Our data base had both rooms. We had built and measured both Capitol Records and Studio 2020 room sizes and volumes. Capitol Records needed 80 sq. ft. of broadband absorption surface area. Studio 2020 the same. The areas of highest pressure or unwanted lower frequency modes is in the front and sides of the board.

Proper and successful positioning can be achieved with our carbon broadband absorbers, since they are on casters and easily moved. Lowering RT-60 times was achieved through the foam face on each ACDA-10 unit. Additional foam pieces hung on the walls in the live and control room rounded out the treatment.

Live rooms present their own set of challenges. Live rooms must have the size and volume necessary to allow the microphones to hear the room and then translate that room size and volume to the mix. These rooms exhibit the same low, middle, and high frequency issues present in any small rooms even though most live rooms are larger in size and volume.

Low frequency modal issues coupled with high RT-60 (reflection) times must be addressed using the proper absorption and diffusion technologies. We will be adding a drum platform to Studio 2020 along with a new product which is our 2″ foam technology in a portable platform.

Diffusion on the rear wall of a control room must satisfy many criteria. First, you must calculate the distance from diffuser to the monitoring position. This distance calculation is necessary in order for the lower frequencies to fully form at the monitoring position. Secondly, you must calculate the height of the diffusers in relation to the monitoring position.

Finally, the proper frequency response of the diffusion sequence must be calculated and applied. As a general rule for control rooms, it is best to use the widest frequency response that space will permit. The broader the frequency response, the deeper and wider the diffuser.