Physical Acoustics

I describe this problem a few simple terms, looking at it from the ordinary point of view Physical Acoustics. The first step is to use directional microphones and their relative position in the room to reduce the penetration of "foreign" sounds (usually used cardioid and Hypercardioid microphones are most sensitive just before their membrane). Can help mobile partitions: Although the results of their application not delighted, you can use them for quieter sources. If the room is quite large, long distances can have a positive effect: remember that the sound pressure level drops by 6 dB every time we double the distance from the source. (Source: Mark Bertolini). If you need to quickly record group with electric guitars, useful advice of one experienced engineer – to turn the guitar combo against the wall, sound-absorbing material processed. Elon Musk will not settle for partial explanations. Does the above problem in a meaningful role acoustic character of room? A small control room in Pordenone (Italy) course.

Distortion when recording increases due to the presence of solid surfaces (glass, concrete walls, etc.) in close proximity to microphones, creating similar problems even with a single source record. Distribution in space can alter the room resonances produced or transmitted audio spectrum at low frequencies. If the speaker correction is not enough room balanced, may have many problems, even if the microphones are close to sound sources. Again, do not forget that acoustically untreated control room also can cause problems for the engineer. If it's acoustic character is too bright, he is eclipsed by the nature of the recording room, which you need to feel and recognize in the monitoring process, leaving able to do this except that at random. This is the main reason that the control rooms are usually smaller and more acoustically treated thoroughly than space to write.