Pages

Search This Blog

9.12.2006

How to Build a Floating Room for your Home Recording Studio Part 1 : the Magical Floating Floor

Part 1: the Magical Floating Floor


It all sounds very mystical - a room and floor magically floating, isolated away from any contact from the outside world. I kept thinking about Magneto's prison in X-Men. This article is more of a picture book of the floating floor that we built in my the live room of the studio here at Revolution Audio Recording in Mississauga, Ontario, Canada.

There are many ways to build a floating floor. I went to some extremes, but large budget studios would go much further than I did. I would consider this a mid-cost, home recording studio floating floor, suitable to put on any level of a house or commercial building with a little bit of headroom. The floating floor (only - not the hardwood on top) cost me around $800 CAD for 160 SF, or about $5 sf + labour. A bigger budget floating floor might cost 10 times as much or more and include hundreds of pounds of cement and high gauge metal springs - this floors are amazing, but are not for the typical home recording studio (or typical house construction!). Why a floating floor, you might ask? The main purpose is to create a room which is isolated from the rest of the building/environment around it.

Isolation, and specifically the method of "decoupling," is the key to reducing the sound levels traveling into and out of a room. Notice that I didn't say "sound proof" a room. There really is no such thing. In building a room, however, you can determine what the loudest sound will be in the room and then respond accordingly as it fits into your budget and space constraints. I determined that I wanted a live room that I could record drums in any time of the day or night without disturbing my neighbours to the left and right (a Hearing specialist on one side, oddly enough) and the other people living about the stores in the building. I determined that I was looking to build a room with an STC rating (sound transmission class) of around 62 to bring the drum level down to a reasonable level.

To achieve a target STC of 62 I had to plan and build to some considerable length, the details of which I may get to in a later article, but which included the purpose of this article: A room floating inside a room - basically an exterior shell, secured to the rest of the building and a room built inside upon a floating floor, none of which is secured to the building - the only real contact points being the floating floor. Below is the picture book showing the details of the first step, the floating floor.
Stay tuned for further articles on such fun subjects as soundproofing (so called), double walls, make-shift iso vocal booths and sound treatment vs. sound isolation in the studio.

IMG_0004.JPG
The pre-existing floor looking towards the back room
IMG_0010.JPG
The neoprene pad comes in a 2 X 2 foot size which we must cut down to 2 X 2 inches. This one is weighted for up to 25 psi
IMG_0013.JPG
These straight edged tin snips are handy...
IMG_0016.JPG
Cutting the squares
IMG_0015.JPG
The two inch neoprene square.
IMG_0014.JPG
First using the paint thinner to clean each 2 X 2 pad, we then use the contact cement to glue them together 3 at a time.
IMG_0017.JPG
This part reminded me of a good old craft time
IMG_0019.JPG
The finished neoprene sandwiches (or pucks as I'll call them)
IMG_0020.JPG
The pucks are scattered on the floor. We figured out the weight distribution and to weigh each puck down about 15 lbs. for maximum elasticity, we used 76 pucks.
IMG_0021.JPG
Ewen (with no head) and the pucks
IMG_0022.JPG
We decided to put half thickness of safe n' sound insulation around the pucks to avoid any hollow sound to the floor. Ewen is using an exacto knife to cut them in - we don't want the floor resting on the insulation, or anything else except the pucks.
IMG_0024.JPG
Side view of layer # 1 going down.
IMG_0025.JPG
Layer #1: Tongue and Groove Plywood/ OSB resting on the pucks (not secured down, only resting on top)
IMG_0026.JPG
Layer #1 finished
IMG_0027.JPG
Putting down layer #2: 5/8 firecode drywall
IMG_0028.JPG
Layer #2 finished - we put a few screws in to help secure the tongue and groove floor beneath it.
IMG_0029.JPG
We built a box around the floor vent to allow the floor to float around it rather than resting on it. IMG_0030.JPG
Layer #3 - another plywood tongue and groove (OSB)
IMG_0031.JPG
Ewen putting in the final underfloor piece. My final hardwood floor with underpadding will lay onto this floating floor (pictures to come...)
IMG_0032.JPG
Side view of the new floating floor - from the bottom there is the puck surrounded by insulation, then T & G plywood, then 5/8 drywall then another layer of T & G

