
Old 18th March 2016
  #69
Lives for gear
 
jhbrandt's Avatar
Small Room Acoustic Treatment

I have posted this elsewhere and neglected to do it here... so here you have it.

Small Room Acoustics and appropriate treatment:

It has been said that 'You'll never get a home studio room to the point where you can do professional mixes like they do in the big studios'.

This is false.

Today a great many commercial productions are done in small studios & home studios. You see production after production recorded and mixed 'at the private home studio of the producer'.

The job of any Studio Designer is to create an acoustically accurate environment so that YOU, the artist, can work; faster & easier - Get the job done & enjoy it - Knock it out and do the next one - Make more money - Have an edge on your competition. This simple result is what my job in room acoustics and room treatment boils down to.

Amazing productions have been done in the past in horrible rooms because of the talent of the musicians, engineers, & producers - and they continue to this day. This may seem an odd thing to say coming from a design professional. But I follow the wise motto (modified for the music business): "If it's not Baroque, Don't FIX it!"

That said, I'll move on to my recommendations for Treating your Space.

Room size and Ratios:

If you cannot build or move a wall, room mode calculators will only tell you what you've got. Don't try to see if you have a good ratio. It is irrelevant.
It is, however, important that you have good modal distribution, especially if you don't use enough bass trapping. (When I say enough, I mean A LOT!)

Cubes are bad, as are room dimensions with common denominators. (When designing a studio from ground up I will use prime numbers for the room dimensions where possible.) For example; if you have a room that is 5 by 10 by 8, you have common denominators of 2 and 5, so 10 would need to change to 11. This works in feet or meters. It is simple mathematics. Of course, you should run it through a room mode calculator like the one on my resources page to be sure. Again, this is only IF you can do anything about the dimensions. Most people can't, and if that's you, it's not the end of the world.

The point of checking your room ratio or dimensions with a mode calculator is; it can tell you where you might have problem areas - plus information like: the lowest axial mode (if your room is concrete), the Schroeder frequency of the room, the ideal RT-60 (target), listening position, etc.

Treatment & Trapping:

I will always design for 'optimal' although, you can always do less. It is important that one knows and accepts the limitations that the real world imposes.
For best results, I recommend a bare minimum treatment of 20% of 5 surfaces. The floor is excluded and since I am mentioning floors; All studio rooms should have hard floors, EXCEPT for Foley rooms which use thick padded carpet.
Ok, so this means that 20% of four walls and the ceiling will be covered with treatment. Of primary importance are first reflection points (side walls and ceiling) and the back wall. The treatment of the back wall, or lack thereof, will greatly affect the perceived peaks and dips in the frequency response at the mix position, as will:

Speaker position:

The speakers that you use, be they M-Audio or ATCs, will always be the 'Elephant' in the room. In other words, compared to the technological advances of electronics and data storage these 'things' are ancient relics that color, distort, and literally screw-up the recorded sounds as they try to 'reproduce' them in your room. The physics of this energy transfer is complex, so I'm not going to bore you. We are stuck with these 'things' for the time being but I wanted you all to know that there are no perfect speakers. More expensive units are usually much better, but get what you can afford and work with it. With the exception of my speakers which I have designed for flush mounting in our studios and they are perfect!! – Just kidding! But they are very, very good and on par or better than the competition. (of COURSE, I’m gonna say that!)

SBIR or Speaker Boundary Interference Response is usually the cause of most monitoring anomalies. - I continue to see folks quoting online references that tell them to keep the speakers at least 'so far' away from the walls. Audiophiles are told to put speakers about 8 feet away from the front wall, etc. This is simply FALSE. I will explain:

First, let me say that if you get the Low Frequency response in your room 'right', you have won 95% of the battle. Low frequency begins folding around objects at the top of the transition region and truly becomes omni-directional at the Schroeder frequency of the room. (Study the information just below the Bonello Distribution graph on the AllModes tab of my room mode calculator)

So, the low frequencies produced by the speakers will fold around the cabinet and expand in a sphere in all directions until they hit an obstruction and reflect back. It is this REFLECTION that causes the problems.

