Well they have floor and columns up.
This is a few days old,
so there are now large sections of walls up
and beams at the 5, 6.4 and 7 meter heights
are being framed and steel rebar'd this week.

I have 20mm of hard rubber under the sandfilled cement block walls.

I have not so far found a reasonably priced
isolation element for floating a floor.
But it may not be necessary here.
Maybe concentrate on ceiling reflections before floating a floor.

The control room will be
9.6 meters long, 7.64 meters wide,
and 5 meters tall below where
the moderately peaked roof trusses start.
It will be around 6 meters tall at the peak.
Enough dimentions to make bass responce
at least a resonably accurate possibility.

TC Furlong and the other engineering types here
are welcome to make comments on control room design,
and general philosophy, for stereo and 5.1 surround layout.

Stereo has one phantom sound stage,
but 5.1 Suround sound has 26 potential phantom stages,
and no general concensus within the industry
about how control rooms should be layed out.

Phillipe Newell's book is my design bible at the moment,
Because he acknowleges the LACK of any viable standard,
yet gives much info on a host of variables.

Mind bending reading for sure.

The studio areas are 12.4 meters wide
Studio 1 is around 11 meters deep at the point,
and aprox. 6.5 meters too the roof trusses.

There will be rounded a hot room for noisy stuff in one corner,
with a cement floored amp booth above.

And a D shaped block vocal booth
and a 2nd stacked above amp booth
along the flat wall.
An angled cement foor and floating flat floor will be
in both the overhead booths for isolation.

Both to be rough stone faced for diffusion.

Studio 2 and 3 are 7 meters to trusses (30 feet at the peak).
They are odd shaped spaces aproximately 5 meters by 6 meters
with moving walls, ultimately.
Drums and piano spaces.

There will be a huge, laminated glass, wall with all panes angled up in Studio's 2+3.
With a view of the islands off in the distance.

Here is construction as of last week from above the control room.
Note worker's height's vis a vis the dropping levels of control, S1, and S2+3

(Yes Duck Pluckers fans, this is the location of "Cousins Housing" and post bean dinner disaster shots... LOL )

Here is the floor plan, but an out dated version.

The inter studio stairs are now semi-circular and at either side
of the S1 and S2+3 bounderies. Not the middle as shown.
With entrance doors in the moving walls.

The control room stairs are on the right,
The "hub" is the hot room, and never was
supposed to have all these swinging doors.
He forgot the vocal booth... again!

The big cone is for sight lines and video camera view.

Traditional architects barely grasp most of the studio design concepts needed,
so continuous revisions were needed by me.
Even during construction, as they missed VERY important points, for me.

And mai bpen rai, (no matter, don't worry about it),
just doesn't cut it, when the physics of sound are concerned.

I am from the old school where a great room sound
should be part of a good recording, and is an asset,
not something to be avoided and then "fixed in the mix",
with digital tech tools.

Still things are moving along.

PS. Donna, move this to Music if you think that's a better place.

[This message was edited by David L. Donald on 21 August 2006 at 10:58 PM.]

I agree about the big room sound.

Keep us poor SGF members updated on your studio building project so we can drool and dream of "what might have been".

------------------

www.genejones.com

------------------
Joe in Houston
Excel Superb S-12 8/6

I managed a view of 2 small islands;
Mudson and another un-named??,
A cement road, full AC mains,
and water from a up mountain waterfall.

It's at 103 to 96 meters elevation, facing south, downhill,
over the vally between 2 points to the sea.
Not in vatican banker mountain top territory,
but good enough to justify the effort.

Gene it is interesting here, bizarre and interesting.
And there is another wholey different take
on music;
pop, rock to ultra-trad here,
so it's really good for the ears.

Convineineces, well we do have refrigerators,
and indoor plumming... and Protools even
I still must run a 5k watt APC uninteruptable power supply/conditionaer
on the whole place, guitar amps included,
since the power is so flakey.

In a great room even a small recording system can do super things.
Got tools, just need the workshop.

[This message was edited by David L. Donald on 23 August 2006 at 08:41 PM.]