6.09.2006

Pro Tools M-Powered 7 Reviewed

NEW Pro Tools M-Powered
The new Pro Tools software that works with M-Audio interfaces

Click Here for more info and to Buy Pro Tools Free Shipping in Canada

PRODUCT: Pro Tools M-Powered Recording Software
PLATFORM: Windows XP/ Mac OS X
SUMMARY: This is big news: Pro Tools has released a version of their Pro Tools LE that works with some M-Audio cards and interfaces. For starters it will work with the 2496 series and the new 192 series PCI cards as well as the M-Audio Firewire 410 and 1814 and Ozonic. My big complaint prior to this release was that Pro Tools LE was "proprietary" meaning it only worked with their hardware. Now this opens up a wealth of possibilites. The files will be fully compatible with other versions of Pro Tools and will come with a suite of effects including a lite version of Ableton Live. The full info is below. Should be in the store mid May. Be watching for a free clinic soon.

DETAILS: Below are the details lifted from the M-Audio site:


Features

* Award-winning audio recording, editing, and mixing
* 32 simultaneous audio tracks
* Fully integrated MIDI sequencing with 256 simultaneous MIDI tracks
* Includes over 30 free RTAS and AudioSuite plug-ins, including EQ, dynamics, delays, reverb, and more
* Easily stream output from ReWire applications like Ableton Live directly into Pro Tools M-Powered software for further mixing and processing
* Unique Beat Detective LE automatic groove analysis and correction tool
* Supports Digidesign's Command|8 control surface for hands-on mixing
* Huge selection of optional plug-ins and applications available from Digidesign and Digidesign Development Partners
* Works on Windows XP and Mac OS X systems

Pro Tools M-Powered is an exciting new version of Digidesign's award-winning Pro Tools software designed to work with select M-Audio hardware interfaces. An ideal way to professionally record, edit, and mix your music, Pro Tools M-Powered software includes many of the same features that top studios rely on to produce Grammy-winning albums and Academy Award-winning film sound.

Pro Tools M-Powered software opens a new door for you to take advantage of the recording industry's most popular audio/MIDI production software using a variety of M-Audio interfaces. Plus, you've also got access to additional Digidesign and Digidesign Development Partner products designed specifically for Pro Tools including the Command|8 control surface.

Pro Tools M-Powered software is surprisingly easy to use, and is completely cross-platform, supporting both Windows XP- and Mac OS X-based computers. What's more, sessions created with Pro Tools M-Powered software will open on both Digidesign Pro Tools TDM and LE systems, giving you instant compatibility with countless Pro Tools-equipped project and professional studios around the world.

Professional Recording, Editing & Mixing

Pro Tools M-Powered software gives M-Audio hardware enthusiasts a new way to tap into the powerful recording, editing, and mixing features of Pro Tools. With up to 32 simultaneous tracks of 16- or 24-bit digital audio, and support for up to 96 kHz sample rates, you've got the tools and options you need to record yourself or an entire band.

Once you've done your recording, you can fine-tune your performances with Pro Tools unmatched nondestructive editing tools. Shape sounds, compose parts, and add effects with RTAS (real-time AudioSuite) instrument and effects plug-ins. Create polished mixes with professional mixing features and full mixer automation. Automatically analyze and tighten percussion tracks with Beat Detective LE. With Pro Tools M-Powered, you've got the tools you need to create professional mixes wherever you want to take your music.

Integrated MIDI Sequencing

In addition to professional audio editing and mixing, Pro Tools M-Powered software also includes a fully integrated MIDI sequencer allowing you to record, edit, and mix up to 256 MIDI tracks alongside your audio. Use loop recording to quickly develop a multi-layered drum beat; then, take advantage of Groove Quantize to give it the right feel. Use MIDI Step Input to lay down a difficult passage. Use your favorite instrument plug-in to get the sound you're after. With Pro Tools M-Powered, your MIDI composing options are wide open.