When the speaker is further from the room boundary the reflection will be delayed for a longer period of time. Sound travels at 343.54 m/sec @ 20° C or 1129.42 ft/sec. @ 70° F. If your speaker baffle (face) is 1.22 meters or 4 feet from a boundary the delay will be 7.1 milliseconds. This is half the length of a sound wave at 70 Hz, therefore full trapping is required at this frequency to eliminate the destructive reflection. NOW, push the speaker closer to the boundary so that it is half that distance or 61 cm / 2 feet. The resulting reflection will cause a delay (compared to the source) of 3.5 mS, corresponding to the half-wavelength of 141 Hz.

Now that is quite a bit easier to trap. I'll explain with an example; At zero degrees incidence, a 1/4 wavelength trap is required to be as deep as the speaker is far from the boundary. 61 cm distance = 61 cm deep trap. 122 cm distance (4 feet) = the SAME distance filled with an absorptive trap. -- This is simply TOO MUCH to put in most home studios!

Solution: Put the speakers/monitors as close to the front wall (boundary) as physically possible. This will result in a much higher interference frequency and therefore a much easier treatment solution.

Treatment options & fabrics:

When you build treatment panels, the density or GFR (Gas Flow Resistivity) should follow the thickness of the panels. For example, use higher density/GFR product for thin panels. As the panels go thicker, use lighter/lower GFR product. Rockwool & Fiberglass are made with the same process but with slightly different materials. Rockwool is made from Basalt and Fiberglass from Silica Sand. Rockwool tends to be crumbly while Fiberglass can be made more rigid and still have a low GFR. BOTH are equally suitable but not perfectly interchangeable. However, it is my opinion that there is too much 'splitting of hairs' over these minute differences. Bottom line: Get what is available to you in your area of the world and make it work. I have never recommended higher density than 60kg/m3 or 4lbs/ft3. (m3 = cubic meters and ft3 = cubic feet)
Any trap deeper than 4” should be composed of mostly lightweight regular building insulation. The cheap stuff!

The fabric that you choose should be breathable. In other words, you should be able to put it across your face and still be able to breathe comfortably. If not, the gas flow resistivity is too high and it will be acoustically reflective especially at glancing angles.

If you are concerned with fibers escaping, you can use a 1/2" (12 mm) layer of Dacron. Dacron is used in dress making and furniture, pillows, etc.

Foam acoustic treatment:

Everything has a place. I have often used foam wedges on top of regular treatment panels that are placed at reflection points in critical listening environments since the fabric used can be (will be) somewhat reflective. If the treatment is very close to the operator, this could be a serious problem. Therefore highly absorbent foam can be used on top of the treatment panels to take care of the upper midrange frequencies that would otherwise be reflected into the sweet spot. Or simply use a very low GFR fabric like burlap or similar.

Take care in using ONLY foam treatment in your room. It IS helpful, very useful, and has a place - especially in HOME studios, but it is NOT the Full solution to your room treatment needs. You will need much more trapping than can be obtained with a foam treatment plan. Now, I am not saying that you can't do it with foam. I am saying that proper treatment done with foam can cost at least 5 times the price of treatment that you can build with a little plywood, rock wool, glasswool, and fabric. These days, every penny counts and it will certainly add up when you build your home studio. For more information subscribe to my youtube channel.

Vocal booths and recording:

It is important to eliminate destructive reflections into the microphone when recording, however panels placed behind a cardioid pattern microphone will do little for room reflections. If the recording is important, the room should be treated so that the frequency response at the mic is uniform and uncolored as it is very difficult to remove the room coloration without affecting the original sound of the voice or instrument. Although today's software IS very good and filters can do the job, that's not the way a good record is made.

Panels around the vocalist will improve the recording in a treated room. They can help in an otherwise untreated room, but small panels that are mounted on the mic stand are, in my opinion, far too small to have much of an effect - especially in an untreated room.

