Reaction Video: Tchad Blake And Andrew Scheps Talk Studio Acoustics - AcousticsInsider.com
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- Опубліковано 28 вер 2024
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Original Video of Tchad Blake & Andrew Schels at NAMM 2020: • TCHAD BLAKE & ANDREW ...
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You're absolutely right, "Dry" not "Dead"! Thanks for your pragmatic and informative response.
SPOT ON👍🏻
Until now I didn't fully understand the idea of 'Dry' and 'Dead', thanks for summarising it so succinctly! Essentially 'Dry' is low reverb across the entire frequency spectrum, whilst 'Dead' is uneven reverb across the frequency spectrum, with less reverb in the higher frequencies than in the lower.
Clap in your hands in different places of your room. If it sounds like if you were clapping into a giant pillow... it's dead.
However, if you hear short sounds, with no flutter echo but still a tiny bit of reflections (if the sound is still "ringing" a bit), then it's probably dry...
Anyways, if your walls aren't mostly covered by some "high frequencies" porous absorber (IE. Acoustic Foam or stuff like this), it shouldn't be "dead sounding". Hope that helps! Cheers from France ;)
What a great concept!
Love it!
I just finished treating my room. My rew waterfall shows 100ms decay times from 20 to 20khz. Is that considered dead or dry. I think it sounds fine. I have always been confused about the dead room concept.
Yeah, so that number doesn't mean anything. You have to specify how many DB down you are measuring. Adjust your plot so it shows down to -40db from your average. Then tell us if you have a decay down to -40db in 100ms @20hz.
@@fredygump5578 thank you ! Dont know what i was thinking ( actually thought it would automatically set limits for waterfalls). So a 40db drop in levels is what i should be looking at ? Did some research and its more clear now. Now it seems far more realistic :) its 100ms to 330hz@-40db 80hz@-30db and 30hz@-20db. Need more absorption still.
A dead mix room is great. Your mix will play in so many rooms, you don't want the one you have forcing you to mix for it. Cans are the cheapest way to remove the room.
Dry to my mind is a short but bright and lively sound. Basically just first reflections. Can be suitable for drums, horrible for monitoring. "Live end - dead end" - LIDE - was a horrible methodology.
Depends what speakers you use - these days you can buy near fields which will go so loud you'll go deaf using them turned up even halfway. Large format monitors are much harder to work with, and the massive soffit mount monitors require a room that's highly treated. Big studios with isolated live rooms and drum booths, piles of inch thick multicore, and a separate room for the machinery. You want to hear *nothing* of the drummer with them beating on the kick drum.
Mix engineers in the internet era have it really easy. No real need for isolation.
It used to be that to hear all the music nice and loud, you had to use 12 inch or 15 inch drivers. These days it's very different.
I have used rooms where the monitors cost £40 grand, dude. Let alone the construction and treatment. Quested 412s at rooster. They had some of those at sarm west, too (RIP).
Room-in-a-room and washing machine sized monitors requires an acoustics approach, and in all honesty it sounds so damn good, it'll never sound that good anywhere else, apart from maybe outdoors in a quiet field on a top end PA. It builds in an aspect of release disappointment - the production crew and musicians won't be able to keep that experience, especially not on that crappy bluetooth speaker. Those questeds got me fired a few times by exactly this process.
We call large format monitors the "client signoff speakers". They sound so good, you'll have it far too easy in daily use. You want to have to work for the power in your sound - but I love those things, as a front of house engineer they're my kind of loudspeaker. Particularly midrange domes in a velvety dead room... just isn't fair to have something that crisp and detailed.
Thanks for all you investment and teaching acoustics! As someone who works in film postproduction it would be awsome to see some videos specifically for post sound studios!
dry acoustics in room sounds like nice way to call a great sounding room.
but also at one point you can add so many absorbers and the room turns into a open field :)
This was awesome, as always. I think you reacting to well known and respected engineers is a super helpful tool. What they are saying is "right" but I've noticed a lot of people have a hard time understanding the ramifications without having their level of experience. Props buddy :).
André
Wow! I'm a big fan of this channel. And for my surprise the first question asked was actually by me at NAMM hahahhaa 😂
Using "where the music lives" as a reference can be so revealing. I like to go to mono and then position myself in a doorway where one ear is facing the music source and the other ear facing the corridor or room outside the mixing room.
Your voice always sounds great, man.
Cheers, Jesco. Great as always.
LOL 😁👍