Plug-ins Galore

Pro Tools M-Powered software not only provides access to award-winning Pro Tools software you're also instantly able to take advantage of a variety of products designed by the recording industry's largest professional third-party developer community. From powerful host-based instruments to affordable effects processing plug-ins that emulate expensive vintage outboard gear, Digidesign Development Partners make a wide range of products compatible with Pro Tools M-Powered software.

Pro Tools M-Powered software supports RTAS and AudioSuite plug-ins. Similar to Digidesign Pro Tools TDM and LE systems, Pro Tools M-Powered includes more than 30 DigiRack & Bomb Factory plug-ins, including EQ, dynamics, delay, reverb, and many more. Pro Tools M-Powered software also supports ReWire, allowing you to stream the output of your favorite ReWire-compatible application directly into Pro Tools for further mixing and processing. Finally, you may also take advantage of the huge selection of VST plug-ins on the market via FXpansion's VST-to-RTAS Adapter.

Flexible and Portable

Pro Tools M-Powered software works with a variety of M-Audio interfaces, from the Audiophile 2496, with its small footprint and basic I/O functionality, up to the comprehensive 18-in/14-out FireWire 1814 interface, and Ozonic, the integrated 37-key audio/MIDI FireWire interface and controller. Plus, M-Audio FireWire peripherals are powered from the computer's FireWire bus (6-pin FireWire port required), providing a new variety of completely portable, go-anywhere FireWire-based Pro Tools workstations.

Seamless Session Interchange

Sessions created with Pro Tools M-Powered software may be opened with any Windows XP- or Mac OS X-based Digidesign Pro Tools TDM or LE system, giving you unprecedented production options for your music. Seamlessly collaborate with other musicians using Pro Tools M-Powered or Pro Tools LE systems. Easily take your projects to a Pro Tools|HD-equipped recording studio to have it mixed by a pro. With Pro Tools M-Powered, select M-Audio interface owners instantly become members of the largest community of digital audio workstation users in the world.

MORE INFORMATION: Pro Tools at the M-Audio Official site

BUY PRO TOOLS LE OR PRO TOOLS M-POWERED ONLINE AT

REVOLUTION AUDIO CANADA
CANADA'S SOURCE FOR HOME RECORDING

4.03.2006

EQ Your Song to Clarity!

by Jason Johnston The difference between a pro sounding mix and an amateur mix is quite simple: One sounds good and one does not. Just joking...the real answer of a great mix lies in the space that each sound and track is given. We are limited in our sonic frequency. We humans only hear between 20 Hz to 20 KHz, which may sound like a wide frequency but is still limited. One you get your bass, drums (spanning very lows to highs), guitars and keys, then try to add a vocal on top of the mix - the frequency range starts sounding a little crowded. And this is what a good engineer actually is: crowd control. You want each parts and sound to have its own space. There is going to be overlap, without question. But what you don't want is sounds competing for the same frequencies. This is where EQ (short for Equalization) comes into play. EQ basically adjusts the volume up or down of certain frequencies. The frequencies depend on the detail of the EQ. This the standard advice on using EQ: Cut before you boost. In otherwords, if you are looking for more of a particular sound, cut the other frequencies that might be competing with it before you resort to increasing the volume of the frequencies of the track that you want. One great example of this is getting a vocal to sit correctly in the mix. Sometimes what works best is notching out some of the sonic space that the other tracks are using and competing with the vocals and you'll find your vocal will stand up in the mix without adding any more volume to it. Listen to the chorus of U2's "Beautiful Day" and you will hear what I mean. There are a zillion layers going on during that chorus and yet you can understand every word Bono sings. So find that sonic clarity in your songs by using EQ to carve out sonic spaces for each part. If you make a great mix it is a good (and sobering) practice to listen to it along side professional mixes that you like. Don't be discouraged, even Bono needs a Daniel Lanois.