{"id":70827,"date":"2018-02-04T17:30:31","date_gmt":"2018-02-04T16:30:31","guid":{"rendered":"https:\/\/www.thomann.de\/blog\/?p=70827"},"modified":"2020-04-22T16:22:36","modified_gmt":"2020-04-22T14:22:36","slug":"acoustic-tips-home-studio","status":"publish","type":"post","link":"https:\/\/www.thomann.de\/blog\/en\/learn\/acoustic-tips-home-studio\/","title":{"rendered":"Acoustic Tips for your home studio"},"content":{"rendered":"

High-quality loudspeakers on the Producer desk or expensive instruments and a good little PA in the rehearsal room – all this is no guarantee for a good sound. Of course, if music can be properly recorded and mixed where it is produced, it is great and desirable, but the prerequisite for this is a perfect acoustic response from the room. And it’s no surprise that, when it comes down to your budget for building a professional recording studio, the acoustic treatment represents a large percentage of your total budget.<\/strong><\/p>\n

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Premise<\/h2>\n

Obviously, not\u00a0everything<\/em> is so expensive. Sure, to correctly and permanently treat a room, you should expect to pay a considerable amount of money. But to fix<\/strong> certain problems<\/strong>, avoid too many bass frequencies flying around or simply improve the overall sound of your recording studio, solutions may be much cheaper than you think.<\/p>\n

Before you deal with the use of room acoustics modules or the like, you should ensure that the basic<\/strong> requirements<\/strong> are fulfilled. Even the best speakers<\/strong> have to be put in the right<\/strong> position<\/strong>! So pay attention to the general rules provided in the manufacturer’s instructions. This alone can be a significant leap towards a great sound! You can do the same thing in the practice room: just change the positions<\/strong> of amps<\/strong> and the\u00a0drum<\/strong> kit<\/strong> – you will learn a lot about your instruments, your room and the acoustics in general.<\/p>\n

Acoustic problems can be obnoxious<\/strong>. In normal living rooms and basements, you will immediately notice that, due to the walls being parallel<\/strong> to each other, the sound is reflected in an undesirable way. For example, a sound generated by a loudspeaker may have a tonally altered<\/strong> sound if it reaches the listener a little later via the detour of a wall. In the worst cases, you can clearly hear a “phasing<\/strong>” effect.<\/p>\n

The more “sound-proof” a material is, the more it reflects. Glass<\/strong>, tiles<\/strong> or exposed concrete<\/strong> reflect more strongly, especially vertically, than say, a velvet curtain. This is because open structures withdraw energy from the sound, which “moves” through moving air molecules, and thereby dampens it. This process is called “absorption<\/strong>.”<\/p>\n

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Absorbers<\/h2>\n

And this principle is also taken advantage of: absorbers<\/strong>\u00a0are elements that are made for exactly this purpose. They are available as practical tiles, even in visually attractive designs, for relatively little money. Everyone knows the legendary grey foam, but because the eye shall be pleased as well in this world, many will opt for models that not only fulfill a purpose, but also look great. And the t.akustik Hihgline A2 Teak<\/strong><\/a> surely looks legit!<\/p>\n\n\t\t