As far as floating the floor goes, lately, it is primarily done in urban areas where trains or subways or traffic noise and the low frequencies that these create must be dealt with through isolation. I'd definitely focus on reflections. Here is one approach to managing reflections that I think you may want to consider. Flexible acoustics...nothing new here but it's logical that you may want to have a combination of absorption and diffusion that you can experiment with and place in various locations based on your needs. Have you considered a grid arrangement for the ceiling? Works great for hanging acoustics materials and if you plan on lighting for video/film, you'll never be sorry.

When it's all said and done, my advice is usually this. Figure out what you like and "borrow" the basic theme. I really liked the vibe in the old United Western Recorders rooms in Hollywood (later renamed Ocean Way). United Western's acoustics were mainly random hole acoustic tile. I recently found a source for that material if you are interested.

Anyway, I could blab on and on about acoustic environments. I'll spare you.

Yes the vibe is VERY important.
Musicans who are relaxed and " feel" a good sound
make better performances. And comeback again.
If I can make use of "current practice" in acoustics usage,
backed by verifiable theory, to make this happen,
well that's the goal.

Ok, the big glass windows have each pane angled outward from the top,
so that reflections will tend to go upward.
I have lots of non parralel ceiling and it is
9 or so meters up at that end.
Also there is some arc around the room there.

Flutter echo sucks for sure. I'm a bass player
and notice this more than most people.

The eventual moving walls will also have glass angled upwards.
The s2 s3 dividing wall will be off parralel to the end walls.

The opposite sides from hard walls will likely have
1.5m meter rock wool compressed to 1 meter
with 5 3 4 4 3 5 4 5 3 5 3 4 4 3 5
solid grid face, spacing ratios in front.
A combined deep absorbtion/diffusion, facing diffusion.

I have already built several wooden hemispherical diffusors
for the small house's drum room.
Nothing scientific, random works too.
And Thai builders are pretty good with random...
These seem to have added a bit of improvement to
the drum sound in a relatively tiny space.

I am also going to test some point source defraction panels.

The practicalities of constructing the shell,
left compromises un-avoidable,
but with the knowlege that ways exist
to ameliorate the inevitable issues.

My big internal debate is whether to do a
pure LEDE, pure Non-environmental control room.
Or predominantly a Non-environmental with some LEDE atributes.
Since I do expect to record acoustically IN the control room
from time to time.

The control room shell dimentions are based on
Peter D'Antonio's best estimate of a good RPG type room.
Of course the peaked ceiling adds a infinte number of variables,
both positive and negative.

The controlromm shell @ 9.6 meters long
based on 20° temperature
the room is down to 35 hz wave length.
20 hz being 17.2 meters long.

Across the room at 7.64 meters it's about down to 45 hz.

Control room is 5 meters to wall tops and 1.98 to peak
So @ 6.98 max height 49.3 hz possible full wavelength.

At least managable for bass responce after damping.

I made an effort to base each room on an inverted ratio relation
to the ajoining room and the control room.
and deformed them as much as could be from parallelism.
Not a terribly cost effective exercise...

Rough faced rock of 6"+ aproximate height from arc'd surfaces
should add some live diffusion down to usable freqencies, I believe.

I was fortunate enough to have a 12 meter allowable building height,
but needed to be reasonable about it on site.
around 9 meters at the far end celing peak
s 2 and s3 are 7.1 meters to wall tops
and 6 to wall tops respectively,
and another 2.72 meters to peak for the 3 recording spaces.
With the intention of having the ceilings being very diffuse, with some damping.

I am trying to have as few "industry standard"
preconcieved notions,
overiding my personal observations over the years,
or locking me into ONLY one logic,
because "that's how it's done".
Many theoretically great rooms just never worked well in practice.

And some theoretically bad rooms sounded great.
see: Rudy Van Gelder’s living room.

[This message was edited by David L. Donald on 25 August 2006 at 07:51 AM.]

I really do think that you are on the right track combining current practice with verifiable theory. But be sure to ask this question when figuring out angles and predicting reflections. - Where will the reflection go?- To me, the answer - upwards -is not enough. What if the source of the reflection is coming from high on a wall or from the ceiling? It will reflect downwards. And one of the focus points might very well be at your vocal mic or an acoustic instrument mic.

I have never been an LEDE fan for a control room. It weirds me out. I like a room with more tempered vibrancy. To me the DE sucks the HF life out. But if you put some diffusion in front of the DE it is good and it really only needs to scatter the high freqs.

