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Get your home studio acoustics to sound as  good as a commercial recording studio.

 

The unfair advantage

Here's an analogy. The Zacuto camera shootout is a major competition between camera manufacturers to determine the very best camera for filming movies. All the the top brands enter the competition with very expensive camera's, such as Arri Alexa and Red Epic. In 2012, the winner of the competition was a Panasonic GH2, which is a cheap consumer level camera, and is objectively lower quality than the other cameras that it beat. So why was it able to win against much better cameras? Because of lighting.  The Panasonic film team was more skilled at setting up lighting than the other teams, and therefore they were able to produce better looking videos. 

In this analogy, room acoustics is like the lighting, and I know this is true from first hand experience. You can use cheap recording gear and still get better recordings than studios that have a much more expensive setup if you beat them with better acoustics, and this course will show you how to do that.

This course teaches the secrets to acoustics that very few studio's know about when they design their acoustical plan. Here's some examples that you'll learn in this course that most home studio's get wrong:

- What the right balance is for absorption and diffusion depending on your room size and other factors.

- Why for some frequencies, the reflections are good, but other frequencies reflections are bad, and how to control them so you eliminate the bad ones, and promote the good ones.

- how you should treat certain spaces differently for truly optimal results, such as a voiceover studio compared to a music recording studio, or get the right balance that sounds good for both

- How to treat a control room differently than a live room

- How diffusion panels in the wrong application will actually make your recordings sound worse

- How putting absorption panels on the walls usually doesn't do anything to the lower frequencies

- Strategies to absorb low frequencies much more effectively than bass traps in the corners.

- A comprehensive understanding of the strengths and weakness of the best absorption materials available, and why you would choose one over another in certain applications.

- The difference between making a room sound good to our ears for listening, and sound good to a microphone for recording, and how to optimize the room for one or the other. 

- How to use the shape of your room to your advantage

-  How to maximize your acoustics with minimum budget by making diy acoustic panels with materials available at most hardware stores.

- How to use non-invasive treatment that can easily be removed or transported.

- How to build your own acoustic panels that are as good as, or even better, than the expensive commercial panels available from reputable brands.

- How to build a small recording booth that acually does sound good (most booth's don't sound good)

- Why a small room requires a different treatment strategy than a larger room. 

- How to find the Shroeder frequency of your room

- Why putting up panels on the walls and bass traps in the corners is not very effective at absorbing sound waves below the Shroeder frequency

- How to actually absorb sound waves below the Shroeder frequency

- The relationship between the size of an acoustic panel, and the frequencies it can capture.

- How absorption panels create diffusion in an unexpected way

Click here to Get Pro Acoustics Now!

Pro Level Recordings

Instant results. As soon as you improve your acoustics, literally everything you record will sound way better, and getting that  You'll also be able to capture the subtle details you could never hear before, like the nuances of different microphones and preamps. Most home studio's struggle to get professional quality recordings, but when you have excellent acoustics, it just comes naturally.

Improve your Mixes and Masters

Optimal room acoustics allows you to hear the authentic sound from your speakers more accutately. The better you can hear the fine details, the better you can adjust them

 

 

 

 

 

Save Money

Don't waste your money on inefficient acoustic treatment. This course compares the best acoustic materials so you can make your own panels that work just as good as the expensive commercial products, but for a fraction of the cost. You'll also learn the most effective ways of implementing it to maximize your sound quality at any budget. 

Make high performing acoustic panels

When making your own acoustic treatment panels, there's several different materials that can work, but there isn't a single material that works the best in all situations..  It depends on your room, your goals, your budget, and how you set your treatment up. I spent over a month testing the best absorption materials, with different setup configurations, and in different rooms.

Get the perfect balance between absorption and reflections

The size of the room, as well as other factors, determine which frequencies should be absorbed, and which should be reflected, as well as how much. Most home studio's get this balance wrong, and their recordings suffer because of it. 

 

 

 

 

 

 

Be an acoustics expert

This course teaches room acoustics to an advanced level, and it spills the secrets that companies that sell acoustic products don't want you to know, because you'll be able to make your own panels that work even better then the ones they sell. When you finish this course, you'll have a solid understanding of the acoustical problems that occur in a studio, and you'll know how to alleviate those problems to get pristine recordings. You could literally start providing acoustics consultation services.

 

 

 

"Room acoustics are the single biggest factor that determine the quality of your finished recordings"

Your instructor
-Kris

Limited Time Free Bonus

Get the Advanced Monitoring Course Free 

Here's an excerpt from the course creator -

"When I look at a picture of someones studio online, I try to estimate how good of recordings are being produced in that space. To determine this, I don't pay much attention to the microphones, or racks full of gear.. I look at 2 things... the room acoustics and the monitoring" 

Room acoustics are the most important aspect to getting great recordings, but a lot of people don't realize that the second most important aspect is your monitoring.