For absorption panels to work properly in an otherwise untreated room, you will need to place them AROUND the vocalist & microphone so that they;
1. Absorb the initial sound waves from the vocalist and reduce the sound available to reflect off of surfaces in the room.
2. Absorb any reflections that 'get through' and keep them from entering the microphone at interference levels (higher than -30 dB relative to the source sound).

Panels will do next to nothing for frequencies below 250 Hz. The frequency range of 80 - 300 Hz is the most problematic for voice / vocal recording... That's why trapping is so very important for a vocal booth.

Mixing position:

#1 . IF your mix room, control room, or critical listening room is very large, {over 30 square meters or 323 square feet}, you have the option of facing either the short or long wall. HOWEVER, the option of facing the long wall usually corresponds to having a DOOR in the long wall leading into the tracking area or other 'Limitations'. It is not desirable from a design perspective, nor is it optimal!

#2 . If your room is small, i.e.; less than very large (see above), you must ALWAYS face the short wall.

NOT facing the short wall usually will place the listener in the CENTER of the room, which is a very bad place to try to get accuracy in the low frequencies. Also, facing the long wall situates the ears too close to any diffusing surfaces in the back wall, assuming that you are trying to make an LEDE or RFZ style room.

Therefore; Small rooms shall always be oriented so that the listener faces the short wall.

Listening position: Start by seating yourself so that your ears are lined up with a line, parallel to the front wall, that is exactly 3/8 the length of the room. This dimension is obtained by multiplying the length of the room (in inches or millimeters) times 0.375. Take the result of the equation and measure back from the front wall. - Not the treatment.

All the best!
Cheers,
John
Old 18th March 2016
  #70
Lives for gear
 
string6theory's Avatar
^^^

This is a very informative post!

Thank you
Old 28th May 2016
  #71
Lives for gear
 
jhbrandt's Avatar
Old 27th June 2016
  #72
Gear Addict
 

Quote:
Originally Posted by jhbrandt View Post
I have posted this elsewhere and neglected to do it here... so here you have it.

Small Room Acoustics and appropriate treatment:

It has been said that 'You'll never get a home studio room to the point where you can do professional mixes like they do in the big studios'.

This is false.

Today a great many commercial productions are done in small studios & home studios. You see production after production recorded and mixed 'at the private home studio of the producer'.

The job of any Studio Designer is to create an acoustically accurate environment so that YOU, the artist, can work; faster & easier - Get the job done & enjoy it - Knock it out and do the next one - Make more money - Have an edge on your competition. This simple result is what my job in room acoustics and room treatment boils down to.

Amazing productions have been done in the past in horrible rooms because of the talent of the musicians, engineers, & producers - and they continue to this day. This may seem an odd thing to say coming from a design professional. But I follow the wise motto (modified for the music business): "If it's not Baroque, Don't FIX it!"

That said, I'll move on to my recommendations for Treating your Space.

Room size and Ratios:

If you cannot build or move a wall, room mode calculators will only tell you what you've got. Don't try to see if you have a good ratio. It is irrelevant.
It is, however, important that you have good modal distribution, especially if you don't use enough bass trapping. (When I say enough, I mean A LOT!)

Cubes are bad, as are room dimensions with common denominators. (When designing a studio from ground up I will use prime numbers for the room dimensions where possible.) For example; if you have a room that is 5 by 10 by 8, you have common denominators of 2 and 5, so 10 would need to change to 11. This works in feet or meters. It is simple mathematics. Of course, you should run it through a room mode calculator like the one on my resources page to be sure. Again, this is only IF you can do anything about the dimensions. Most people can't, and if that's you, it's not the end of the world.

The point of checking your room ratio or dimensions with a mode calculator is; it can tell you where you might have problem areas - plus information like: the lowest axial mode (if your room is concrete), the Schroeder frequency of the room, the ideal RT-60 (target), listening position, etc.

