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Tuesday, June 16, 2009
Tuesday, January 13, 2009
Oh so much news.
So, we obviously do better at updating facebook than blogger. Look up our facebook profile for lots more in the way of pictures and news. We're open. Just finishing some wiring and waiting on 703 to arrive for us to finish the control room.
The control room is approximately 12 x 15 finished in burgundy and black suede. It has a fully floating floor and a suspended acoustic ceiling. Control is centered around a large desk by Sound Construction Inc. which is sized for our future Toft Trident Series ATB Console. (In the meantime we monitor tape returns with a Yamaha 01V and a Big Knob for everything else. Behind the listening position are the equipment racks filled with outboard preamps and processors. The top of the racks is also a work surface for the producer's desk behind. A 6' oversized sac and comfortable work chairs are available for the producers, directors, or artists to lounge or sit up and be actively involved. The control room is very tight without being dead and has a very flat response.
The live room has a great sound that is simultaneously eclectic and classic. The name of the game is versatility. With a 10' ceiling height and a wide variety of surfaces including, exposed brick (great for guitars), hardwood, carpet, vinyl tile, absorption and diffusion panels. The room can yield a lot of different characters depending on where we place amps, instruments, or microphones. The room is an L shape around the control room roughly 20' by 30' on both sides. And the reverb tail is between 0.5-3 seconds depending on where we set up. The room is pretty balanced when we pink it, with a slight lift at the low and high ends (x-curve, is the industry term). The wall colors are Chocolate Brown, Limeade (Bright Green), and a Dark Purple. 2 walls sport rough finished wood in reddish hues (hearkening to Avatar).
The vocal booth is small, but not claustrophobia-inducing, and made to sound pretty dry. (Though we can liven it up pretty easily). There's a small window to allow visual communication with musicians in the live room. Next to the vocal booth is a storage closet we can use for isolating brass or sax anything that needs a little life (exposed brick), but also needs isolation. The machine room houses the noisy stuff, the computer, hard drives, monitor amplifiers, the tape machines, the refrigerator, microwave, water cooler, and the power box (we have our own 100 amp sub-box of 3 phase power, uncommon ground). We also have a file cabinet for bills, invoices, and business stuff. We are, in fact, a business.
So if anyone you know wants to make a record, by all means, send em our way.
The control room is approximately 12 x 15 finished in burgundy and black suede. It has a fully floating floor and a suspended acoustic ceiling. Control is centered around a large desk by Sound Construction Inc. which is sized for our future Toft Trident Series ATB Console. (In the meantime we monitor tape returns with a Yamaha 01V and a Big Knob for everything else. Behind the listening position are the equipment racks filled with outboard preamps and processors. The top of the racks is also a work surface for the producer's desk behind. A 6' oversized sac and comfortable work chairs are available for the producers, directors, or artists to lounge or sit up and be actively involved. The control room is very tight without being dead and has a very flat response.
The live room has a great sound that is simultaneously eclectic and classic. The name of the game is versatility. With a 10' ceiling height and a wide variety of surfaces including, exposed brick (great for guitars), hardwood, carpet, vinyl tile, absorption and diffusion panels. The room can yield a lot of different characters depending on where we place amps, instruments, or microphones. The room is an L shape around the control room roughly 20' by 30' on both sides. And the reverb tail is between 0.5-3 seconds depending on where we set up. The room is pretty balanced when we pink it, with a slight lift at the low and high ends (x-curve, is the industry term). The wall colors are Chocolate Brown, Limeade (Bright Green), and a Dark Purple. 2 walls sport rough finished wood in reddish hues (hearkening to Avatar).
The vocal booth is small, but not claustrophobia-inducing, and made to sound pretty dry. (Though we can liven it up pretty easily). There's a small window to allow visual communication with musicians in the live room. Next to the vocal booth is a storage closet we can use for isolating brass or sax anything that needs a little life (exposed brick), but also needs isolation. The machine room houses the noisy stuff, the computer, hard drives, monitor amplifiers, the tape machines, the refrigerator, microwave, water cooler, and the power box (we have our own 100 amp sub-box of 3 phase power, uncommon ground). We also have a file cabinet for bills, invoices, and business stuff. We are, in fact, a business.