Enroll now to learn the secrets to optimize your monitoring for FREE!  A $99 value!

Automatically delivered with the purchase of this Get Pro Monitoring course.

Stop Wasting Money!

In this course, we've tested the best materials available for sound absorption panels, with different configurations, and in different rooms. The tests compare placing panels in  the corners, first reflection points, air gap vs no air gap, angled vs straight, full wall, spread out, up close, farther away, and all these tests were repeated with different absorption materials and in different rooms. Over 100 tests in total that provide a clear analysis of the differences between various types of panels, and different placement configurations.
I also go in detail about what the optimal level of deadness vs reflectiveness a room should have for various environments, and provide a formula which reveals which how much absorption of specific frequencies, and how much reflections of specific frequencies will provide the best results for your specific room.
You'll learn everything you need to know to get the acoustics of your room up to a level that your recordings will sound like they were produced in a much larger and more expensive studio.

Many studio's invest in expensive gear because they want their finished recordings to sound highly professional. But often this high level gear doesn't make a substantial improvement because their room acoustics aren't at the same level of quality. If your room acoustic's aren't amazing, you'll never capture the full potential that your microphones are capable of, and you'll never hear the full level of detail from your monitor speakers. 

Click here to Get Pro Acoustics

Over 100 tests of different absorption materials, in different configurations, and in different rooms.

Each test was conducted with room measurement software, as well as sound clips were recorded to actually hear the differences in listening tests.
Original files of all tests are available to download and perform your own analysis, as well as a 114 page pdf booklet for easy comparisons.
These are the configurations that were tested with each different type of acoustic panel.
 
1- corners and first reflection points
2- corners only
3- first reflection points only
4- intermittently spaced on the walls
5- intermittently spaced on the walls with a 1' air gap
6- intermittently spaced on the walls at an angle
7- Up Close, boxed in
8- up close, boxed in with panels angled
9- Enclosed with absorption panels
10- Full wall
11- Full wall with an air gap
12- Full wall with convex angle
13- Full wall with concave angle
 
These are the absorption materials tested 
1- Owens Corning 703
2- Owens Corning 705
3- Rockwool
4- Acoustic ceiling tiles
5- GPR Panels - a combination of rockwool layered with a specific paneling material available at most hardware stores. This combination performed just as good as the best acoustic panels.
 
In addition to the afformentioned placement configurations and materials, various tests were also performed in different rooms to compare room size, reflectivity, and overall fidelity of recordings.
 
These tests reveal which absorption material works best:
- In the corners
- In the first reflection points
- When placed up close
- As a full wall
- Spread out along the walls
 
And these tests also reveal which placement configuration provides the best sounding recordings.
 
Nobody else provides anywhere near this level of testing and analysis, and that's why this course can teach this topic to a much higher level than what the vast majority of home studios ever achieve. 

You'll learn

- Treatment strategies that work better than the conventional approach of putting bass traps in corners, and absorption panels at first reflection points and spread out.

- The difference between a room that sounds good to your ears, and a room that sounds good to a microphone

- The unique treatment requirements for a recording space and a control room.

- The different acoustical requirements for recording music vs dialogue

- Which frequencies to absorb, and which frequencies to reflect - depending on several factors.

- The physics of how sound

- How sound behaves completely differently in a small room than a large room.

- How to make a space sound much larger than it really is.

- How to get the optimal balance between absorption and reflections

- How different acoustic materials work better than others in specific placement configurations. 

- The best ways of absorbing low frequencies (it's not bass traps in the corners)

- The best acoustic material for bass traps

- the best acoustic material for panels on walls

 

 

Course syllabus

Intro

- Module 1 - My philosophy.

- Module 2 - Fundamentals

- Module 3- How Sound Behaves

- Module 4- Live vs Dead sound

- Module 5- Sound Absorption materials

- Module 6- Testing and Analysis.

- Module 7- Implementation Strategies

- Module 8- Frequently Asked Questions

- Bonus Module 9 - Implementation Examples

 

Module 1- My Philosophy

1.1- About me

1.2- Sometimes, a deader sound is a better sound

1.3- Microphones don’t have brains

1.4- Don’t trust your ears

1.5- A Uniform, neutral environment with a wide sweet spot

1.6- Room measurements and calculations

1.7- Summary

 

 Module 2, Fundamentals

2.1- Fundamental and harmonic frequencies to create tone.

2.2- Definitions, parts of a wave.