I like to think about a project like this: Designing and building an acoustic space is kind of like building an acoustic guitar. You really need to try to listen as you go and shave a litte bit here and there and tweak it as you go to get it the way you want it. Are you considering any variable acoustics?

I know you are excited about everything coming together for you in your new "life". No one deserves it any more than you!!!

quote:

---

Designing and building an acoustic space is kind of like building an acoustic guitar. You really need to try to listen as you go and shave a litte bit here and there and tweak it as you go to get it the way you want it. Are you considering any variable acoustics?

---

Exactly, add something ans see how it fits, add another etc.
Some time back track and remove something to see how what's left works too.

Variable accoustics are a definite, after seeing how the IRCAM room in Paris could be changed.
But the cost in many ways is up there too.

As to glass reflecting downwards.
It is of course possible.
The ceiling will not be flat, a pitched semi cathederal,
and will have diffusion added ESPECIALLY/ first
at reflection zones relating to windows.
I will have sound sources at ground level heading up 6-9 meters,
and then diffusing before they can comeback and hit a window.
Of course this will be an ongoing excercise.

I plan on getting a cheap speaker and attaching a long interior damped tube
and use it to bounce pointed source sounds around to see what I hear.
Easiest way to hear room reflections
and much less source.
As well as use Spectral Foo and QTC-1 omni's
for more emprical datum.

In anycase it IS an adventure.

[This message was edited by David L. Donald on 26 August 2006 at 06:41 AM.]

I am thinking of this as an "escape clause" kinda place.
1 month lockouts, do what you want.
The rest of the time I do what I want.
But basically any gig that pays it off is cool.

It gets so hot you can only spend so much
time outside on the beach.

Since it is an island, you can't completely lose your musicians,
if they step outside for a bit,
no more than 30-40 minutes away
anywhere they may go.
In Bangkok they could disapear for days...
And come back minus guitars and totally trashed...

Besides, most sessions are night time anyways.

Right now I am brushing up on my geometry
and algebra,
more or less, after decades of disuse.
Just placing speakers in a room is a LOT
more difficult than it seems.
Otherwise it's totally hit or miss.
DRAT!

[This message was edited by David L. Donald on 27 August 2006 at 10:14 PM.]

How freaking cool David! So many aspects you have to consider. Yea, like TC said, vibe rules for sure. When a space is large enough, the math becomes less important. I find that the LEDE thing really helps when the space is small and the modes (and nodes) are dominant. In larger control rooms, I think diffusion is your best friend. I just helped a local guy tweak the reflections in a new SSL room. Pretty big space, but low ceiling. Currently that room has the front corners pretty well bass trapped and the front wall (no window there) has just a bit of absorption, especially placed for any first reflections from the backs of the monitors. With his low ceiling, he's got a thin cloud suspended at an angle. In that case he's absorbing the first overhead reflections. The back of the room has a couch and some cheaper diffusion. The rear corners are also absorbed. You know right corners reflect back at the source, from any position. A lively and un-fluttered room with bass bumps tamed and first reflections tamed is what I like to strive for.

So David, how do Auset and I book some time there?

Man i;m proud for you!!!!

Now i don't know much,but wheres the KITCHEN!???? hehehehhee

YOU KNOW HOW TO COOK TOOOOOOO;

Ok lets see.
Yes, vibe of course.
I have found some large old driftwood trees,
and with an elephant I can get them out.
Half trees mounted on the walls will help
with diffusion and look funky.

I made friends with the elephant treking tout
at the bottom of my road.
I loaned him $20 twice during low season.
No problem getting an elephant for this.
He paid me back, but now owes me a favor.

Also one of the work crew is a fine artist,
and I bought an pencil airbrush system,
and am letting him use it too learn the new style painting.
I will have lots of open cloth area to make look island like.

As to control room math :
frequency cut off at pressure zone for
longest wall
9.6m x 2 = 19.2m wave send/return distance

speed sound 344 / 19.2 = 17.91 hz room cut off.

Pretty low, down to Bosendorfer left hand low C
give or take a hz.

