Home Studio Acoustic Treatment Questions Answered: Ask John Brandt

i find your faith in the batteries disturbing you're not even watching this are you well i'm watching now john [Music] hey there i'm dan the self-proclaimed lonely rocker welcome to this episode of the journal the place where i rants are enlightened on topics related to the creation of music acoustics these are the building blocks of any studio whether you've got a professional studio or a home studio now if you're a home studio enthusiast like me the topic of acoustics has come up i think at least once along the way now what better person to ask some questions than to someone who's been in the game since the early 70s started in live sound moved into studio production he's worked with all sorts of notable people along the way including people like eddie kramer billy gibbons paul simon just to name a few he's best known as a studio designer with over 800 studio design credits to his name that's worldwide that's big and small studios along the way he made his way to indonesia where he continues to run his studio consulting business and in fact since he's been there he's designed another 200 studios so this man is loaded with all sorts of information and he loves talking about it he's also in the process of writing a book he has a facebook group to support that endeavor of course that link will be in the description and he has a website full of all kinds of free resources again i'll link that in the description make sure to check it out we'll be referencing that throughout this video and to make this even more interesting the home recording studio zone by the way count how many times i get that name wrong sorry ricky regardless this is the best home studio group on facebook tons of great conversations in there well i threw the topic of this video into that group and i got a bunch of questions to include in this video i've had picked three of them plus a bonus question from the founder of the group himself and on top of all that two of my mates out there on youtube two great youtube channels they've supplied a couple more questions everything circles around the idea of acoustics in home studio so i'm really excited to introduce today's guest that would be mr john brent let's get to the conversation hey john how's it going very good thank you thank you for having me as you know i have a channel here that faces the home studio enthusiast and so we're going to get into a lot of questions about home studios and hopefully we'll dispel some myths and just educate sort of the beginners and intermediate guys who are making music at home i'll thank you in advance because john has an extremely busy consultation schedule and finding time to get to him for an actual consultation it takes sometimes his calendars filled for weeks or months in advance so it's a real treat to have him available for this conversation so just want everyone to know that i'm i'm always available one for my clients and two for people asking questions first consultation is always free i feel it's uh it's it's my duty or one should leave this world a little better than they found it and rather than holding information hostage i'd rather just share it freely and of course of course i have to make a living and if you want me to do a design for you well yeah you need to compensate me well i do encourage people to check out the website there's some amazing stuff you have resources as well uh so i will link that in the description so after you've watched this video make sure to check the description for more information about john and what he does it's certainly very enlightening for sure as i mentioned earlier the home recording studio zone is a group on facebook that caters to the home studio enthusiast and in my opinion it's the best group out there because it's just well run it doesn't have all that drama that some of those other groups have so if you want to learn more about home studio recording and mixing or just want to be part of a great community i'm going to put a link in the description below make sure to check it out i'm there john brandt is there as well as a lot of other great people so definitely check it out so as i mentioned i've got some questions that came from that group and the first one is up next so the first question is uh going to come from steven foster what are the best bang for buck first steps we can take to give a decent foundation in our home studios the primary thing that people neglect in a home studio situation is finding out if the dimensions will work for them and we're usually dealing with a bedroom or living room or some other spare room or something like that and they're often too small however if the modal distribution is decent you can treat it so that it's pretty pretty damn good um and a second thing that that people leave out is ventilation if you don't have fresh air you you go you make a studio you make a soundproof door and you seal it all up so you're going to end up like like like like jim carrey in the rhinoceros and ace ventura when nature calls and he must have air you know but um yeah it's it's you don't want to be apollo 13 all over again make sure you have good ventilation mini split doesn't cut it you know i didn't expect that as a first thing to think about so that's uh that's really really interesting we're going to have more questions that i'm sure will fall under this category so why don't we keep going into some of the other questions hey if you're enjoying this video so far you know what clicking that like button goes a long way to really helping this channel and i really appreciate it of course you can like and subscribe and by the way i've got some bonus footage on my patreon account there was some questions about bass traps