The Pro Audio Suite – Rooms: Why Size (and Shape) Matters

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(Transcribed by TurboScribe.ai. Go Unlimited to remove this message.) Hey, and welcome to the Pro Audio Suite.

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Yeah, starring Robert Marshall.

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Funky dude with him.

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That's ridiculous.

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Like my carpeting is starting to shag out.

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That's right.

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That's right.

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You're, you're tough to groove.

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Exactly.

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My shirt is now puffy with hair.

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We need a laugh right now.

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Yeah, exactly.

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That'll make you smile.

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And we should thank our sponsors, Austrian audio,

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making passion heard and tribe booth.

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Don't forget the code T R I P

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a P 200 to get $200 off your

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tribe booth.

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They're talking about booths.

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Um, there's a few bits and pieces of

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popped up online.

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One in particular I saw this morning, uh,

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visually it looked absolutely awful, but according to

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Robo, it sounded really good.

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Um, so what is the key to a

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booth and what makes it work?

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Well, according to us, it sounds really good

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because the person we're talking about has actually

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been on the show, but you know, I

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think it's pretty obvious really, isn't it?

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Zero reflections and as little noise as you

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can possibly let into a recording.

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And a good spot in the house.

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That's going to give you the best possibility

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of doing that.

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You know, like I think today's booth is,

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is in the middle of the house.

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It's in a walk-in wardrobe.

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So it's away from open windows and, and

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all the rest of it.

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And probably the noisest noisiest spot is going

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to be whatever comes in through the roof,

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through the plasterboard in the ceiling.

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Um, or if you may, my wife talking

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in the background while I'm recording the podcast

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as well, that will do it.

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I actually built one.

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It was a temporary thing I put together

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when we're traveling.

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And by all accounts, it should not have

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worked.

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It should have been awful, but it sounded

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really good.

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And it was like a, a cupboard in

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a, an apartment in Rome.

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When Rome is very noisy, but it was

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like tucked in the middle of the apartment.

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It had a bunch of shelves with a

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few blankets and bits and bobs on, I

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popped on the shelf, the Porter booth.

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Then on to my side, there was like

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a clothes rack, which I threw another blanket

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over and someone was hanging some stuff off

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the back of the door from memory.

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Anyway, it sounded amazing.

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It was what perfectly looked like shit, but

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sounded good.

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So two questions about it.

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How big was the space and how parallel

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were the hard surfaces?

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The surfaces were parallel.

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The ceiling was probably 12 foot ceiling in

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there.

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Uh, and then there were shelves where I

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sort of put the Porter booth on the

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shelf, but there were, there's all sorts of

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other bits and pieces in there to my

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left was the clothes rack that I put

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a blanket over.

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Then behind me was the door, which had

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stuff hanging off the back of it, but

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to the right, there was no treatment at

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all.

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It was just plasterboard.

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And how far back was the door behind

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you?

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Was it?

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Well, it was a rectangle.

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So it was probably a meter wide and

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probably depth would be two and a half

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meters, I guess.

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So pretty good depth.

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The, the width wasn't awesome, but the depth

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was pretty good because I, I think that

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a lot of what makes booths, like the

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first thing is it's got to be dead.

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And then once it's like, you know, not,

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not considering how loud or noise isolated it

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is, but just the sound of the booth

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itself.

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The first thing is you got to deaden

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everything and people don't realize what it takes

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to do that properly.

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It takes thick, like, you know, not, not

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really thin absorption because a lot of the

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thin absorption lets all those low frequencies through.

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So it's got to have some thicker absorption.

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And the smaller the booth, the thicker the

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treatment you need.

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So it's, it works against you.

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So as it gets smaller, it gets smaller.

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Yeah.

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You lose more space basically.

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But if the booth is big, the sound

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becomes much more neutral because the nodes don't

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get as intertwined and as amplified as well,

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especially in the, in those lower frequencies that

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really get up into the voice range.

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So a booth that has a good volume

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of air and is dead, I think will

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sound better than any small booth.

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And then if you can't have a good

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volume of air, the next thing that can

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help is non-parallel surfaces can kind of

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fake a bigger volume, you know, it can

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create more, what's the word oblique reflections I

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think is, is that the word George?

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So yeah, it's size matters.

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Yeah.

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Well, I mean, having angled walls and stuff,

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the thing that's a difficult about the angle

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wall thing is it's not predictable.

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So you may end up getting really lucky

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or really unlucky.

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And then if it doesn't sound great, it

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can bounce it right back in the mic

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and with the wrong angle, right?

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Yeah, that's right.

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And sometimes they, so they create more, they're

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harder to model.

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Meaning like you, it's harder to take like

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a pentagonal floor plan or something with more

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sides and shove that into, you know, a

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computer and say, tell me what frequencies I

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have to worry about.

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It's, it's much harder.

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So then it just becomes a lot more,

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exponentially gets more complex.

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Yeah.

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So, I mean, I mean, a lot of

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people have a very haphazard way of treating

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their booths anyway.

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It's a lot of trial and error to

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begin with.

