Transcript Broadcast Studio, Recording Studio Construction and
Broadcast and Recording Studio Construction and Technical Considerations
By Jesse Role, Ph. D. TM - Electronics Chairman, Department of Technology University of Eastern Africa, Baraton
Topics Covered
• • • • • • • • • Studio design and size Internal and external environment Lighting consideration sound acoustics material considerations Room temperature Furniture and fixture Maximum and minimum expected performers Inventory Safety measures
Technology Considerations
• Number of desired studios • Acoustic treatment • Choice of acoustic material • Choice of studio equipment • Choice of transmitting equipment
Studio Design and Size
• • • Studio can come in various shapes, sometimes based on available space.
Types of studio – Main studio or broadcast studio – Remote studio- studio for performers who cannot control the mixing control.
– Backup studio-can be used as emergency studio in case other studio cannot be used.
Availability of funds
ROOM SIZES AND SHAPES
The size and shape of a room determine its natural resonances - often called room modes.
There are a few "ideal" ratios of room height, width, and length that professional studio designers agree should be used if possible. Three of these ratios, developed by L.W. Sepmeyer, are shown in the Table .
Height
1.00
1.00
1.00
Width
1.14
1.28
1.60
Length
1.39
1.54
2.33
•
ROOM SIZE
• • • • Example: 2.50 m height; 2.85 m width; 3.50 m length 2.50 m height; 3.20 m width; 3.85 m length 2.50 m height; 4.00 m width; 5.80 m length
Recording areas
• • Recording control booth – Editing area – Dubbing Performance area – Live broadcast – Pre-recording – Dubbing
Recording Control Booth
Symmetry matters! In a typical stereo mixing room, the loudspeakers are spaced equally from the walls and corners, and form an equilateral triangle at the mix position. The arrangement shown on the left is better than the one on the right because it's more symmetrical within the room. The layout on the right also suffers from a focusing effect caused by the wall-wall junction behind the listener.
ROOM SYMMETRY
Internal and External Environment
• • • • • Wind factor (considering wind flow) Sun orientation Room location Noise factor Possible vibrations
Lighting Consideration
• • • • • Lighting height Lighting lumens Lighting color Types of light Lighting control
Room temperature
• • • Constant temperature (22-25 degrees Celsius ) Recommended Air-conditioning Recommended blower fans
Furniture and Fixture
• • • Types of furniture Use of acoustic friendly furniture Minimizing un-necessary object in the studio
Please understand that acoustic treatment as described in this lecture is designed to control the sound quality within a room.
ACOUSTIC TREATMENT
There are four primary goals of acoustic treatment:
1) To prevent standing waves and acoustic interference from affecting the frequency response of recording studios and listening rooms; 2) to reduce modal ringing in small rooms and lower the reverb time in larger studios, churches, and auditoriums; 3) to absorb or diffuse sound in the room to avoid ringing and flutter echoes, and improve stereo imaging; and 4) to keep sound from leaking into or out of a room. That is, to prevent your music from disturbing the neighbors, and to keep the sound of passing trucks from getting into your microphones.
Acoustics material mountings
• • • Wall acoustics mountings Ceiling acoustics mounting Floor insulation mounting
Choice of Acoustic Material
• • • • • Affordable Available Replaceable Color Type of material
DIFFUSERS AND ABSORBERS
The simplest type of diffuser is one or more sheets of plywood attached to a wall at a slight angle, to prevent sound from bouncing repeatedly between the same two walls. Alternatively, the plywood can be bent into a curved shape, though that is more difficult to install. In truth, this is really a deflector, not a diffuser, as described in more detail below. However, a deflector is sufficient to avoid flutter echoes between parallel surfaces.
The higher frequencies (top) are absorbed well because their velocity peaks fall within the material thickness. The lower frequency at the bottom does not achieve as much velocity so it's absorbed less.
FOAM'S ABSORPTION AT HIGHER FREQUENCIES Material
Owens Corning 703 Owens Corning 705 FRK Typical sculpted acoustic foam
125 Hz
0.17
0.60
0.11
250 Hz
0.86
0.50
0.30
500 Hz
1.14
0.63
0.91
1000 Hz
1.07
0.82
1.05
2000 Hz
1.02
0.45
0.99
4000 Hz
0.98
0.34
1.00
NRC
1.00
0.60
0.80
rigid fiberglass that is two inches thick has an absorption coefficient of 0.17 at 125 Hz
NOISE CONTROL
Possible factors creating noise 1. Electrical distortion 2. Frequency interference 3. Wind factors 4. Computer fans or cooling system 5. Defective equipment 6. Defective microphones 7. Wrong equipment adjustments
Typical Studio Arrangement
Safety Measures Checklist
• • • • • • Fire extinguishers Main switches, must be soft touch Switches location and mounting- it must be in a non fire hazard place.
Fire exit signs, etc Evacuation plan layout Emergency Tel. Number
• • • • Equipment Furniture Tools Supplies
Inventory
Inventory Tag Sample Equipment Code Location MIC-BAFM-STU2-002 Ownership Item
Equipment Record
• • • • • • • • • Name of the equipment Description Brand Date purchase Manufacturer Cost of purchase Condition remarks Date repaired Date disposed
Possible dangers for transmitters
• Heat and Dust • Power fluctuations • RF reflection – Mismatch due to – improper antenna – improper tuning of the antenna – loose connections between the transmitter and antenna – Moisture – Inbuilt protection (fold back) • Lightning – lightning arrester – low resistance earth pit
A Clean and Organized Studio is Encouraging and Good to the Eye.
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