and i decided to stick that up on my patreon account so i'll put a link to that in the description below all right let's get back to the video two things i get what i would say is probably the the biggest questions i get and one of them is about the fabric uh this is what i use at my shop here we have a shop where we build our the all the treatment that i design for studios this is a nice fabric it's made for seats you know for chairs and coaches and i think curtains maybe or whatever but the important part about it is that it's it's it's not itchy it's made out of polyester it's a polyester fabric that's one thing you should look for because polyester is naturally fire retardant we've had all our our our fabrics tested for europe european standard and us standard so it can go anywhere and you should be able to put it across your face completely seal your mouth and just breathe you don't have to blow and feel your breath you just have to be able to breathe very easily you can hear the difference right hello hello hello hello it's not much and if they if you get fabric that is tested it's going to you're going to test it for insertion loss that's the test or gas flow resistivity so you want very low gas flow resistivity in other words you don't want it to resist the flow of gas or air if gas comes out of your mouth well then that's what it is or anywhere else i guess yes i have a lot of hot air that's what i got anyway so that dispel is a major myth and i get so i can't believe how many questions i get and people suggesting there's some especially laboratory tested fabric that's very simple yes it's very simple just the fire resistant and polyester fits that bill any polyester fabric 100 polyester and you can't see through it you know we can put this up you you can't look i'm bumping my mic you can't see me i mean even the lights on me now but you still can't see through this you can't see me right okay so as the next one that i want to touch on this is the other and this is can turn into a massive debate i don't want to go so deep into it but obviously the inner absorption materials now i use rockwool in my panels i've had a little hesitation to use fiberglass just general fiberglass material in my panels just based on my reading but i know there are some people that swear by the corning what's it 702 or what's the the brand of corning people like to use yeah that's old style that's architectural acoustics works fine for architectural acoustics when you go two inches that's okay but do not go more than four inches thick in any dense fiber it's base reflective it does not make a as i as i like to say my young padawan a bass trap it does not make you want lightweight fiber whatever it is rockwool fiberless doesn't matter they're both excellent uh fiberglass tends to whip moisture but we're not worried about that with acoustic panels okay there's a lot of things that people do no it's not going to wake moisture you're not putting it on the floor you want to print it up off the floor about four and a half to six and a half inches okay that's all what i usually do in my designs i'll put a wiring trough all the way around the room and the treatment sits on that and it's up off the floor it's not going to get wet actually speaking of the floor that's something that's not often discussed my last studio it was a carpeted room this studio was hardwood uh what do you recommend for floor do you like anything carpet the combination no no carpet carpet carpet kills the mid-range the mid and uppers you need well if you do an l-e-d-e treatment live in dead-end or reflection-free zone treatment style it doesn't matter it doesn't matter you're you're screwed anyway it's not gonna not ever gonna be accurate it's a fact so if you have see if you have a hard floor but maybe just a couple of area rugs just for comfort as you can it's not going to hurt well you know because all right what you want the the goal of a mixing room is accurate reproduction all as tom hidley always said you you just want to hear what the speakers are telling you what's on your tape what's on your what's on the record okay that's all you want to hear you don't want to hear the room's comments you don't want to hear any any distortion okay because that's what it is it anything that is you know when you look at an analyzer anything that's different from the input signal you take the input signal output signal you invert them and you see the difference and you measure that difference and that is the distortion of that unit so you do that to a room and you can look at the difference you go wow i got a lot of distortion right so you want to eliminate the distortion of the room at the same time you need enough low level reflections and this is contrary to the lede criteria you want enough low level reflections so that the human occupant has a sense of a room and this is this can be at the subconscious level you don't have to consciously hello tess i don't hear the wall you do you if it's designed properly you can hear it it's way down there it's way low but there you you can you have a sense or a feeling of comfort that you're in a room where you can hear you know you're not you're not going to fall off a precipice based on what you just said i'm going to ask you a question that would could spawn a two-hour conversation but i want a one-word answer okay you ready for this one i know it's gonna be hard but i want a one-word answer there's three possible answers to this question can you mix a great sounding record on headphones yes of course of course you can okay yeah yeah all right so i want to engineer as if it's even possible to answer that question in only one word let me say this a good uh uh engineer producer can do anything anywhere and i've worked with