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That's, you know, when you see product booths,

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like the one we're talking about and so

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many other home booths is they didn't map

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out the room then by blankets, mattresses, and

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foam.

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They just sort of eventually get to a

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point where it sounds good.

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It's almost never a, well, I bought all

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this stuff and stuck it up.

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And Oh, wow.

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It sounds good.

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It usually takes time and adding and tweaking.

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So when you have a non-square or

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non-rectangular floor plan, that just is harder

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to do.

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Um, but yeah, it's, it's not hard if

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the room is larger because larger rooms.

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Yeah.

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As Robert was saying, they don't build up

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such standing waves.

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These are called room modes.

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Those are the things that make you sound

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like you are in a box or in

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a tube.

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If those big spaces don't have them, they

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really only have reverb, which is that long

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tail.

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And then if you deaden all the walls

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up, you don't have the reverb.

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You don't have the long.

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Well, not only that, but when you're bigger,

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when you have a big room, the deadening

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of the walls is much simpler because it's

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really just covering large amounts of area with

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soft material.

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It's when the room gets smaller and smaller,

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you can't just put blankets or foam on

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the walls anymore because you need much thicker,

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denser material or really thicker to trap low

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frequencies.

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So it gets trickier and trickier as a,

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as it gets smaller and smaller and ends

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up being the panels out to be thicker

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and thicker.

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One studio I went into this years ago

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and it was, they just built a new

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studio and they had like a foot in

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diameter tubes that stood on their ends and

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in the corners.

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Yeah.

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They're called tube traps.

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Were they on their own stand?

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They were, they were basically like on their

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own mic stand and they're just like around.

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Well, they were floor to ceiling basically.

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Yeah.

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Oh wow.

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Those are interesting.

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The tube traps are really great products, but

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what's interesting about them is that they have

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a reflective side and an absorbing side and

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part of their trick is to diffuse and

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scatter the sound or to absorb it.

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And it depends on how you arrange them.

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One of the chamber reverbs at Abbey Road

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has columns in it for exactly the opposite

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reason.

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It's got like sort of concrete pillars and

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stuff.

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So you can mic around them and get

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all sorts of different sort of room verby

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sounds.

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Create bounces.

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Yeah.

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Create different bounces and stuff.

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Create reflections.

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For exactly the opposite reason.

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But yeah, it's very cool.

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Yeah.

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I've seen and been in some rooms with

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tube traps.

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Well, I mean, an interesting type of diffuser

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is the curved.

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Yeah.

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I mean, they work really well too.

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Like one diffuser that everyone's really used to

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is the one that's like different depths of

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squares that are at different depths.

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And those are usually referred to basically usually

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as quadratic diffusers.

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But the other one is just a curved

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surface and that has a bunch of different

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levels that the sound can bounce off of

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and go into different directions and cheap, easy

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way to make diffusion.

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Yeah.

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I've been some great.

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It's curved convex, not concave.

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Curves have to be convex.

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Yeah, that's really important.

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So the curves have to be protruding outward

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toward you, not inward away from you.

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That's those those are much more of a

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problem.

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So you don't want those curves to focus

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sound in a parabolic way, like a dish

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antenna for a satellite.

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You know, those are designed to focus.

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George, have you ever been to the the

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museum here in Chicago?

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There's the Museum of Science and Industry, and

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there's a display that has.

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I mean, you're like 50 feet away from

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each other, but you're standing in the perfect

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focal point of two 50 feet away to

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like parabolic disks.

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And you can whisper to each other and

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there can be 50 people in between you

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and you can talk to each other.

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It's crazy.

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Yeah, it's really cool.

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Up the top of St. Paul's Cathedral, you'll

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get the same thing.

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You got the whispering sort of wall up

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there, the whispering dome.

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Oh, I love that.

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Yeah, yeah, that's really neat.

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Even in a I don't know if you've

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been to many planetariums.

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It's really cool in a planetarium.

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Well, maybe not cool, but sometimes you'll be

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able to eavesdrop in on a conversation on

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the other side of the planetarium.

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I mean, you just hear.

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Because it just bounces around the curve of

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the outside wall.

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Yeah.

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And then you'll be you'll hear a voice.

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It's the more close to the edge you're

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sitting, the better.

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So like your way towards the back or

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the edge.

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It's like crazy.

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You'll hear a conversation like almost like they're

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sitting next to you and they're all the

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way on the other side.

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It's pretty trippy.

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It's really interesting.

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00:10:09,220 --> 00:10:11,760
Because like what what the diffuser, what the

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convex part diffuses, the concave part focuses.

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So make sure your current diffusers, if you're

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going that way, are convex.

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You guys want to troubleshoot Austin Keyes's studio

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on the show?

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Sure, we can continue from today.

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Let's let's dive in.

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00:10:29,700 --> 00:10:31,000
Well, he says I can't record as I

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want.

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00:10:31,400 --> 00:10:32,880
I can't record his 416, right?

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00:10:32,940 --> 00:10:34,220
He's texting me right now.

