Acoustic Design for the Home Studio. Este artículo no está disponible.Acoustic Design for the Home Studio

With the advances in digital technology, musicians can now produce their own music at home. Over the years the gear has gotten much better, and musicians have learned a great deal about recording. So why do so many musicians and engineers have diffi culty getting truly professional-sounding results? One reason? Acoustics. If the room you're working in has poor acoustics, it will be extremely difficult -- if not impossible -- to produce excellent results. You can't capture a true sound if the microphones don't hear the instruments and vocals correctly. You have to be able to hear what's truly going on with your tracks to make the proper decisions about editing, equalizing, processing, and mixing them. Acoustics can be a complex, math-laden science, but treating a room to make it sound great and function optimally as a recording studio needn't be difficult nor require hours in front of a calculator or computer screen. Improving a studio's acoustics can be simple and inexpensive -- all you need is some guidance. Acoustic Design for the Home Studio focuses on creating a greatsounding home or project studio in an existing room. It teaches the basic principles of acoustics that affect you in your home or project studio and how to solve any acoustical problems you may have without laying out much (or any) money. Whether you're converting a bedroom, a garage, a basement, or a corner of the living room, this book will help you improve the sound of the environment in which you're making music. The principles are easy to understand and the materials used for treating a room are readily available. Diagrams and photos of actual rooms created with the designs are included to illustrate concepts. Whether you want to pursue a no-cost solution, use "off -the-shelf" acoustic materials, or even splurge with an unlimited budget, you'll learn how to put your room together easily and effectively..

Mitch Gallagher has been chasing guitar tone for more than 30 years. He toured as a lead guitarist/vocalist in rock and country bands and has played with big bands, with fusion and experimental music groups, and as a classical and steel-string guitar soloist. As a music technology specialist, he has taught college courses, lectured, given clinics, consulted with manufacturers, and spoken at festivals, conventions, and conferences around the world. His musical compositions cover genres from classical to experimental to heavy metal. His work Prophecy #1: At First Glance, an experimental percussion ensemble/synthesizer work based on the Fibonacci number series, received a 1991 NARAS (Grammy) award in the Best New Music/New Classical category. The former senior technical editor of Keyboard magazine and former editor-in-chief of EQ magazine, Mitch has published well over 1,000 articles in music, guitar, and recording publications. His monthly column, Guitar Tracks," currently appears in Premier Guitar magazine. He appears in well over 100 YouTube videos. In addition to freelance writing and editing, he is an adjunct faculty member at Indiana University/Purdue University Fort Wayne; he operates The Sound Sauna/MAG Media Productions, a recording and mastering studio; and he is the editorial director for Sweetwater Sound in Fort Wayne, Indiana."