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    Acoustic Design of Recording Studios
    Acoustic Design of Recording Studios
    Acoustic Design of Recording Studios
    Ebook58 pages22 minutes

    Acoustic Design of Recording Studios

    By Arpit Jain

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    About this ebook

    The study talks about many acoustic fundamentals which are essential to design a sound recording facility. The book also explores, as many sundry avenues of available construction techniques, methodologies & materials indispensable for the construction of a professional sound recording studio.

    LanguageEnglish
    PublisherArpit Jain
    Release dateJun 6, 2020
    ISBN9780463099650
    Acoustic Design of Recording Studios
    Author

    Arpit Jain

    Arpit Jain is an architect by profession and a seasoned academician as well, with a specialisation in Building Services.He holds extensive experience, of over a decade, in the field of architecture, interiors and landscape design. Sundry projects that he has worked upon include residences, farmhouses, hospitals, NGOs, public institutions & so on. He has also been a part of the team which worked on the beautification project of one-kilometre area around Taj Mahal, Agra.As an academician, he has been mentoring students of Architecture, Interior Design & Landscape Design for more than six years now.

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      Book preview

      Acoustic Design of Recording Studios - Arpit Jain

      INTRODUCTION

      The development of sound recording studios advanced steadily from the 1920s to the 1980s almost entirely in the hands of trained professionals. By the mid 1980s the professional studios had achieved a high degree of sophistication, financed by a recording industry which drew its money principally from the record, film and advertising industries. These client industries were themselves mainly professional industries, and were accustomed to paying professional prices for professional services.

      By the late 1980s, recording equipment of ‘acceptable’ quality (at least on the face of it) became available on an increasing scale, and the imminent arrival of domestic/semi-professional digital recording systems was soon to lead to an ‘explosion’. This saw the sound recording studio industry fragment into a myriad of small facilities, which severely damaged the commercial viability of many of the larger studios. It broke up huge numbers of experienced teams of recording personnel, and consequently much of the generation-to-generation know-how which resided in many of the large professional studio complexes was lost.

      This boom in the number of small studios spawned a world-wide industry supplying the necessary technology and equipment, but the whole recording studio industry has since become ever more dependent upon (and subject to the wishes of) the manufacturers supplying its equipment. It has largely become an industry of recording equipment operation rather than one based on the skills and knowledge of traditional recording engineering. So much recording is now software-based, and so many people in the modern industry are now largely self-taught, that only a relatively few people out of the total number involved in music recording have, or will ever have, experienced the benefits that a really well-designed studio can offer.

      Clearly, things will never be as they were in the past, but although many great advances are taking place in recording technology, some of the basic principles are just as relevant now as ever they were. Good recording spaces, good monitoring conditions, good sound isolation and a good working environment are still basic requirements for any recordings involving the use of non-electronic instruments, which means most recordings, because voices also come under the ‘non-electronic instruments’ heading.

      The general tendency nowadays is to think

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