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FEATURE ACOUSTICS AND ROOM TREATMENTS


work in a good space. Acoustic treatment is a means to an end but there are lots of spaces that sound good without it. An acoustic designer can judge and modify a room to sound great.”


REVERB TIME


When designing or modifying a space the main criteria Munro addresses are reverberation control and sound isolation. As mentioned before, the goal is to create a space that will accurately represent your mix so that it translates across systems, and controlling a room’s reverb time is an incredibly important factor. When a sound energy in a


room is removed, the reverberation decays at a rate determined by the geometry and absorbency of the room (and all of its contents). The decay rate is commonly referred to as RT60 as it is


the time required for reflections of a direct sound to decay 60dB. The ideal reverb time depends on the room’s purpose but commonly accepted figures are 0.3s for a control room, while in a live space it can range from 0.2- 0.5s for speech, to 0.6-0.8s for classical music (to add more ‘life’ to the performance). One issue that arises is that


a room without proper reverberation control could potentially create excessive low-frequency reverberations that could cause you to use EQ to compensate the apparent high bass boost, which, when played back on a properly balanced system will sound bass-light. Yet while reverberation


control has been a consistent issue for studios, Munro explains that changes in modern music have created a whole host of new problems in regards to sound isolation.


Holger Lagefeldt Online Mastering


“Acoustics define any studio and what it is capable of producing in terms of quality and content.” Andy Munro


www.audiomedia.com


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