Side wall 7.64m x 2 = 15.28 send/return distance
speed sound 344 / 15.28m = 22.51 hz

To top of walls = 34.4 hz
too peak in ceiling
6.98 x 2 = 13.96 = 24.64hz

So a variable bass responce floor to ceiling of 24.64 to 34.4 hz.

Control room area (B) 73.344 square meters
Room volume (Rv) 366.72 cubic meters,
not counting ceiling vault prism.

Ceiling vault prism volume calc.
B (base area) 73.344 m B=lw
h (height of prism) 1.98m
V = Bh or 145.22112 m3

TOTAL VOLUME = Rv + CvpV 511.94 m3
Within the basic outer control room space.

17.91hz, 22.51 hz & variable 24.64hz to 34.4 hz

Or single wave non-returning
35.82hz, 45.02hz & variable 49.28hz to 68.8hz

Pretty decent basic low frequency numbers.

I have not calc'd multiples in relation to actual notes.
But it will cause a multiple of nodes and peaks,
that if I am lucky will interact sympathetically,
as a good place to start.

I do have already 16 RPG Skyline diffusor panels,
sort of like the NYC skyline. For the back wall.
But plan on having a grid wall behind them.

Also some RPG Modex corners in 40hz, 63hz, and 80hz freqencies for low end control at presure zones.

And a Studio In A Box, with extra wall panels.
I will place these at secondary reflection points I think.

Because I want strong 5.1 surround capabilities,
I am leaning to a Non-Environmental concept,
DELE
with some LEDE style diffusion in back (skylines)
to make the best stero mixing possiblities predominant.

As a bass playing engineer, bass responce in mixing rooms
has been the bane of my tranquil existance.
I determined that if nothing else this control room
will let ME sound like I want to,
if the reproducing system at the listener
is half way decent.

I have been debating putting in a cubic meter of rockwool,
at the monitor wall to side wall junctures,
to damp either the preasure zones or velocity change
at an edge point.

I also think I will make multiple monitor placment points.
Basically a long shelf with different width facing covers
so I can lift out a panel, slide the Genelec 1032's left or right,
and reattach the cover panel.

And then listen and test for best room to driver responce.

To many studios are built to a theoretical best,
and then because monitors were built set in, there wasn't much chance of fine tuning.
I will avoid that conundrum.

Sub woofer will be a bit to the right side, since basses are on that side for classical symphonies.
But same idea, I won't pin it's placement down till I see how it's modes are working.

When I am happy then some cement blocks might be put in.

I still haven't decided on front wall height.
I got 5 meters to play with, so I could go pretty high, and add a 1 m cubic rockwool overhanging sofit above 4 meters
for velocity edge damping, like the sides,
and let the rest fly to the roof peak.

I will experiment with hole grid diffusor cloud up above, most likely.
Since some earlier reflections will come back from there.
Many small points of entry into a rockwool damper.

Ah so MANY variables.
If any one has comments on the numbers, please expound.
D5

[This message was edited by David L. Donald on 28 August 2006 at 08:37 AM.]

Due to the oil prices screaming up there to high,
I am foregoing the island style house for the moment.
BUT, the office will also be 5 meters tall
with a small peaked ceiling.

I plan to loft it and have a chalet style
living space fit for two ; Cha cha and I.
There was to be a kitchenette in the office anyway,
so I just make it a full kitchen.
And I should have 3 levels in all
living / sleeping / storage.

Brad, you and Auset are welcome any time,
even before it's finished.
This place is a nice escape anyway.

We can trade studio time for mastering time... he he he!

As of today they have most outer walls up
except where the overhead beams are being suported by scafolding.
They started pouring the beams today.
but it will be a week before the scafolding can come down.
Then they can finish the walls.
Roof trusses are being built off site,
and will be assembled and welded in early sept.

[This message was edited by David L. Donald on 28 August 2006 at 08:29 AM.]

Control rooms are more often than not
crap from a bass players point of view.
So I want a room I can love.
Given enough room size and time
I think I can get that here.

The location, yeah it is cool.
Since you spend so many hours in a studio
during a project,
it is important not to step out the door
and find yourself in an industrial wasteland
or just a depressing or too busy location.
You need to decompress a bit regularly.

Also staring at a computer screen for hours on end,
the idea you can just take a long look
through the palms to an island in the sea,
is great for the eyes,
and that short term recharge needed
for returning and doing good work.