Treatment & Trapping:

I will always design for 'optimal' although, you can always do less. It is important that one knows and accepts the limitations that the real world imposes.
For best results, I recommend a bare minimum treatment of 20% of 5 surfaces. The floor is excluded and since I am mentioning floors; All studio rooms should have hard floors, EXCEPT for Foley rooms which use thick padded carpet.
Ok, so this means that 20% of four walls and the ceiling will be covered with treatment. Of primary importance are first reflection points (side walls and ceiling) and the back wall. The treatment of the back wall, or lack thereof, will greatly affect the perceived peaks and dips in the frequency response at the mix position, as will:

Speaker position:

The speakers that you use, be they M-Audio or ATCs, will always be the 'Elephant' in the room. In other words, compared to the technological advances of electronics and data storage these 'things' are ancient relics that color, distort, and literally screw-up the recorded sounds as they try to 'reproduce' them in your room. The physics of this energy transfer is complex, so I'm not going to bore you. We are stuck with these 'things' for the time being but I wanted you all to know that there are no perfect speakers. More expensive units are usually much better, but get what you can afford and work with it. With the exception of my speakers which I have designed for flush mounting in our studios and they are perfect!! – Just kidding! But they are very, very good and on par or better than the competition. (of COURSE, I’m gonna say that!)

SBIR or Speaker Boundary Interference Response is usually the cause of most monitoring anomalies. - I continue to see folks quoting online references that tell them to keep the speakers at least 'so far' away from the walls. Audiophiles are told to put speakers about 8 feet away from the front wall, etc. This is simply FALSE. I will explain:

First, let me say that if you get the Low Frequency response in your room 'right', you have won 95% of the battle. Low frequency begins folding around objects at the top of the transition region and truly becomes omni-directional at the Schroeder frequency of the room. (Study the information just below the Bonello Distribution graph on the AllModes tab of my room mode calculator)

So, the low frequencies produced by the speakers will fold around the cabinet and expand in a sphere in all directions until they hit an obstruction and reflect back. It is this REFLECTION that causes the problems.

When the speaker is further from the room boundary the reflection will be delayed for a longer period of time. Sound travels at 343.54 m/sec @ 20° C or 1129.42 ft/sec. @ 70° F. If your speaker baffle (face) is 1.22 meters or 4 feet from a boundary the delay will be 7.1 milliseconds. This is half the length of a sound wave at 70 Hz, therefore full trapping is required at this frequency to eliminate the destructive reflection. NOW, push the speaker closer to the boundary so that it is half that distance or 61 cm / 2 feet. The resulting reflection will cause a delay (compared to the source) of 3.5 mS, corresponding to the half-wavelength of 141 Hz.

Now that is quite a bit easier to trap. I'll explain with an example; At zero degrees incidence, a 1/4 wavelength trap is required to be as deep as the speaker is far from the boundary. 61 cm distance = 61 cm deep trap. 122 cm distance (4 feet) = the SAME distance filled with an absorptive trap. -- This is simply TOO MUCH to put in most home studios!

Solution: Put the speakers/monitors as close to the front wall (boundary) as physically possible. This will result in a much higher interference frequency and therefore a much easier treatment solution.

Treatment options & fabrics:

When you build treatment panels, the density or GFR (Gas Flow Resistivity) should follow the thickness of the panels. For example, use higher density/GFR product for thin panels. As the panels go thicker, use lighter/lower GFR product. Rockwool & Fiberglass are made with the same process but with slightly different materials. Rockwool is made from Basalt and Fiberglass from Silica Sand. Rockwool tends to be crumbly while Fiberglass can be made more rigid and still have a low GFR. BOTH are equally suitable but not perfectly interchangeable. However, it is my opinion that there is too much 'splitting of hairs' over these minute differences. Bottom line: Get what is available to you in your area of the world and make it work. I have never recommended higher density than 60kg/m3 or 4lbs/ft3. (m3 = cubic meters and ft3 = cubic feet)
Any trap deeper than 4” should be composed of mostly lightweight regular building insulation. The cheap stuff!

