I know a number of architects and interior designers, who know almost nothing about acoustics, some minimal level of education should be mandatory given so many spaces are sound torture chambers. When I brought up certain really basic solutions, their ears are closed due to aesthetic considerations.
back then I was on a class trip in school, heading to a big studio from a national german radio station (WDR). Lots of podcasts have been recorded in there too and there was a room with very very deep absorption material (like 2m) opposing to the triangle shaped material in this room. The room also had almost no reverb. They told us the people recording podcasts in there needed to leave the room every 10 minutes because they got headaches. The brain couldn't process beeing inside but having accoustics in this room that make you feel like you are outside. We have been in this room for 15 mins and I felt like I am fainting and needed to head out. Its probably very tough to work in this room all day long :D
Informative and interesting video! I do not intent to undermine the presenters whatsoever, but the most interesting part was at the end, breaking of balloon in two completely different environments. I could listen and analyze those kind of impulse responses all day long :)
A small note here about the "perfect acoustic treatment for music studio" to me is not about how much treatment, its about how lineal can be, usually we use some acoustic panels that only absorb highs and forget the low end. it means out treatment is only guiving us a weird frequency response. Then to me the perfect room treatment is around to reduce the reverb time to the minimal we can get to avoid the reververing issue but enough flat thats its almost impossible, so.... id prefer a longer reverb time over to have a very absorption highs and no mids and lows treatment.
At 29 minutes. Finally. Someone said that speaker model matters. You can’t just drop any 18 inch subwoofer in a building and expect consistent results. The speaker you use matters. The acoustic treatment you put in the room matters. This matters. JBL may be perfect for one situation, while Community is the correct speaker for the next and EAW is for yet another one. The EAW line array isn’t gonna work where the Meyer point source box is best suited for. IT MATTERS.
I would have liked to see the Rt60 of the Anechoic chamber. You cut it off at the end of the video after showing the reading for the reverberation room. It would make a great UA-cam short showing both measurements.
Electricians have fire putty, it's red like clay and used for penetrations in firewalls. Take the cover off your receptacles and switches, and fill them with it. It's relatively expensive, but it's rated for that use and the only alternative we have is sheet lead which I really don't recommend because it's actually for shielding in x-ray rooms and such and is toxic and won't work nearly as well. Receptacles will nearly always be next to each other on both sides of the wall. It's not just something we do to save wire; it's engineered into the plans. We're just doing it like the prints say to.
There's a very distracting steady-state noise in the background through out the video. I thought it might be gated room noise but it persists in the anechoic chamber. Maybe data compression artifact? Electrical noise on a faulty piece of gear?
That G# is POPPING in the reverberation room ;) It's sitting around an octave above the open position fingering. Maybe the 5th harmonic of the low E string?
Interesting! Also nice at the end when we could hear the difference between the anechic chamber and the reverberation chamber on the guitar and balloon But you should get some better microphones for the rest of the video, so we can really hear what's going on. Just get 2 good omnidirectional small diaphragm microphones (large diaphragm ones may work, but tend to have very poor off axis frequency response in the high end) freely mounted with a 30 cm (1 foot) of distance between at camera position (which gives a sort of "simplified" binarual sound that works quite fine in most cases - I use that my self on my videos). Also, skip the auto gain crap. Having recording levels that fluctuates "all over the place", makes it hard to really hear anything, when it comes to things like how the SPL changes when moving in relation to the mic and how the sound drops off by time in the reverberation chamber. It also adds distortion, pretty much the same way as excessive use of a compressor. I have been in an anechic chamber my self and also done test recordings. While it's true you have to experience it to really get how it is (because you can't record for example how it affects your own voice, when you only hear the sound coming "on the inside" thru your skull with no reflections from outside), it can still be reproduced way better than in this video. For someone who works professionally with sound, I expect better than this).
So, what you're saying is, people in the 1980s didn't love that crispy, over-the-top treble in their mixes simply because they were too coked up or because of treble loss on cassettes; it was because of the compulsory padded foam shoulder pads absorbing top end on its way into the 80s ear?
Excellent video, thank you. Couple questions on those balloon pops. Would it be ok to rip and use them as impulse responses on my own work? Balloon has it's own frequency spectrum. Would it make sense to take the anechoic chamber balloon pop frequency response normalize/flatten it with EQ and then take the same EQ to the echo chamber pop? That should probably turn the pop closer to white noise peak I'd assume and therefore give more accurate IR of the space.
Considering that the noise floor of the sound level meters (BK 2250) is 16.5dB(A). The SPL A weighted in the anechoic chamber must be in the 11dB(A) range to achieve the 17.6 dB(A) or am I mistaking?