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00:10:34,680 --> 00:10:37,040
He can't use his 416, so he doesn't

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00:10:37,040 --> 00:10:37,600
know what to do.

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00:10:38,800 --> 00:10:39,820
Oh, my God.

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00:10:40,440 --> 00:10:43,020
But I left him working.

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00:10:43,760 --> 00:10:47,960
So Robert graciously took an emergency call for

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this client of mine this morning.

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00:10:49,480 --> 00:10:52,220
Paul was in a meeting and he just

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00:10:52,220 --> 00:10:54,140
doesn't know the topology of the studio and

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has no idea what's there.

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00:10:55,160 --> 00:10:57,160
And he tried his best, but the client

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00:10:57,160 --> 00:10:59,240
didn't didn't tell Robert I have a Mackie

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00:10:59,240 --> 00:11:00,800
mixer in my booth also.

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00:11:02,740 --> 00:11:05,620
So so to wrap up that conversation, I

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00:11:05,620 --> 00:11:07,580
would say the best way to wrap that

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00:11:07,580 --> 00:11:08,120
up would be.

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00:11:10,040 --> 00:11:11,440
It's not how it looks and how it

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00:11:11,440 --> 00:11:13,360
sounds, and we are we all know what

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it's supposed to sound like.

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00:11:14,440 --> 00:11:15,880
And if you don't know, let us know,

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00:11:16,000 --> 00:11:18,780
because we spend our days day in, day

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00:11:18,780 --> 00:11:20,740
out listening to all of your studios.

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00:11:21,680 --> 00:11:23,200
And, you know, as long as you're not

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00:11:23,200 --> 00:11:25,480
appearing on camera for like an animation gig,

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00:11:25,520 --> 00:11:27,860
because here in the States, definitely like in

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00:11:27,860 --> 00:11:30,220
a lot of people are doing remotely directed

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00:11:30,220 --> 00:11:32,320
animation and they're on Zoom calls all the

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00:11:32,320 --> 00:11:32,720
time.

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00:11:32,900 --> 00:11:34,820
And you may not want it to look

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00:11:34,820 --> 00:11:35,240
too bad.

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00:11:35,340 --> 00:11:36,940
But remember, it only has to look good

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00:11:36,940 --> 00:11:38,320
in the frame of your Zoom, of your

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00:11:38,320 --> 00:11:38,740
webcam.

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00:11:39,800 --> 00:11:42,700
So if the whole place is a mess,

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00:11:42,720 --> 00:11:45,220
but you have a really pretty, you know,

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00:11:45,260 --> 00:11:48,940
tapestry on the wall behind you, then you're

350
00:11:48,940 --> 00:11:49,160
good.

351
00:11:49,160 --> 00:11:49,560
Yeah.

352
00:11:49,780 --> 00:11:50,480
Yeah, true.

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00:11:50,940 --> 00:11:52,620
The illusion, the illusion.

354
00:11:52,800 --> 00:11:54,320
And if not for the for the lowest

355
00:11:54,320 --> 00:11:56,320
fee possible, George, the tech will send you

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00:11:56,320 --> 00:11:58,600
a background that you can use as a

357
00:11:58,600 --> 00:12:01,980
fake background for a studio in your Zoom

358
00:12:01,980 --> 00:12:02,380
meeting.

359
00:12:04,360 --> 00:12:04,840
Right.

360
00:12:04,840 --> 00:12:06,700
With GTT on it.

361
00:12:06,740 --> 00:12:07,080
Yes.

362
00:12:07,300 --> 00:12:07,840
And the walls.

363
00:12:09,620 --> 00:12:12,060
Every GTT room looks the same, but they

364
00:12:12,060 --> 00:12:12,840
sound different.

365
00:12:13,260 --> 00:12:13,900
And that'd be fun.

366
00:12:14,740 --> 00:12:15,960
Yes, that's right.

367
00:12:16,920 --> 00:12:17,740
Well, that was fun.

368
00:12:17,800 --> 00:12:18,200
Is it over?

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00:12:19,440 --> 00:12:21,020
The Pro Audio Suite.

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00:12:21,160 --> 00:12:23,820
With thanks to Triboo and Austrian Audio.

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00:12:24,080 --> 00:12:25,540
Recorded using Source Connect.

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00:12:25,780 --> 00:12:27,440
Edited by Andrew Peters.

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00:12:27,580 --> 00:12:28,680
And Mixed by Robbo.

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00:12:28,840 --> 00:12:30,000
Got your own audio issues?

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00:12:30,340 --> 00:12:31,820
Just ask Robbo dot com.

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00:12:32,040 --> 00:12:33,960
With tech support from George the Tech Whittam.

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00:12:34,060 --> 00:12:36,040
Don't forget to subscribe to the show and

378
00:12:36,040 --> 00:12:38,260
join in the conversation on our Facebook group.

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00:12:38,300 --> 00:12:40,400
To leave a comment, suggest a topic or

380
00:12:40,400 --> 00:12:42,300
just say g'day, drop us a note at

381
00:12:42,300 --> 00:12:44,640
our website, theproaudiosuite.com