eddie cramer okay he did led zeppelin he did jimmy henry she did i actually met eddie okay yeah it's great he can he can get it you put him you give him a job he'll do it he will do it and it's that's that's what most of these really really big time pros do they get in there and they work it they work work work it's their love that's what they do you know and [Music] but it's my job as a studio designer to make your job easier and faster um it's not that you cannot mix a record in certain situations headphones or whatever you you know that's that's not that's not what having or building a studio is about whether you can or can't anybody can it's just a lot harder i mean you should see some of the early early rooms we used to used to working in the in the late 60s and early 70s oh my god look at rca studio b if you tour nashville go look at the recording area the booth where they have this horrible electric lady studios in in new york jimmy jimmy's first place that stork did horrible control room horrible little place oh god but but the the the people that work there those those are the ones that made the magic and i've had this conversation with with guys in in my book group you know and they said well what about all the great things in most studios and muscle shows the studios are pretty and they're cool but they're not great studios the the people that worked them made it made it great it's amazing and one thing i actually touch on my channel a lot it depends on the type of music you're into but certainly if you're into more of a rock classic rock rock or you know that kind of thing where the studio experience is is part of the music listening i mean i mean i'm a big rock i'm a big rush fan and rush is synonymous with list studio and more nights go back which is sadly no longer and people still talk about that studio like it's their home you know and um but i think what you just said a lot of the sounds that we crave came from an era where things were imperfect and in the digital world where digital was designed to be perfect and people realized well perfect doesn't sound good so now we're empty we're emulating imperfection to try and recreate the sounds that we until it's over created decades ago it's a learning curve okay it's it's a tool and you need to learn how to use the tool that's really all it is uh it's a generational learning curve and once we get this well what we're getting it now we're getting there yeah it's not it's not about perfection necessarily it's about it's about the magic it's about getting the band together it's about humans creating this thing you you see some really good musicians producers and engineers all together at the same time and you get the whole band whatever it is two-piece three-piece five-piece whatever it is in there and they jam and work together i personally i love all kinds of music it doesn't doesn't matter what style it is if it's good it has to be good well that's it i i my kids i uh my kids are young and i'm trying to condition them to know the difference between what i call it push button music and musicians who spent 12 hours a day holding a craft and i say i tell them all the time carry the torch rock and roll where rock and roll is really a mindset whether you like rock or country or pop it doesn't matter but carry the torch you got to learn to appreciate music for what it is it's a craft and the craft can't be learned look at all the the grunge guys and the rap guys the the the the hip-hop guys the the i mean snoop dogg he did some killer stuff i mean dre did some great stuff eminem and all these and a lot of the recent uh guys too there are some that come out seem to be following in their in their footsteps and doing stuff and and it seemed a little bit manufactured so i mean yeah you know you'll know it when you hear it you know we hope so unfortunately music is fast food for i would say in probably more than 90 percent of the listening audience but that's another video maybe we'll touch on it to follow all right i've got a question from a really good friend of mine mike creative sauce awesome youtube channel i'm going to put a link in the description well mike has a question for you hi dan hi john thanks so much for doing this my question is this i'm guessing most people when they get to choose their room for their home studio don't really get to choose at all it's whatever room is left after the other ones have been filled so they may end up with a room which is small for example or they may end up with a room which is not a great shape like a square room for example so my question is what strategies can we employ to tackle these kinds of issues well mike um thanks for the question it's complex and probably need more information on that however if the room is too small there are lots of things that you can do if it's oddly shaped you're kind of in trouble um it's it's it's you're almost fighting a losing battle but uh and by square do you mean a length and width are the same dimension that's not good or width and height is the same dimension except not good it you you need to have good modal distribution or you're fighting a losing battle uh trying to treat it because you can't treat modal issues uh just like uh a horn player playing with this is his uh his tuning i don't know what you call it if you're a trumpet player you know what it is you slide this piece out to tune it okay if it's pulled out so you're a quarter cent flat and all the other horn players and you're playing on the street with them and you will sound like garbage you will sound terrible uh and you can wrap it with rags and stuff with fiberglass and it's still going to be bad so you can't treat a resonance that's off you need to tune it so you get those the modes so you have you