(1)
The recording engineer should be interested in listening to the
direct injection of acoustic signals from the speaker.
(2)
However, the surface of the room creates lots of early reflections
that obscure imaging and detail required by the engineer to get
the mix together.
(3)
The Mix Station creates a real recording studio by eliminating
all of these early reflections. The sound goes out but doesn't come
back due to the selected placement of the trap arrays.
Wall Reflections
(4)
A more complete understanding of this reflection control process
is achieved by breaking down the reflection into types or groups.
The first reflections are the simple direct wall reflections.
(5)
The second group of reflections are called the crossed wall reflections.
This means sound crosses the engineer before it hits the wall.
(6)
The location of the trap arrays in the Mix Station eliminates both
the direct wall reflections and the crossed wall reflections adding
an extra degree of control.
Corner Reflections
(7)
The third group of reflections that impact the engineer are the
corner reflections. These are double bounce reflections and there
are two types: direct corner reflections and crossed corner reflections.
The sound waves of the direct corner reflections move immediately
away from the speaker and engineer and towards the corners of the
room.
(8)
However, with crossed corner reflections, the sound moves
inwards, first crossing over the sound board or the engineer, and
then expanding out to the corners.
(9)
The pattern of trap arrays in the Mix Station intercepts every
corner reflections direct or crossed.
Mix Station Layout
There are two variations in the layout of Studio
Panel™ trap arrays for the Mix Station. The front of the room
is always the same but the back can be altered without degrading
the sound for the engineer.
(10)
Type 1 employs Studio Panel traps all along the back wall -4 centered
on the wall in a cluster behind the engineers seating position and
3 on either side of the center cluster, tight to the corner. This
is the traditional studio layout and it leaves lots of room for
equipment racks and studio gear along the side wall.
(11)
Type 2 retains the 4 trap cluster behind the engineer but the corner
studio panel traps are located on the side walls. Because of the
steep angles of incoming sound waves the side wall traps are spread
out more. Type 2 is used to allow for a door or closet or window
at the back of the room. It will be better sounding if a mic is
opened up at the back of the room.
More Layout
(12)
The console, and, particularly the engineer's head at the mix position
should be within 5 feet from the front wall. This keeps the engineer's
ears between the side trap arrays and within the reflection-free
zone. The front trap array is always centered on the engineer. The
monitors should be placed no wider than the center trap array.
(13)
The back group of center Studio Panel traps should be centered on
the engineer -spacing between individual panels should be about
6 inches apart. This provides a blend of absorption and edge diffraction
included diffusion -essential for developing the crucial ambient
tail in the studio's response.
(14)
The outer sets of 3 Studio Panel traps each should be no greater
than 6 inches apart, starting 3 inches from the center along the
back wall, or 9 to 12 inches apart, starting 3 inches from the corner
along the side walls. In both cases, the sound will be partially
absorbed and partially scattered so as to increase the diffusive
tail in the room.
Studio Orientation
(15)
Existing rooms used as studios are usually rectangular and can be
length-oriented or width-oriented depending on the engineer's setup.
The front trap arrays are always set up the same, however, the 2
sets of (3 traps each) on the back and side studio walls can be
varied to accommodate a wide or narrow room.
(16)
Note that width-oriented rooms really spread out the reflection
points, providing improved ambience.
