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So now where are we.
the carpenters are all working away building the frames and
ceilings etc to make up the general infrastructure of the three
rooms. Massive amounts of 16m drywall and copious amounts of
insulation have gone into the wall structures and Mark has followed
it all with endless quantities of sealing and sanding off.
we reach the point in any studio designers field where we have
to start the unassumed and often unaccredited area of our endeavour
- that being the interior designer.
should first be understood what we are building here. This is
not a commercial studio. It is a music room for Ameril and his
family and is in essence an extension to his home. It's not
designed with a front office or a street front - it's a home
studio for someone who can afford to have a little more than
have used sliding cavity doors for example which are an acoustic
nightmare yet I have included them to create that feeling of
a living room as opposed to a rigid door sealed studio atmosphere.
When all the doors are open the building will have an open feeling
and Amirel can work on his piano in the main recording room
and feel that he is still in his own home. I now must incorporate
that feeling into the acoustic wall treatments that I have decided
have been playing around with the design of the slot resonators
I want to put into the rooms. I found when drawing them they
had an old English Gentleman's feel about them with all the
timber etc. yet one night I discovered that if you angle the
timbers not only do you create a variable gap between the slots
but you create a whole new approach to shape and proportion
and I came up with this as a style and approach to the interior
design. I call it jap-deco!!
I had a direction as this kind of wall had good acoustic properties
in that the slots covered the full range of the lower mids i.e.
200 - 800 Hz. The white areas were to be cloth over insulco
so it absorbed the frequency range above the slots thus creating
a broad band absorber down to 200HZ.
I followed this style into the room shapes and the wall treatments
I came up with the rear wall of the control room treatment using
the same style.....
blue and white sections are the cloth finishes whereas the remaining
(apart from the windows) are to be slots in all shapes and sizes.
We now have a joinery company starting work on these panels
in natural Australian timbers. The floor will be Australian
Tasmanian Oak which will be a blonde hardwood floor finish.
doors and all wall units will follow this pattern
different studios require different treatment. The Booths on
the left of the control room will be treated to be tight and
dead with a short decay time whereas the larger room on the
right of the control room will become a more ambient room. I
have designed a set of panels to go down this wall that will
act in two ways. In one mode it will be a reflective diffusing
surface with plywood panels and slot resonators yet when, opened
like doors, the wall will change into a dead absorbing wall
panels will now run down the west wall like so....
are called variable bass absorbers because in this mode they
absorb low bass through the panels and low mids through the
slot resonators. When the panels are opened it presents an entirely
different face to the room with cloth absorbers thus....
I intend to control the absorption of the room by opening and
closing the panels. So we are all waiting now - the carpenters
are now putting the final cavity doors in and we will start
on the speaker mounts in the next day or so.
have found a textile artist Nina Bishop who will create the
cloth coverings for the walls. She will do the section behind
the couch in the control room (blue) and the whole of the north
wall in the vocal booths. She has a unique style and an artform
and dying process that Ami and I feel will enhance the studio
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