have a good distribution so you meet oscar benello's criteria and and then you're off you can often fix a room by adding a layer of drywall just to one wall or the ceiling or whatever but run run the mode calcs use the mode calculator and that'll that'll help solve or help lead you in the right direction another creator ed thorne uh he's a drummer based in the uk he's got live sound experience a great youtube channel but he is a drummer so uh let's take a listen to a question from ed thorne hi john and dan glad to be here with you guys so my question is i'm recording drums in a rectangular room with my drums facing down one length of the room and my mixing station facing down the other the building is built of breeze blocks and on the inside walls from floor to ceiling it's covered in rockwool the ceiling is a bit lower than i'd like at about 2.4 meters and the floor is made out of wood is there anything you can suggest i can do or remove to optimize the sound for both recording drums and mixing looking forward to your answers guys thank you oh ed thank you thank you uh thanks for the question again what you need to do is you need to run the room mode calculator for my uh tracking room mode calculator it's available on my resources page get that put your numbers in it um the rock wool should be completely removed um it doesn't help there except to kill the top end and give you a muddy sound and the floor is great hardwood is fantastic the ceiling should be trapped down according to whatever the room mode calculator tells you at at 240 you should probably treat about 15 centimeters at least with lightweight glass wool or rockwool lightweight comes in a roll do that in the ceiling that will make a huge difference but then you get then you have reflective walls i would leave honestly i would leave the wall behind you completely bare just plain hard cmu block the other walls on either side treat them differently but have them all treated about most likely uh uh 20 to 25 centimeters deep uh it depends on there's lots of lots of options there but you need fiber which will it works in the velocity region and that will that will absorb the higher frequencies and membranes or limp bag membranes in the pressure region for the low frequency so you want to get it tight you want to get it smooth you want to get a a nice um a mean free time curve so it the the low frequency drops off down to 200 and then it goes flat gets about 8k and then just rolls off really pretty and it kind of follows this empty curve but it's relatively flat you want it pretty flat in there with a little tilt on the bottom end roll off on the top and that's your what people call the rt60 but it's not because your room isn't big enough to even have rt60 so we call it mean free time for the home guys you know the diy guys i mean like tearing down a room sometimes is not practical but i think in the middle there you know dealing with the you know the the reality of your room there's certain things that you can fix but there are things like you said ultimately if you can somehow craft the sound that you're going for there's certain things you're going to have to live with but then there are some things that you can do to try and compensate the best you can and um and i think that's that's the point i think i took from what you said so um so another question from now this is from ricky t brown he is the founder and our beloved admin of the home studio recording zone where a lot of my questions from today are going to come from i got more later so we're going to cut to a video question from ricky t brown hi guys uh i got question um everybody is kind of familiar with the broadband absorbers argument um but i don't hear quadratic diffusers mentioned very often do you think they should make up a part of your acoustic setup or are they not really necessary thanks ricky that's a very very good question i a lot of people are asking this and uh it's just going on and a lot of times the the the the popular opinions just prevail and it's not good honestly you don't want uh in a in a tracking room yet a qrd might be very handy and and we you have to remember that it's uh it has a purpose it does a certain thing and and and form follows function so if you want this function then you put this thing there to perform the function you know it's like if you're doing photography you put a light this way so you get the shadows like that right there is quite a bit of phase change that occurs with a quadratic residue diffuser any any diffusion device actually has quite a bit of phase change a poly cylinder will have actually will will not have phase change it will if i'm if i'm remembering correctly it will it will disperse in different directions but it won't necessarily change the phase um sharp edges will diffract and attenuate the sound but will give a sense of airiness you know and depth but they don't change the phase and cause comb filtering like uh phase change devices do a lot of times you know like a a cylindrical um geometric device on the wall just a part of you you take a a cylinder and you cut a piece of it off and you stick it on the wall that uh that's a pretty good uh diffraction diffusion device that that maintains integrity of the sound um yeah it's a complex question but i'd never use a qrd in a control room because it it introduces a lot of anomalies and you never want to put them in a reflection zone so qrd is good for a tracking room but not a mix yeah it's really good for tracking i mean the the lede criteria and and rfc especially because peter de antonio designs diffusers and so he uses them all over the place um that's fine but it creates a lot of comb filtering at the mixed position high level which is not really what you're looking for you know