The fabric that you choose should be breathable. In other words, you should be able to put it across your face and still be able to breathe comfortably. If not, the gas flow resistivity is too high and it will be acoustically reflective especially at glancing angles.

If you are concerned with fibers escaping, you can use a 1/2" (12 mm) layer of Dacron. Dacron is used in dress making and furniture, pillows, etc.

Foam acoustic treatment:

Everything has a place. I have often used foam wedges on top of regular treatment panels that are placed at reflection points in critical listening environments since the fabric used can be (will be) somewhat reflective. If the treatment is very close to the operator, this could be a serious problem. Therefore highly absorbent foam can be used on top of the treatment panels to take care of the upper midrange frequencies that would otherwise be reflected into the sweet spot. Or simply use a very low GFR fabric like burlap or similar.

Take care in using ONLY foam treatment in your room. It IS helpful, very useful, and has a place - especially in HOME studios, but it is NOT the Full solution to your room treatment needs. You will need much more trapping than can be obtained with a foam treatment plan. Now, I am not saying that you can't do it with foam. I am saying that proper treatment done with foam can cost at least 5 times the price of treatment that you can build with a little plywood, rock wool, glasswool, and fabric. These days, every penny counts and it will certainly add up when you build your home studio. For more information subscribe to my youtube channel.

Vocal booths and recording:

It is important to eliminate destructive reflections into the microphone when recording, however panels placed behind a cardioid pattern microphone will do little for room reflections. If the recording is important, the room should be treated so that the frequency response at the mic is uniform and uncolored as it is very difficult to remove the room coloration without affecting the original sound of the voice or instrument. Although today's software IS very good and filters can do the job, that's not the way a good record is made.

Panels around the vocalist will improve the recording in a treated room. They can help in an otherwise untreated room, but small panels that are mounted on the mic stand are, in my opinion, far too small to have much of an effect - especially in an untreated room.

For absorption panels to work properly in an otherwise untreated room, you will need to place them AROUND the vocalist & microphone so that they;
1. Absorb the initial sound waves from the vocalist and reduce the sound available to reflect off of surfaces in the room.
2. Absorb any reflections that 'get through' and keep them from entering the microphone at interference levels (higher than -30 dB relative to the source sound).

Panels will do next to nothing for frequencies below 250 Hz. The frequency range of 80 - 300 Hz is the most problematic for voice / vocal recording... That's why trapping is so very important for a vocal booth.

Mixing position:

#1 . IF your mix room, control room, or critical listening room is very large, {over 30 square meters or 323 square feet}, you have the option of facing either the short or long wall. HOWEVER, the option of facing the long wall usually corresponds to having a DOOR in the long wall leading into the tracking area or other 'Limitations'. It is not desirable from a design perspective, nor is it optimal!

#2 . If your room is small, i.e.; less than very large (see above), you must ALWAYS face the short wall.

NOT facing the short wall usually will place the listener in the CENTER of the room, which is a very bad place to try to get accuracy in the low frequencies. Also, facing the long wall situates the ears too close to any diffusing surfaces in the back wall, assuming that you are trying to make an LEDE or RFZ style room.

Therefore; Small rooms shall always be oriented so that the listener faces the short wall.

Listening position: Start by seating yourself so that your ears are lined up with a line, parallel to the front wall, that is exactly 3/8 the length of the room. This dimension is obtained by multiplying the length of the room (in inches or millimeters) times 0.375. Take the result of the equation and measure back from the front wall. - Not the treatment.

All the best!
Cheers,
John
Really appreciate your post.

My new home studio room was just completed. It is, by Gearslutz standards, a small room (but being in the large metro area I'm in, the envy of all my friends!).

Took a lot of tips from here in particular and other info in the thread above.

Man, it really helped. I don't have everything all assembled. My racks put together yet, everything wired.