If you are using Genelec 1032's you will be doing near field or mid field monitoring at most. Right? (BTW awesome choice) most of the LF response in the monitors comes from the way they are coupled (or better yet decoupled) to the room. I have a great decoupling method that I would be glad to share. It get's really tricky when integtating a subwoofer, but I think it's better to start with properly aligned full range system and add subs to taste. I wonder about the shelf you mention for monitor positioning. I'd think that a well designed stand (with decoupling of course)would be more appropriate.

Also, I really like the idea of the cubic meter of rock wool at the junction of monitor and side walls. That's an evil area for sure. And you can always partially cover it to achieve the "tuning" of the absorbtion.

I have 3 RPG Modex corners behind one baffle,
40, 63 and 80 hz. with the same at the back wall.
And a Procorner behind the other.

Since the tops are open, and sides
just resting against the Profoam,
the Modex will still work on the low freqs.

It really helped the imaging and bass clarity.
There was a lot of sub 300 hz muddle
from behind that I disliked immensely.
And no way to move them to better locations.
I knew I was being fooled, but not by how much etc.
Haven't run a Spectralfoo sweep and 12th octave graph to compare the changes yet.

I wish I had a full FFT time vs freq vs db graphing,
But haven't had time to decifer foo's different take on that.

I did some mixes yesterday and today,
and it is MUCH more like I intend when
I go to the truck sound system.

It is presently close / mid field, since there is no more distance to be had.

I am thinking to use a lot of space to get the best possible bass extention.
I had them stand mounted before in France,
but have not been as happy as I hoped like that.

Here's a mix from then; http://worldserver4.oleane.com/canardplus/Musique/River's_Edge.mp3

I DO like 1032a's though.
I a good room their sound "travels well".
I have 3 for the front and 2 1031a's for the rear
and a 1094 sub woofer
a classic Genelec 5.1 system.

I dislike mixing at excessive volumes even in big spaces.
I get, and have had, enough loud for my lifetime.
So for the moment they will be adequate.

If I go for stand it will be V shaped rock pedestals,
V point toward the front wall probably,
floating on hard rubber, and 50% compressed foam under the speakers.

I plan to make the laterally tuneable wall easily updatable for larger front monitors in the future.

My other long term personal monitors have been
JBL 4311's both stand and wall mounted,
Altec 604e's, and their updated type
the wall mounted URIE 811b time aligns.

I regret losing any and all of them.

If you have a particular rock album you like for testing a room, let me know.

I have Gloria Estphan's Mi Tierra,
but it isn't directly applicable to rock.
Though it DOES tell me if a room is odd or not.

Please let me know your decoupling method, of course.
By email if you prefer.
But our discussion might help others with home studios
understand what's happening in their rooms.

Maybe this needs to go Electronics,
though it actual is neither fish nor fowl
vis a vis forum catagories, and Donna doesn't mind it here.

[This message was edited by David L. Donald on 30 August 2006 at 08:01 AM.]

And, I love that tune. Zappa would dig the 'horn' arrangement.

I don't grok why you're using a 5.1 system there. Reasoning?

[This message was edited by Charlie McDonald on 30 August 2006 at 08:27 AM.]

Also 5.1 can be used for DVD music at 96khz for
playing on home cinema systems.
Or if recorded properly, live concert music etc.

Charlie I recorded the music in the basement of my house
in the south of France.

Except the piano, wich I recorded last in a studio in NYC.
because my old buddy Glenway could meet me there,
during a run from Boston to New Orleans.
He also sight read 8 pieces of this level
in under 24 hours and recorded them.

But I did the rather specialized piano micing.
I brought a DAT of the band, and put it in Protools in NYC.
2 Neumans in the piano, 1 Royer ribbon 6 feet back and 3' up,
and a MS / Blumlien X-Y pair 20 feet back.
Each to it's own track. Which allowed me to go back to France, with 5 piano tracks per song,
add the piano and create a different environmental mix AFTER the recording,
by blending different combinations of mics.

It was a 8 foot Yamaha grand, maintained by Steinway NYC techs.
Both the assistant engineer and the house head engineer stated they had never heard
their piano sound this good, and would copy my method.

Ah, that DID make me happy.
Immitation is the most sincere form of flattery LOL.