yeah everybody everybody looks at it does their rew graphs and you see all these days why am i getting all these dips here well you got a lot of reflections and they're causing comb filtering audio is a very complex science is it is it's more complex than you would think and the more i mean i've been in it for all my life and it i learn more all the time and i go oh my goodness um you know you you realize i'm sitting on the edge of this abyss and i'm looking down into all the nothing that i don't know it's like all of this i know this right here you know but this i'm going to find out i'll tell you know the irony of me and my youtube channel is i'm actually a video professional i have 25 plus years of production experience i've done commercials music videos television shows i've worked in big studios small studios i've been on set i've you know i've shot on 35 millimeter film i've done it all in video production i started a youtube channel about audio production which is not my first expertise it's because i i've been playing music longer than i'm doing video production and it's it's my passion so my channel has been a learning experience for me but it's amazing and i will tell you someone who is a video professional is that audio is far more complicated than video and uh for one reason and one reason only you can see video but you can't see sound and it's you have to use your tools you got to learn about how to read your tools and it's extremely complex in comparison to video and that comes from someone with a lot of experience in video production so i just wanted to say this 3d sound is in 3d of course i mean you know visual is kind of well it's it's still 2d when you look at it you know it's a it's a merging of colors and and and focus and and different things it gives your brain the image in 3d but um i i know that myself and a few of my colleagues actually see sound in 3d it's easy to you know then you can if you understand the math behind it then you think you you kind of put it oh yeah you see how that that's working you know uh and i'm doing my best to describe this as i write my book sometimes in short posts in in in for in these groups and uh on in facebook or forum or whatever it's difficult to get these little sound bites to make sense and i'm i'm guilty of you know not being clear sometimes and uh but i i i know already probably even in this group there's a lot of people that already don't like me because i've said some things it's so true though people you know they ask the questions and they want you to validate their opinion as opposed to listening to the answer and i say it all the time sound doesn't care sound has no feelings sound will go where it wants to go where it has to go it's purely physics and there's no debating it and uh it's it's but at the same time people are passionate about it and i think it's what makes this fun uh like as a diy er like i said my acoustic panel video is huge i don't claim to be the expert but i've had professional acoustic panel companies sort of get into the comments that are trying to blow holes through what i'm doing and i said listen i'm not going after their customers i actually believe you need a professional if you're building a professional environment but as a guy making music at home i believe there's a lot of great things you can do to improve your situation and it's an opportunity to learn and get better over time that's it all right so i want to get into a couple quick practical questions one i want to tie into something ricky's question about diffusers now as i said i've had a few very successful acoustic panel build videos they're easy to make and your room does improve whether you're addressing all of the issues that's a different question uh if you're not taking proper readings but diffusion is it possible to make an effective diffuser that will at least create some benefit without having to get into the weeds of calculations i could post some but i use a high prime and i use it i don't don't go any further in depth than than 20 centimeters or eight inches and because testing has shown that the depth doesn't matter so much it's the surfaces just the surfaces so in blackbird studio c they've got all these long big long and they're supposed to diffuse the to this depth well it actually doesn't work that way very famous studio people some people are arguing that it's the best sounding room in the world it's not it's it's not it's a little strange but they've apparently changed that room a lot too that's the other thing i've heard i've never been there so it needs to be kind of redone but it was a good experiment and we learned a lot you know well that i think what you just said experiment and i think that's what makes audio so fun is that you should take it as an opportunity to experiment try different things so like you said some of the best records in the history came from some rooms that sounded terrible but through experimentation and expertise they delivered magic right that's what you've been saying yeah yes indeed now if you want to get into design and you want to do that by all means experiment and but you need a mentor you need to make sure you really read up on the on the science and understand the physics that's that's the key right there well actually that's an important distinction if you are interested in pursuing a career in acoustics uh obviously you want to do it for real i mean if you're young and you're experimenting go for it but definitely learn the science learn the science behind acoustics you know how many studios i up before i could before i got it right [Laughter] hey but that's what it's all about i'm serious there are there are no designers living today that didn't really screw up a lot of studios when they first