But wow, just setting up the drums, guitar amp, main monitors, and some quick A/B tests with the adjacent room, which doesn't have all the acoustic stuff in the walls, and though being similarly sized, wasn't built to deal with room modes. And testing the recording room with and without the absorption and diffusion panels.

It is quite dramatic.

I never doubted the importance of room modes and treatment. Makes total sense from me having a good working understanding of physics. And I'd half-assed it with previous home studio spaces. But this is the most elaborate I've done. 4 diffusion panels, 6 absorption, light ceiling absorption for drums, bass traps. Yes, quite dramatic change. Just with those items, taking up minimal space, like the difference between an empty and fully furnished room.
Old 11th July 2016
  #73
University of DIY
 
SirTralala's Avatar
 

Quote:
Originally Posted by jhbrandt View Post
I have recently been making weekly videos about studio building.

https://www.youtube.com/channel/UCmA...g-0KA6AxYJm-Pg

Please subscribe and let me know of any subjects that you would like covered.

All the best.
Cheers,
John
Tiptop ! Thanks for sharing your knowledge !
Old 31st October 2016
  #74
Gear Head
 

Quote:
Originally Posted by jhbrandt View Post
Amazing productions have been done in the past in horrible rooms because of the talent of the musicians, engineers, & producers - and they continue to this day. This may seem an odd thing to say coming from a design professional. But I follow the wise motto (modified for the music business): "If it's not Baroque, Don't FIX it!"
This is really interesting John! For sure there are really taleneted mastering engineers out there with great ears, but in case a room has a 20db peak let's say at 90Hz and a 15db dip at 50Hz how the engineer compensate to this akward response? How he finds the optimal balance?
Old 1st November 2016
  #75
Lives for gear
 
jhbrandt's Avatar
Quote:
Originally Posted by petergel View Post
This is really interesting John! For sure there are really taleneted mastering engineers out there with great ears, but in case a room has a 20db peak let's say at 90Hz and a 15db dip at 50Hz how the engineer compensate to this akward response? How he finds the optimal balance?
Pete,

They just do it! It's talent coupled with years of experience. I can't do it. But these guys are brilliant.

You see photos of these top engineers and producers working in an all windowed room, or other acoustically crazy places. They are the 'Pros'. They do their job. They have to go all over the country to do it too, so they have developed an algorithm (in their brain/ear system) that allows them to compensate for a terrible room.

This is where good studio design comes in... Good room acoustics allows the engineer/producer to quickly get the job done. That's all basically. The better the room, the faster, easier, and (of course) more enjoyable his/her job will be.

So in the hypothetical scenario with the 20 dB peak @ 90Hz; the engineer 'deals' with it.. or moves to a better room... or fixes it, or builds a new place. I mean, what can you do?

Cheers,
John
Old 6 days ago
  #76
Here for the gear
 

Loading mentioned products ...
New Reply Submit Thread to Facebook Facebook  Submit Thread to Twitter Twitter  Submit Thread to LinkedIn LinkedIn  Submit Thread to Google+ Google+  Submit Thread to Reddit Reddit 
 
Post Reply

Welcome to Gearslutz Pro Audio Forum!

Registration benefits include:
  • Ability to make and reply to posts
  • Access to members-only giveaways & competitions
  • Interact with VIP industry experts in our guest Q&As
  • Access to members-only sub forum discussions
  • Access to members-only Chat Room
  • Get instant lifetime access to the world's best private pro audio Classifieds for only USD $20
  • List your eBay auctions for free
  • Remove this message!
You need an account to post a reply. Create a username and password below and an account will be created and your post entered.


 
 
Slide to join now Processing…
Thread Tools
Search this Thread
Search this Thread:

Advanced Search
Similar Threads
Thread
Thread Starter / Forum
Replies
toolskid / Remote Possibilities in Acoustic Music & Location Recording
60
dee why / Bass traps, acoustic panels, foam etc
10
Dr. Cuso / Remote Possibilities in Acoustic Music & Location Recording
17

Forum Jump