2.3- Wavelength and speed of sound.

2.4- Phase and comb filtering.

2.5- Standing waves, resonant frequency and modes

2.6- Summary of what causes poor room acoustics

2.7- Intermodulation distortion (creates dissonance)

2.8- Bigger is better.9- Flutter Echo

2.10- 3.5 ways of eliminating reflections

2.11- Room measurement software

2.12- The Waterfall graph

2.13- Absorption coefficients

2.14- Parallel walls vs splayed walls

2.15- Helmholz resonator

2.16- Which frequencies should I absorb, and how much

2.17- Why low frequencies become muddy

2.18- Sound treatment vs sound proofing

2.19- Room correction software

2.20- Where should your listening position be

2.21- Where should your recording position be

2.22- Reflection filters

 

Module 3- How sound behaves

3.1- How sound exists in a room

3.2- Shroeder frequency (crossover frequency)

3.3- Early vs late reflections

3.4- Early vs late reflections formula

3.5- Diffusion

3.6- Reflect, absorb, or go through

 

Module 4- Live vs Dead sound

4.1- Control room vs Live room

4.2- Comparisons

4.3- Optimal treatment for a jam space

4.4- Optimal treatment for recording dialogue

 

Module 5- Sound Absorption Materials

5.1- Low, Medium and High density

5.2- Material Thickness

5.3- Rockwool

5.4- Owens Corning 703

5.5- Owens Corning 705

5.6- Comparison Chart of Low Frequency Absorption

5.7- Other Sound Absorption Materials

5.8- Fabric covering

5.9- Other sources of rigid fibreglass

5.10- Pink Fluffy Insulation

5.11- The GPR Panels

 

Module 6- Testing and Analysis

 6.1- Analyzing the REW graphs

6.2- OC 703 trends, test group A

6.3- OC 705 trends, Test group B

6.4- Rockwool trends, Test group C

6.5- RFA tiles, Test group D

6.6- GPR panel trends, Test group H

6.7- Corners and first reflection points, Test groups 1, 2, and 3

6.8- Intermittent spacing, Test groups 4, 5, 6

6.9- Up close first reflection points, Test groups 7,8

6.10- Room within a room, Test group 9

6.11- Full wall, Test groups 10, 11, 12

6.12- Reflectivity tests

 

 Module 7- Implementation Strategies

7.1- Analysis of my studio treatment

7.2- First reflection points.

7.3- Corners

7.4- Variations of a Full Wall

7.5- Remove a wall and fill it with Rockwool

7.6- Build Gobo’s

7.7- Angling Drywall for Diffusion

7.8- Hanging ceiling tiles from the ceiling.

7.9- Full Room Strategy: Corners and first reflection points.

7.10- Full Room Strategy: Room within a room.

7.11- Up close first reflection points with Gobo’s

 

Module 8- Common Questions

 8.1- Should I worry about sound reflecting off a window?

8.2- What areas in the room should I avoid?

8.3- Where should I place my listening position?

8.4- How can I make a small room sound big?

8.5- Where should I put my desk and monitors?

8.6- What’s the difference between flush mounted speakers?

8.7- Should I record in a closet?

8.8- Are commercial recording booths good?

8.9- I’m renting, How can I setup treatment that’s not permanent?

8.10- Do room acoustics matter if I mix only with headphones?

8.11- How can I fix a recording that was done in a poor acoustical space?

8.12- What’s the best place for a subwoofer?

8.13- What about noise made from equipment?

8.14- Do I need treatment if my room dimensions are ideal?

8.15- Can I reduce the effects of room acoustics by turning my volume down?

 

 BONUS: Module 9- Implementation Examples

 9.1- Bedroom $500

9.2- Bedroom $1,000 budget

9.3- Bedroom $1,500 budget

9.4- Bedroom $3,000 budget

9.5- West Studio

9.6- Andy’s studio

9.7- Small basement room

9.8- Long and narrow studio, low budget

9.9- Long and narrow studio, High budget

9.10- Really large space

9.11- Jim’s living room

9.12- Jose’s studio

9.13- Chris’s guest house studio.

9.14- Guitar Cab isolation box

Click here to Get Pro Acoustics

Our Promise

If you have:

1- A space at least the size of a bedroom,

2- A budget of least $500 for acoustic treatment, and

3- Access to a hardware store, and basic diy capabilities to build a wooden frame that can hold acoustic treatment materials.

   This course will teach you to get your acoustics up to a level that enables you to get professional quality recordings, mixes, and masters, and it goes far beyond what's available from any other resource. 

We provide a 7 day money back guarantee if you're not 100% satisfied with us upholding this promise.