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If you go with the rectangular room thereвЂ™s a number of suggested ratios you can try, and plenty of free online calculators that give you feedback on different dimensions. It can, therefore, be sensible to employ certain non-divisible ratios for LxWxH or to look at rooms with non-parallel walls and ceilings. These are called standing waves and they should be spread as evenly as possible in each octave all the way up to 200-300Hz. Given that sound wavelengths are of a fixed distance, a room of 3m x 3m x 3m, for example, will give a very strong build-up of frequencies that have a cycle divisible into 3metres. If youвЂ™re in a position to build your room(s) from scratch you should also consider dimensions (LxWxH) in terms of their relation to each other. With added acoustic treatment in the form of diffusion, this can start to create a pleasant sense of space or вЂairвЂ™ on the tracking. And you can get a good distance between the source and room mics. With a larger space, your first reflections are delayed enough not to comb filter the initial signal. While a room below 60m3 should be considered more towards a booth, giving no desirable musicality in the sense of space.

Put in real terms, a live room with a volume of around 150m3 (or larger) will start giving a nice sense of space. But a rock kit or a jazz ensemble might require more вЂairвЂ™ on the track and thus require a larger space. For example, a dub/reggae drum sound, or a triggered metal drum sound can work with drums in a small room. It also needs to represent the genre of music youвЂ™re most likely to deal with. The room needs to be of a size that can fit your largest likely number of musicians in any one band. When providing a room for bands you need to consider a number of things: Room Size LetвЂ™s look at the considerations of each: In terms of recording spaces, it is clear that you will need a larger space to cater to bands, and a smaller booth to deal with VO artists. This includes bands of various sizes and genres, as well as voice-over work. You would like to build a new audio recording and production facility to cater to your growing client list. LetвЂ™s assume you are a small to medium-sized audio production company that takes regional and national clients. This question informs many things, like how large a footprint your building will need, how many audio rooms your facility will need, the cubic volume of each space, the acoustic properties of those spaces, the type of equipment youвЂ™ll need, how you can budget for it, and the list goes on. вЂњWhat type of studio will this be, and what services will you be looking to provide?вЂќ. When considering the following you should also be thinking about the question And consider a facility that could function in a broad capacity toward a wider range of projects and clients. We will look a little beyond the smallest setups here so as to cover more ground in discussions. A вЂњcommercial studioвЂќ is a broad term, covering small all-in-one control room/live room setups, all the way up to multi-room studio facilities. Here weвЂ™ll look at the consideration when setting up and running a commercial studio. Additionally, it has given way to an affordable and accessible practice where music can be written, recorded and produced with great flexibility of budget in a variety of locations and environments.

The advent of digital computing and cheap manufacturing of components and equipment has reinvented the audio wheel. ItвЂ™s become a clichГ© to say that recording music has never been easier. Recording Studios вЂ“ Setting up and running a commercial studioДЄs recording engineers and producers, we find ourselves in an ever-evolving landscape of music recording and production.