Low frequency energy within our rooms has certain behaviors and relationships with other low frequencies that must be maintained and treated for in all small room acoustics. Low frequencies must be balanced within all of our music rooms.In this video, we look at 30 , 40, 63, 80 Hz. and how this energy moves within our Sacred Ground Studios in Hollywood, California.
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Recorded Audio
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Recorded Audio
& Test Tracks
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We will begin with a series of videos on how energy works within small rooms. Measurements are the way we take our wants and desires when it comes to sound quality and put numbers to those wants and desires. We quantify through numbers, what sound qualities we desire for our music room usages. Unfortunately, there is a lot of misunderstanding in the numbers themselves, what they actually mean, and how to apply them to the sonic features and benefits we desire.
We will look at each frequency, its magnitude, and how it fits and gets along with its neighboring frequencies, and how all the frequencies fit within the room’s total musical presentation. Lets first start with frequencies below 100 Hz. because these are the real low frequencies that must fit and work well with each other within our room dimensions and volume.It is the frequencies below 100 Hz. that we must get right or nothing else within the room will make sense. A low end of mud and soup is not the foundation you want to build any musical presentation on.
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Live Recording
from Sacred Ground
This instrumental track was recorded at Sacred Ground Studios, without using any effects on the audio stems. The track is in mp3 format but you can download a high quality (96 kHz, 32-bit, 244 MB) WAV version. If you like you can also view a sheet with recording details like preamps and microphones used for the recording.
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| Channel | Preamp | Instrument | Microphone | Pattern | Phantom | Type | Notes |
|---|---|---|---|---|---|---|---|
| 1 | NEVE | VOX | M300 | CARDIOD | CONDENSER | ||
| 2 | NEVE | KICK DRUM | RE-320 | CARDIOD | DYNAMIC | didn’t use in mix | |
| 3 | NEVE | SIDE | D-112 | CARDIOD | DYNAMIC | didn’t use in mix | |
| 4 | NEVE | OVRH (MONO) | 44CE | FIGURE-8 | RIBBON | ||
| 5 | ISA 428 | SAX | M300 | CARDIOD | CONDENSER | ||
| 6 | ISA 428 | GTR | M300 | CARDIOD | CONDENSER | ||
| 7 | ISA 428 | ORGAN | X-15 (U) | FIGURE-8 | RIBBON | ||
| 8 | ISA 428 | ORGAN | X-15 (L) | FIGURE-8 | RIBBON | ||
| 9 | APOLLO | ROOM (STEREO) | BRAUNER (U) | N/A | |||
| 10 | APOLLO | ROOM (STEREO) | BRAUNER (L) | CARDIOD | CONDENSER | ||
| 11 | APOLLO | BASS DI | DI | CARDIOD | CONDENSER12 APOLLO | ||
| 12 | APOLLO (12) | (PA / HP) |
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Session with Terra Naomi
This session with singer and songwriter Terra Naomi was recorded at Sacred Ground Studios in LA. Terra was standing 2′ and 4′ away from the mic, which was placed approximately 1′ from three diffusers, which formed a half cirlce around the singer. In the staggered versions, we left a 12″ gap between the diffusers, allowing some of the sound to pass through them.
You can download the high definition (96 kHz, 32 bit) WAV versions below:
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More Recordings
This recording is done with alternating absorption and diffusion exposed to the microphone. You have foam panels then diffusion and foam panels. This allows for 50% absorption and 50% diffusion at the microphone position.
This recording is done with the foam panels positioned to one side to allow for maximum diffusion at the microphone position directly behind the drums. Two dimensional diffusion allows for middle and high frequency definition and spaciousness.
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Visualizing
Sound Diffusion
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Sound diffusion separates and defines the chosen frequency response range. In this graphic, you can see this separation and definition in the spectral frequencies as you move closer to the diffuser. The set up is saxophone at 6′ from microphone which is at 1 ‘ from diffuser which this distance is kept constant, then P-23 diffuser. Second set up is 3’ closer to microphone. Check the graphic to see the exact test layout.
Notice the separation and layering of frequencies. See the low end get more audible as you move closer to the microphone. You have a tool with which adds separation and definition to your music and vocals and you can do it in the analog domain using quadratic diffusion. Care must be taken to match the frequency response of the diffuser to the instrument being recorded.
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Frequency Response
Curves From Sacred Ground
From time to time, I will be posting frequency response curves of songs I playing inside Sacred Ground. These are real time measurements at 50 % or so into the song. Figure A is real time and figure B is muted, so you can see the response curve more easily. SPL levels left side of graph.
There is no electronic EQ. This is a real time signal into the room. All measurements taken at the listening position.
The song is Sade: Bullet Proof Soul
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Figure A
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Figure B
