Who,
What, Where, When and Why of the Quick Sound Field
About 13 years ago New England Digital contacted
us about a digital sampling booth. Traditional dry rooms did not
record enough real sound, the open mic in a studio was too roomy
of a sound. The problem arose not due to the quality of traditional
studio acoustics but because of the heavy level of electronic processing.
Synclavier type, multistep digital signal processes the original
sound over and over, this magnifies even the smallest room coloration
at the mic. Poor source material means poor results.
We had been experimenting by that time for three
years with various gobo techniques that were producing QSF type
acoustics. A number of studios had free standing columns of TubeTraps
set out on a horseshoe pattern. Others with economy in mind, suspended
on wires from the ceiling Tubes in the same pattern. We didn't have
much hope for this "coma" class acoustics but at least
it sounded great. NED wanted a booth controlled not gobo controlled
acoustic space for the mic and instrument.
The
goal is to capture the "total" sound of the instrument
in an otherwise dry room. In the early days of recording, the method
used to get this sound employed some 30 mics distributed at all
odd angles and distances inside an anechoic chamber. The sum of
the inputs, including their natural time delays due to various distances,
were directly mixed. The result was the composit "total"
sound of the instrument, a blend of on and off axis, near and farfield
sounds. This cumbersome technique is only available in the rarest
of circumstances and is essentially now lost to obscurity. The reason
it works however is still valid. The listening human brain correlates
into one total sound all similar sounds that follow the direct signal
within 20 ms or so (the
Haas effect).
We established a signal at the mic equivalent to
this classic multi mic setup by creating multiple reflections in
an otherwise highly absorptive room, a perfect Tube Trap application.
NED loved it and still uses it. Their exhibit travels all over the
world and the QSF sampling room remains clearly visible behind the
control room window.
Shortly after the first NED exhibit aired, we started
to receive orders for QSF sampling rooms. Within a month after most
rooms were installed the studio would call up to order a smaller
sized QSF type vocal booth for their complex. The story went like
this. Vocal talent in the studio discovered the "new sound"
of the sampling booth and wouldn't leave. They insisted on a TV
monitor and an audio patch through into the jingle control room.
They were using up a high ticket room on a low ticket application.
Well, it took no marketing genius to realize that
the vocal booth to sampling room ratio is at least 1000 to 1. The
market for the QSF technique would be the QSF vocal booth.
One
of the most memorable inquiries was from Pete Townshend. He called
also shortly after the NED project, about his nonparallel walled
but terrible sounding sampling room. We discussed the ETC properties
and diffusion theory of the QSF. He could hear it in his mind and
bought one on the spot. We tailored it to fit his existing room,
the Boat House at EEL PIE Studios, London. Upon installation, he
wrote two separate times extolling the properties of the QSF mic
space. He explained the user benefits so well, I couldn't resist
asking if we could quote him. After weeks of silence (Pete does
not do endorsements)... yes, he'd endorse the QSF acoustic space
so we should make arrangements to do a photo shoot. It's been 12
years now and we still have his support.
There are two ways to get a QSF acoustic space.
The QSF gobo method is a free standing Tube Trap technique. The
QSF booth is a wall mounted version. The QSF gobo keeps the Tube
Trap reflectors oriented towards the mic. Five or six Traps are
placed about 18" apart in a horseshoe pattern with the mic
in the middle and the talent at the open end.
Within the QSF gobo, the mic is in a shadow zone,
protected from the sound of the room. Incoming wavefronts are absorbed
by the full band width side of the Traps that faces outward. The
multiple reflecting facet of the QSF space is developed by the inward
facing reflectors. More early reflections at the mic means a stronger
"direct" signal. Less room ambience at the mic means lower
noise floor. The QSF gobo produces enhanced signal to noise ratios
at the mic. You can now open up the mic to get more dynamic range.
Because of the multiple reflections in a QSF acoustic
space, a single reflection, typically off a script stand or window
is buried and not noticed. The comb filter coloration problems due
to one or two early reflections is now masked by the dense group
of early reflections in the QSF acoustic. The QSF booth has a distinct
reflection rate around 1000 per second yet the RT-60 is 0.08 sec,
80 ms. That is why it's a dry signal with fantastic presence.
Mic techniques are relaxed in the QSF acoustic space.
Close-mic/wind-screen routines are unnecessary. The talent can back
off the mic, even change their head angle or position and the QSF
signal at the mic remains stable. The implication for this that
leaps into any engineer's mind is exactly true. Set up is very repeatable
in a QSF space. Retake sounds just like the first take. The critical
mic and talent positioning does not occur inside the QSF acoustic
space. Many people mention that QSF acoustics should make a great
Foley room.
There are two products that strongly complement
setting up of the QSF space. The first is the StudioTrap,
a 9" diameter Trap mounted on a music stand base. It is very
versatile. You can lower the Trap for a sit down work or raise it
for stand up vocals. It rotates easily to dial in the reflectivity.
The StudioTrap is stored and handled much like a mic stand.
The second development is a spin off from the commercial
side of the ASC product line. We had developed a fold-up, high strength
cardboard type of product, actually a 1/3 Round Trap. Other models
for this low cost, lightweight product are planned. The important
feature, it is light enough to be glued up with mastic, the same
type used for acoustic tile and Sonex installations. This "glue-up"
Trap comes in stock lengths of 3 feet and quickly converts any small
room into a QSF vocal booth. Well, enough QSF for now.
The
goal is to capture the "total" sound of the instrument
in an otherwise dry room. In the early days of recording, the method
used to get this sound employed some 30 mics distributed at all
odd angles and distances inside an anechoic chamber. The sum of
the inputs, including their natural time delays due to various distances,
were directly mixed. The result was the composit "total"
sound of the instrument, a blend of on and off axis, near and farfield
sounds. This cumbersome technique is only available in the rarest
of circumstances and is essentially now lost to obscurity. The reason
it works however is still valid. The listening human brain correlates
into one total sound all similar sounds that follow the direct signal
within 20 ms or so (
One
of the most memorable inquiries was from Pete Townshend. He called
also shortly after the NED project, about his nonparallel walled
but terrible sounding sampling room. We discussed the ETC properties
and diffusion theory of the QSF. He could hear it in his mind and
bought one on the spot. We tailored it to fit his existing room,
the Boat House at EEL PIE Studios, London. Upon installation, he
wrote two separate times extolling the properties of the QSF mic
space. He explained the user benefits so well, I couldn't resist
asking if we could quote him. After weeks of silence (Pete does
not do endorsements)... yes, he'd endorse the QSF acoustic space
so we should make arrangements to do a photo shoot. It's been 12
years now and we still have his support.