@AudioUniversity if you see this, not relevant to this video but I'd love to see a video from you on recording a grand piano, if it's something you feel you have sufficient expertise in to make a good video. Currently working with a stereo pair of Rode NT5s on a Steinway B and have played around with different positioning and angles, but I'd like to hear your thoughts on it, along with how you'd extend to 3 or more mics. Would also be curious whether, apart from different mic'ing techniques leading to different sounds, whether you would change how you mic it based on the character of the piano itself, and also the style of music being played. Separately, I also would really enjoy a video about all different categories and subcategories of microphone. I know you have some that compare 2 different types, but it'd be cool to have an overview video too, even if it necessarily can't going into as much depth as a 1v1 comparison. I have a vague idea how some of the major types differ, but not a strong idea of when to use one over the other, and I end up googling for recommendations and blindly going with whatever I see most commonly recommended on forums that's in my budget.
The wedge shapes in the anechoic chamber also (obviously but fun to note) increase the landing-surface (my term) area of the absorptive material. I wonder how this room's acoustics compare reflectively with standing atop a tower in open space on a small platform, or as more commonly experienced standing atop a mountain pinnacle. Could I say when on top of a Mountain in NH that I am effectively in an anechoic chamber?
Regarding the Yamaha, ns 10. I don’t think it was designed to be a great sounding speaker, but an proximation Of a mediocre speaker. It is simply just a tool.
No, it was designed as a low to midrange bookshelf hifi speaker. The intention was for it to sound good, but they failed. Instead it's about a +6db wide bell at around 3k 😅
I know a number of architects and interior designers, who know almost nothing about acoustics, some minimal level of education should be mandatory given so many spaces are sound torture chambers. When I brought up certain really basic solutions, their ears are closed due to aesthetic considerations.
That last clip of the balloon in each room says it all!!
Excellent video.
A lot of what was portrayed really resonated with me.
back then I was on a class trip in school, heading to a big studio from a national german radio station (WDR). Lots of podcasts have been recorded in there too and there was a room with very very deep absorption material (like 2m) opposing to the triangle shaped material in this room. The room also had almost no reverb. They told us the people recording podcasts in there needed to leave the room every 10 minutes because they got headaches. The brain couldn't process beeing inside but having accoustics in this room that make you feel like you are outside. We have been in this room for 15 mins and I felt like I am fainting and needed to head out. Its probably very tough to work in this room all day long :D
The balloon pop in the anechoic room made me laugh out loud.
Exactly what I was going to write. 👍
People thinking a bursting balloon is similar to an acoustic impulse always makes me laugh
There's an ISO that recommends it
Very interesting. Well done, thanks
Informative and interesting video! I do not intent to undermine the presenters whatsoever, but the most interesting part was at the end, breaking of balloon in two completely different environments. I could listen and analyze those kind of impulse responses all day long :)
A small note here about the "perfect acoustic treatment for music studio" to me is not about how much treatment, its about how lineal can be, usually we use some acoustic panels that only absorb highs and forget the low end. it means out treatment is only guiving us a weird frequency response. Then to me the perfect room treatment is around to reduce the reverb time to the minimal we can get to avoid the reververing issue but enough flat thats its almost impossible, so.... id prefer a longer reverb time over to have a very absorption highs and no mids and lows treatment.
Well that wouldn't be "perfect" would it.
really great stuff! i want to hang out in both those rooms for sure and those fellas seem cool to be around.
At 29 minutes.
Finally. Someone said that speaker model matters.
You can’t just drop any 18 inch subwoofer in a building and expect consistent results. The speaker you use matters. The acoustic treatment you put in the room matters. This matters.
JBL may be perfect for one situation, while Community is the correct speaker for the next and EAW is for yet another one.
The EAW line array isn’t gonna work where the Meyer point source box is best suited for.
IT MATTERS.
🤔 Makes a lot of sense.
it‘s a really nice experience that you move the speakers out and mix outdoor.
I would have liked to see the Rt60 of the Anechoic chamber. You cut it off at the end of the video after showing the reading for the reverberation room. It would make a great UA-cam short showing both measurements.
Electricians have fire putty, it's red like clay and used for penetrations in firewalls. Take the cover off your receptacles and switches, and fill them with it. It's relatively expensive, but it's rated for that use and the only alternative we have is sheet lead which I really don't recommend because it's actually for shielding in x-ray rooms and such and is toxic and won't work nearly as well. Receptacles will nearly always be next to each other on both sides of the wall. It's not just something we do to save wire; it's engineered into the plans. We're just doing it like the prints say to.
nice interview. Thanks for putting this together.
Really great, you guys are each so well informed.
this channel is so goated
I prefer the sound of the guitar in the anechoic chamber over that of the verb room, by far
Shoutout my hometown!