So if anyone you know wants to make a record, by all means, send em our way.
Monday, November 10, 2008
80 Sheets of Drywall...
Ryan and I spent Saturday from 8:30-2:00 moving drywall. By ourselves.
Home depot loaded it on our truck and we drove it to the studio where we moved it:
Home depot loaded it on our truck and we drove it to the studio where we moved it:
From the truck to the loading dock, from the dock to the freight elevator, from the elevator, 70 yards down the hall to the studio. Two sheets are realistically all the heavier two people can go at a time.
Damn.
And ouch.
Soundproofing 101
So the studio is coming along slowly. We have the largest of the soundproofing walls completely framed. The two foot top sections (trusses) take about 5 times as long as the rest of the wall, because we more or less have to be exact in our measurements for the wall to stand straight and have a tight seal against the blocks and rubber that decouple them from the floor and ceiling.
The idea is to build a very dense wall inside the existing wall to cut down the STC or sound transmission coefficient to practically zero at high and mid frequencies and to reduce low end transmission to negligible amounts. To accomplish that we place a layer of highly absorptive foam rubber over the studs and conventional insulation, then two sheets of drywall, and a rigid fiberglass product generically called 703 covered with fabric. So after passing through an inch of rigid fiberglass, 1 and a quarter inches of sheetrock, 6 millimeters of high density foam rubber, 7 inches of packed fiberglass insulation, and another half inch of sheetrock, the amplitude of the sound waves has died enough that 2 feet of dead air and a conventional wall will do the rest. The hardest thing is that we really will have no idea how much we've reduced the STC till the wall is finished and we place a drum set or guitar amp inside and rock out.
The idea is to build a very dense wall inside the existing wall to cut down the STC or sound transmission coefficient to practically zero at high and mid frequencies and to reduce low end transmission to negligible amounts. To accomplish that we place a layer of highly absorptive foam rubber over the studs and conventional insulation, then two sheets of drywall, and a rigid fiberglass product generically called 703 covered with fabric. So after passing through an inch of rigid fiberglass, 1 and a quarter inches of sheetrock, 6 millimeters of high density foam rubber, 7 inches of packed fiberglass insulation, and another half inch of sheetrock, the amplitude of the sound waves has died enough that 2 feet of dead air and a conventional wall will do the rest. The hardest thing is that we really will have no idea how much we've reduced the STC till the wall is finished and we place a drum set or guitar amp inside and rock out.
Lots of happenings.
In the last 2 weeks we:
Incorporated as an LLC in the Commonwealth,
Insured our space and property,
Registered with the IRS,
Created a business checking account,
Signed a Lease,
Measured and taped our construction plan,
Shopped for a piano,
Won super-nice patchbays for super-cheap,
Shopped for THX Gipsum and Sheetblock,
Began to price for Pro Tools HD, &
Framed walls.
In the next 4 weeks we should:
Finish construction,
Cable the control room and studio proper,
Normal the patchbays,
Move in the gear and instruments,
Rock a brand new HD System,
Throw an opening bash, &
Invite you.
Incorporated as an LLC in the Commonwealth,
Insured our space and property,
Registered with the IRS,
Created a business checking account,
Signed a Lease,
Measured and taped our construction plan,
Shopped for a piano,
Won super-nice patchbays for super-cheap,
Shopped for THX Gipsum and Sheetblock,
Began to price for Pro Tools HD, &
Framed walls.
In the next 4 weeks we should:
Finish construction,
Cable the control room and studio proper,
Normal the patchbays,
Move in the gear and instruments,
Rock a brand new HD System,
Throw an opening bash, &
Invite you.
This is our blog.
Welcome to the unofficial, official blog of dirty water sound and music a Boston-area recording studio and audio post facility owned and operated by Ryan Pedersen and Jared Mooney.
We've kept a blog for a few weeks at our website which is still under major construction. So I'll post those older goings on, then update you on some exciting new stuff. Like you care...
You should.
We've kept a blog for a few weeks at our website which is still under major construction. So I'll post those older goings on, then update you on some exciting new stuff. Like you care...
You should.
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