Plus I was happy with the sound in the mix later.
The piano intro is an outro improv on the chord pattern,
moved to the front.

As to Zappa, I have been a big fan. I wasn't thinking Frank during this, it just comes out.
And you are not the 1st to bring him up vis a vis my harmonizations.

The harmony chorus is electric guitar, sax and electric violin.
Not your typical horn section, but arranged as such.

Also I edited the WHOLE arrangment to add
a solo space for the piano player.
Even the drummer couldn't tell where I edited his drums.
I had to point it out.

Jean-Luc had listened to the song many times pre-piano,
and suddenly was thrown totally for 7,
"Wait, wait, what's happening???
How'd this get here!!!???"

The mixing room was about 10 x 12 feet, with a non-environmental sound treatment,
but too small a space for acurate bass responce.
But not to bad for a "Home Recording".

[This message was edited by David L. Donald on 30 August 2006 at 08:04 PM.]

This is looking along the east wall, and facing the north wall.

It appears an electric pole has fallen through the control room window,
but I don't think that's the case.
Just classic Thai jury-rigged wiring.
Scares me sometimes... uh many times.

There will be another similar window to the right of the column.
This level is 5 meters to the beam tops,
and will have a peaked roof running left right in this view.

The monitors for stereo will be against the left wall,
and control room Studio 1 window opposite the exterior windows.

This will be THICK glass, doubled up.

Too the right is the office/kitchen being walled.
it will also be lofted and extended on the 2nd floor towards the main studio,
as living room,
and later "girlfriend control lounge".

it will have a shorter peaked roof looking west,
and some 3rd story lofting yet to be figured out yet.

More in a bit.

[This message was edited by David L. Donald on 07 September 2006 at 08:36 AM.]

Hawaii is beginning to wear kind of thin with the viewers because so many tourists are familiar with the filming locations.

------------------

www.genejones.com

One of my best friends here is in final
script edit / pre-production for a film about
the syncronisity, circling the life of an
Amer-asian Bangkok Taxi driver.

I actually have been sent to casting calls here,to my utter surprise.
One part was "Calico Billy, pegleg pirate ships cook and general wastrel."
Appearently I was in consideration,
but lost to a working actor... which don't bother me none.

So I am pretty sure film's that DO
need something like this will know of it.

I am hooked up to the local indie film scene periferally.
I know how well Richard is connected in town,
because actresses were hitting on me,
just because I came in with him to a film evening...

As a bit of scenery or a smaller shooting stage I will be nicely set.
But I am also interested in soundtracks,
or post production for indies around here.
If you can't afford Lucas's Skywalker Ranch in Calf.
I'll cut you a deal.

Or as an artist writing and escape spot for being creative.
Here's your month lockout,
have fun, but get something done.

Here is the view across the control room, through the studios, due south.

And the main southern bay window,
destined to eventually be mostly glass.

I am trying to balance real daylight and it's vitamin D vitality,
with enough sound isolation properties to make for a usable space.

As many of you have recorded before,
I am sure you have encountered the
studio mushroom / recording engineer type before.
Too many sessions in a cave
and only seeing daylight on the way to bed...

Even if most session work is done at night,
when people sing better, and are more loose,
plenty of stuff gets done during day light hours.
But the production staff usually gets little of it...

Well the roof trusses have been delivered
and will be going up soon.
The plywood and assorted roof coverings.
Then cement tritone roof tiles, with roof peak heat venting.

[This message was edited by David L. Donald on 07 September 2006 at 10:46 AM.]

When we first dug out and steeled up the footings for colums we had
CPAC deliver a few cue's of cement. (cue=cubic meter)
Well truck 3 had a pretty dumb driver,
he apparently blew his shift coming over the hump.
and lost 2 que out of the top of the truck...

The other drivers and forman were ribbing him MERCELESSLY,
as they shoveled cement out of the road,
and re-tipped the truck down.
Basically he was beyond "losing face", it was just erased.

The forman sent me two pics on request.

As this was going on 6 elephants passed by
going down to their night resting place.
They seem not amused at this weirdly placed truck...

[This message was edited by David L. Donald on 08 September 2006 at 10:19 PM.]