Facts ! My birthplace …our capital!
There's a very distracting steady-state noise in the background through out the video. I thought it might be gated room noise but it persists in the anechoic chamber. Maybe data compression artifact? Electrical noise on a faulty piece of gear?
The editor may be deaf from all the balloon bursting
Very interesting! Thank you!
That G# is POPPING in the reverberation room ;)
It's sitting around an octave above the open position fingering. Maybe the 5th harmonic of the low E string?
I would love to look at the study concerning the kick drum heads, is that open to the public?
aes2.org/publications/elibrary-page/?id=21092
very cool!
The balloon test, that really shows what’s going on
I think Noisia did a great job when they build their studio. Some Pictures and Videos are to find online.
Fascinating subject
Interesting!
Also nice at the end when we could hear the difference between the anechic chamber and the reverberation chamber on the guitar and balloon
But you should get some better microphones for the rest of the video, so we can really hear what's going on. Just get 2 good omnidirectional small diaphragm microphones (large diaphragm ones may work, but tend to have very poor off axis frequency response in the high end) freely mounted with a 30 cm (1 foot) of distance between at camera position (which gives a sort of "simplified" binarual sound that works quite fine in most cases - I use that my self on my videos). Also, skip the auto gain crap. Having recording levels that fluctuates "all over the place", makes it hard to really hear anything, when it comes to things like how the SPL changes when moving in relation to the mic and how the sound drops off by time in the reverberation chamber. It also adds distortion, pretty much the same way as excessive use of a compressor.
I have been in an anechic chamber my self and also done test recordings. While it's true you have to experience it to really get how it is (because you can't record for example how it affects your own voice, when you only hear the sound coming "on the inside" thru your skull with no reflections from outside), it can still be reproduced way better than in this video. For someone who works professionally with sound, I expect better than this).
I wish I knew that you were coming to my school
The pop in the anechoic room :-D
amazing video
So, what you're saying is, people in the 1980s didn't love that crispy, over-the-top treble in their mixes simply because they were too coked up or because of treble loss on cassettes; it was because of the compulsory padded foam shoulder pads absorbing top end on its way into the 80s ear?
Excellent video, thank you.
Couple questions on those balloon pops.
Would it be ok to rip and use them as impulse responses on my own work?
Balloon has it's own frequency spectrum. Would it make sense to take the anechoic chamber balloon pop frequency response normalize/flatten it with EQ and then take the same EQ to the echo chamber pop?
That should probably turn the pop closer to white noise peak I'd assume and therefore give more accurate IR of the space.
It'd be great to get data on the tonewood of a solid body guitar and bass
wait what, I go to school here and I’ve been in those rooms 🙀🙀
Oh Yeah! 🙌
Considering that the noise floor of the sound level meters (BK 2250) is 16.5dB(A). The SPL A weighted in the anechoic chamber must be in the 11dB(A) range to achieve the 17.6 dB(A) or am I mistaking?
🔥🔥🔥
@AudioUniversity if you see this, not relevant to this video but I'd love to see a video from you on recording a grand piano, if it's something you feel you have sufficient expertise in to make a good video. Currently working with a stereo pair of Rode NT5s on a Steinway B and have played around with different positioning and angles, but I'd like to hear your thoughts on it, along with how you'd extend to 3 or more mics. Would also be curious whether, apart from different mic'ing techniques leading to different sounds, whether you would change how you mic it based on the character of the piano itself, and also the style of music being played.
Separately, I also would really enjoy a video about all different categories and subcategories of microphone. I know you have some that compare 2 different types, but it'd be cool to have an overview video too, even if it necessarily can't going into as much depth as a 1v1 comparison. I have a vague idea how some of the major types differ, but not a strong idea of when to use one over the other, and I end up googling for recommendations and blindly going with whatever I see most commonly recommended on forums that's in my budget.
It just dawned on me after all these years that Anechoic chamber literally means Anti Echo 🤦♀️
The wedge shapes in the anechoic chamber also (obviously but fun to note) increase the landing-surface (my term) area of the absorptive material.
I wonder how this room's acoustics compare reflectively with standing atop a tower in open space on a small platform, or as more commonly experienced standing atop a mountain pinnacle. Could I say when on top of a Mountain in NH that I am effectively in an anechoic chamber?
The problem is that there is always wind on a mountain peak or cliff.
baloon was the best ending
Regarding the Yamaha, ns 10. I don’t think it was designed to be a great sounding speaker, but an proximation Of a mediocre speaker. It is simply just a tool.
No, it was designed as a low to midrange bookshelf hifi speaker. The intention was for it to sound good, but they failed. Instead it's about a +6db wide bell at around 3k 😅
Teaching a child how to play music as a career is a cruel act in this world.