died actually this ties into a question another question from the home recording studio zone a stephen dines what tools can i use to determine how well my room is treated and that can guide me to what i still need to do we use rew because it's free and i won't i won't ask my clients to buy something unless it's something they can continue to use not just for me see um but i do recommend the uh the umik-1 or umik-2 from minidsp because it is calibrated for spl and frequency response so you can you can really get some accurate measurements with it without calibrating every all your system everything you just set it up and test and roll actually when testing a room you need to test about at least 30 points in the room to get an accurate idea of what's going on in that room and i only do this after the final installation is done i don't test a room before during or during i test it after done you either design it right or you you know you're you're just i don't know you're you're you're chasing your tail there was one one fellow i remember in gear that was always telling people well try this and then move the panel and then test it and try that and then move it i i got mad at him i said what uh what the hell are you trying to tell dude these people just want to make music leave them alone just put some panels up and get to work you know that's what i say yeah just get to work you know quit you're running like chicken with his head cut off i mean it's a wild goose chase it's ridiculous so rew is a is a good tool i'll put a link in the description yeah and when you use when you when you download the free rew rooming q wizard if you got a buck five buck twenty buck whatever send john a donation please the the the the designer of rew he's he deserves it we all are looking for resources and many of us are trying to make a living doing this and if you are using a piece of freeware and you it actually really helps you you know a couple of bucks for the price of a cup of coffee it's a nice way to say thank you to someone who spent probably years developing something that's useful for thousands of people to use so cal calamari another member of the home recording studio zone asks working in a small room that's about what's his room it's 12 by 12 by eight can you overdo absorption you can overdo the top end absorption yeah if you if you kill off all the top end and like if your treatment is thin and you cover all the walls with it well you're kind of that's that's what people call two dead but it's not even dead at all because all the low frequencies are still ringing just like they were and that's all you're hearing you feel like a pressure in your ear that's you kind of tilted your heart that's because yeah it's got a tilt like this very long decay on the low frequency and nothing on the top end your curve needs to be kind of like my arm so it's kind of flat here and it tilts up at the bottom end you know so you've seen my studio i'm sitting here i'm actually at the opposite end of where i guess the front is where my desk is this room is about is over 30 feet long now i've treated the area around my desk i've got my corners i've got behind my desk i've got the sides first reflection points all covered uh i've got the clouds taken care of but i don't really have any treatment at the back of the room there's a wall unit here like a bookshelf kind of thing there's some furniture there's a couch but it's about 30 feet from my desk do i need to do anything this far back you really can't um it's the entire room uh creates a your modal distribution length width and height okay so and your room is probably too long to meet vanilla so it's it's like dealing with what you've got and it's okay deal with what you got what you've set up is a reflection free zone that's really uh what it does it'll get you a workable space and it's better than nothing and i don't need to try to build something yeah no don't keep trying stuff don't keep doing this and try this you'll never be right i'm not i'm not saying that as uh you know um being mean or anything or saying you know it's hopeless no it's not far from that it's workable just work it don't waste time trying to make it perfect because it won't be can't be all right so i've got one more question it's a common question i get uh on my channel and there are some myths i think involved in this topic but uh i'm not talking specifically about the physics of hanging a panel but mounting a panel in a studio i mean there's talk about air gaps and all of those type of type of things considerations people need to think about when making their panel having natural gaps built into the the frame itself should we mount it off the wall against the wall uh what are some quick tips in mounting just general broadband absorbers in your studio if you can make a gap and pull it out from the wall you can connect it to the wall with that same depth here's the trick by moving it away from the wall yes it increases the peak of absorption at that frequency okay it doesn't change that frequency but if you connect it to the wall it moves that frequency down lower which is what you want so uh the the benefits of moving it out from the wall you still lose that space why not seal it to the wall and close it fully and bam you move that that frequency down lower and it it works a lot better i've had this discussion and a lot of people don't and i've even put charts up there uh myself and ron sorrow and put charts up from the testing lab how he explains how it's better this is don't gap it don't put an air gap with open make sure it's closed and then it works so much better so if you're making for example because i typically make a standard four four inch panel where i'm making the frame with one by four the material inside