( next day, Ok awake now)
This shot is from studio 2 or 3, over the floor of Studio 1
looking at the big window to the control room.
The red roof trusses are off to the right.

The far corner from the camera, after stairs(see board on wall)
will have a rounded wall computer, technical space,
with a cement ceiling and guitar booth over it.
Accessible from some relatively steep stairs.
This keeps noisy things a short distance for wires,
and also breaks up the corner standing waves and modes.

To it's left next to it will be a D shaped round wall vocal booth,
and amp booth above, accessed from the same stairs

The entrance door far left is in an angled wall,
removing another 90° angle in the room.
Above it will be a small 2nd floor observation window,
from the lounge living space over the office.

Below, you can see three guys working on the office 2nd floor,
and the main entrance way below them.

The restroom shower is under the brown shirt'd fellow.
Office kitchenette window is to far left.

To the right is an angled wall just to the left of the big scafolding,
the second floor will extend in a triangle over to that wall.

There is a studio 1 window below,
and they are still blocking the top of that wall.

The column on forground is for the yet to be built house part of the rpject.

Below ; The worker is sitting with his legs hanging into the staricase well of the kitchenette.
The control room is to the left.
The control room roof will peak, sloping left to right
in this view, and the office 2nd floor will dormer off it
sloping front to back this view. With a nice westerly view for sunsets.
Enough space for a 3rd small loft space above it.

Here, they are blocking in the control room to studio wall,
with glass door and BIG wondow between them.
The space I am shooting through will eventually be blocked, but is used for transport right now.

[This message was edited by David L. Donald on 09 September 2006 at 10:15 PM.]

Thanks for sharing!

P.S. I've never seen a cement truck stand on its hind legs!!

[This message was edited by Donna Dodd on 09 September 2006 at 01:20 PM.]

------------------
Excel Superb S12 8/6
http://www.joemcham.com

There is a book called Bangkok Babylon, by Jerry Hopkins.
He did Elvis and Jim Morrison's bios,
AND our singer Rick TOO.

It is a bunch of short chapters about various characters around the country.
Worth getting, it is an entrancing read.
Rick's chapter is called "Rock Star".
http://www.amazon.co m/Bangkok-Babylon-Real-Life-Legendary-Expatriates/dp/079460224X/sr=8-1/qid=1157866806/ref=pd_bbs_1/102-2686313-9007364?ie=UTF8&s=books

************************
Joe, bookings will be delayed do to "mai bpen rai".
Which loosely translates to "Don't worry, Be Happy".
It'll get done when it gets done.

**********************
I was told last night the music festival will happen this year,
10 days still, but on a MUCH smaller scale,
and "we are getting an invitation". Whatever that means.

Some reports say mostly Thai bands.

Another last night said 25 bands from Denmark are booked...
I can't imagine how they can find 25 bands there
worth bringing half way round the world...
Nothing against Denmark,I like it and the Danes, I've been there 3 times.
But it IS a small country...
But who they gonna get????

[This message was edited by David L. Donald on 10 September 2006 at 10:10 AM.]

As well as sub woofer tuning movements
And Sweet spot, front/rear monitor distances
and front imaging issues

It will do well film mixing,
but primarily MUST be good for stereo work.

[This message was edited by David L. Donald on 11 September 2006 at 10:37 AM.]

As you mentioned in another thread, I did record a CD with home-recording equipment and it was a one-person project....and all of my deficits of knowlege in recording technology is evident. I have to think that I really do sound better than the final product that I finished.

Before I die, I would like to have you produce and record one final CD that will not necessarily be accepted by the "buying" public, but that I can leave to my decendants.

YOUR MUSIC was from the heart
and I still listen to it from time to time.
That IS the bottom line.

I would of course be happy to help you
make a fine recording in the future.
And hope you live long enough for your
GREAT grandchildren to tell their friends,
Gramps played this!

As I commented earlier to my studio designer friend, Sooch, back in France.

"Studio design science gets you to place where
ART and accident can take over."

Sooch did acoustics for my last "small" studio in France,
and is giving me feedback on this bigger space.
It was around his 50th studio project in 2000.

It is actually MUCH, MUCH harder to make
small rooms sound great, than big'uns.

[This message was edited by David L. Donald on 11 September 2006 at 10:35 AM.]