bend me, shape me, any way you want me

once the shell was made for the recording room, walls were torn down in the control room, and the whole thing was more or less shielded from the elements, it was time to start shaping the spaces acoustically. gavin’s plan called for bass traps all along the edge of the ceiling in the control room, underneath the podium in the recording room, as well as along its north-south walls. wood frames were built and stuffed with various densities of insulation according to the frequencies to be tamed. in the beginning, the reverb time in the raw concrete space was about eight seconds. the goal was to dampen it by a factor of about five, and create an even, pleasing sonority. one of the most innovative features of the studio are the flex rooms, two sets of walls on hinges that allow the space to be configured as a large open room, or to be subdivided into three rooms so as to allow for the drums and another instrument (usually piano) to also be recorded in isolation.

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shaping the acoustics of the spaces

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break on through to the other side