let's say i'm using rockwool safe and sound it's it's about through two and a half inches three inches thick uh so you'll give yourself about of an inch of a gap there would you suggest making the panel a bit deeper or is that one inch gap well this gap is fine in the back okay but if you take that whole panel and you extend the wood so it's another four inches deeper it will it will lower that frequency and it'll increase the absorption interesting all right so so really just make your frames a bit if you want if you were trying to capture absorb frequency a bit lower then make your frames a bit thicker and let the pressure do its thing behind it make it sealed um if you just put the fiber into the velocity region there you got no pressure trapping at all you got you got magic instant easy pressure trapping by closing it you know and i have people arguing with us and they don't understand the charts they don't know how to read them and they go okay well i you know i feel like you know the sackcloth prophet said well let's say it nobody listens to me well i think on that note john you've given us so much to think about i mean my takeaway from all of this is that i mean obviously we can't cheat science but we can make music and the most important thing for the home studio guys to consider is that the focus on making music improve your environments the best you can with the resources that you have don't lose the opportunity that you have to make music today because there's a lot of tools that we've got at your disposal and you know studios are are built a particular way because they have to be and they generally don't start in a pre-built worm room they generally start from scratch and they're built properly we can't do that in our bedroom so we have to just make music and make the best uh do the best we can with what we have you can change your room a little bit and bam it's going to work like magic uh but if you want to go to that level that's up to you the the only reason to do that is to make your make your job easier and faster and more enjoyable that's the only reason that's that's my only purpose you know i can't i can't help you make a great record but i can just make it easier for you to do your fantastic job i mean it's you guys i you know all you music makers and and and engineers producers songwriters etc it's you it's all about what you do it's not about what you have so the the three word takeaway i think that for all this is learn your craft yes yeah learn your craft do it get get to work on what you do and learn to to do it better regardless of your atmosphere of course it's it's troubling of course it's a pain to work in some of these rooms get some treatment up at least and then deal with it don't depend on dsp room correction software because it honestly it works contrary to the laws of physics and if you start using that it'll become crutch to you and you're not going to hear the room like you need to because you've got a your jellywear is much finer processor than any dsp i'm serious for hearing what's going on you walk around the room okay i know what this room is doing because you've experienced it you go and you work and you work and work and you gain that experience then you can just like mix anywhere so really the other three word take away from all this is learn your room learn your room and deal with it and work with it and and hone your craft all right on that note john i want to thank you so much for your time this has been an enlightening conversation and i really appreciate your insight you're very welcome thank you guys and i hope we can do this again well there you have my conversation with john brandt i want to thank john so much for lending us his time and sharing his knowledge with us some really really invaluable information there you got any messages for john you want to leave your thoughts about this video hey that's what the comment section is for i'll make sure he sees those my biggest takeaway from this video was you know what if you're a home studio enthusiast just make music you can create some some panels i've got a lot of designs here on my channel to improve the space that you're in but don't get bogged down trying to figure out all the issues because likely you won't be able to do that leave that to the professionals unless you yourself want to become one of those and then you got to learn how to do it but the rest of us perhaps we can work hard and dream of one day having someone like john designing our studios wouldn't that be great anyways thanks again to john thanks to all of the contributors to this video i'm talking all of you in the home recording studio zone the founder ricky my mates mike and ed you really helped complete this video and i really appreciate it and you i hope you enjoyed this video perhaps you could consider clicking the like button how about subscribing and ringing the notification bell helps to grow this channel and i really appreciate that you know what the most important thing is maybe to check out a couple of my other videos i've got some right here for you to take a look at and i really hope i'm going to see you again in another video

Channel: Lonely Rocker

Views: 905

Keywords: acoustic, acoustic panels, acoustic treatment, bedroom music studio, diy home studio acoustic treatment, home music studio acoustic treatment, home studio, home studio acoustic panels, home studio acoustic setup, home studio acoustic treatment, home studio acoustic treatment guide, home studio acoustics, home studio diy acoustic treatment, home studio treatment, john brandt, john brandt acoustics, john brandt studio design, john h brandt, sound panels, acoustic treatment diy

Id: W6gGBipuFtY

Length: 42min 43sec (2563 seconds)

Published: Sat Dec 18 2021