Studio Treatments (pt. 3)

RCP Pt 3

annnd we (me) continue,

I’ve done one test using one HHB Circle 5A monitor with the monitor on the long wall. That is also the wall with the window. I know that it’s considered best to aim the speakers down the longer length of the room, but the difference between one and the other is about 11% (304 to 344). I’m guessing, and mostly only guessing, that the minimal size of the room vs the shape won’t gain me a great advantage and that I might gather some more imaging control by having more symmetrical sides. I won’t know for sure until I turn the whole room but the preliminary measurements are promising. The biggest confound is, of course, the desk.

These are right and left positions and one offset. Not a reliable measurement for several reasons, but promising.

The speakers have been with the manufacturer for a couple of weeks now. over 2 months.— 3.5 and counting

i think I keep forgetting that I’m really useless at composition in order to shield me from how dire my actual situation is. I can obsess over gear and bad phrasing while my life grinds on until it’s over.

#ATC-Audio, #room-correction

RCP Pt 2 (now ‘room correction project’)

also see

Plenty of Rockwool in the corners now, the desk has moved a little and the speakers as well.

I’m still learning. The desk is actually too big for a mixing room. I’m not getting rid of it, but it means the next practical move is treating the ceiling. So far I’m just covering the standard bases. I’ve got first and second reflection points covered, both of which will need some adjustments as the desk shifts. I have a 10cm bass panel on the back wall, a triangular (prism) trap under it, just stacked sideways on a bale of acoustic rated Rockwool (RWA45).

The front has three 10cm panels just above and behind the speakers, and another bale of rwa45 standing in between them, with two bales more of insulation stacked in each front corner.

I want to mount the clouds with some space behind them, but the room is short, so I hope that’s practical.

I have a series of measurements made with a Neumann omni documenting various changes in room placement of the various panels and bales. Some are logical and useful and a couple are silly and voodoo related. I’ll be posting those results, but getting one final reading with an ECM 8000, before the ceiling panels are built and go up.

Room Correction Push (RCP)

The time has come to gather resources. The office studios are becoming an unreliable back up and having a good room for fine tuning won’t always be at hand. The answer is room correction. (Thanks very much to the company for the unlimited use in the past years. Much obliged)

I’m always reluctant to invest time and money in things that might not work, and I’ve never been sure about this space. One thing I just recently found out was that the only thing I should be working toward is getting as much spec specific material into the room (especially corners) that I can. It works equally well if you just leave it in the bale it’s delivered in and stack it there.
Acoustic insulators like Rockwool and Earthsilk are fairly cheap. It’s the frames and nice fabrics they’re housed in that cost money.
My prices for getting only half the panels and corner traps I need hit a thousand quid fast. The price for the insulator itself is, so far, about £300 to do all the corners and the remaining walls. It won’t look nice, but when I need to make it into furniture, I will. Right now I need bass control.

These graphs were produced using Room EQ Wizard, a free software for precisely this.

That dip, from SBIR at the at 58Hz, is giving me massive drops all the up the spectrum. I need to absorb as much coming off the front and back walls as possible to weaken that phase cancellation.

After that I can start tweaking everything else. For now, there’s nothing that can be fixed until that is done.

It’s all from the shape and size of the room, (necessary) speaker placement, and listening position.

Back to it.

Buxton trip null

It was a great trip for climbing, but the audio and photo gear is too bulky in that little car with 3 people’s luggage and tackle. I took the LS-100 and might have gotten some crickets out on Robin Hood’s Stride.

Field Recording, Bouldering, and Gravity’s Part II

I’d meant to do this piece years and years ago. For practical reasons the sounds were taken from climbing gear: friends, nuts, ropes, etc. This time I wanted to get back to original projectI was recording my attempting some problems in Cademan Wood yesterday and right now I’m reviewing them.

First thing about bouldering sounds: There’s just a little scraping and falling mostly.  Some breathing and cursing I guess. Pigeons are annoying and persistent


I will take a windscreen next time, but this time was fine. I’ll also have some proper mics and an interface if possible. I’ll be working in MS for the most part as I go along but this is just an Olympus LS-100 with the built in mics. I’ll use anything interesting if it’s there, but this was a pre-session investigation I tagged on to a 5+ project I wanted to climb. (I got it)

Warm up on Hidden Wall
Shoe against rock, hands, wind,  pacing around, dragging the mat, a fly or a bee (or is that in the studio?). I’m reviewing this with the high pass filter (damn wind).

Probably not much useful here, but I’m still taking the gear to Buxton. Might get a nice dawn chorus if I get up early enough.

Final assessment. Nothing here. Catalogued and put away. (new tagging software!)

A year in as a Zoombie

It’s been  little over a year at the time of this post actually. I am unfortunately less affected by the sparse contact with people than I think is healthy. My natural affinity towards being alone is being nurtured by lockdowns and social screen fatigue. A few hours teaching can be handled, but a few hours at an online party is a crush of low-grade vision, distorted sound, and half spoken thoughts.


I sit at the studio desk making sounds all the time. Granulating with the newest updates, stretching fft bins and looping them apart from their internal bits and bytes. I don’t finish actual pieces too much. I had thought that I’d be doing some online improvisation with John English, but I think it might be too oblique for him. The one time we tried it was a predictable failure, but the subsequent attempts never came.
I did just finish a long term project. At least I finished what one might consider an overture, or a preamble to the big paper, bark and leaves piece. Nothing significant can be done with it now, so it’s named Silver Birch, for it’s sources and shuffled it off to Montpellier to be forgotten under an avalanche of submissions from all over the rock.


The Bach 2-Part Invention #8 is starting to be musical. It’s comedically slow on guitar, but hey, I have half as many fingers to play it than a pianist would. It sounds quite open and the counterpoint is very clear. I’ll be happy with it I imagine. I would like to use it as a source for something.

New strings coming and a new way to record it is available. I’d really like to get an outdoor version, maybe up in Cademan Wood.


Nothing happening here. I was progressing really well with the circular breathing multiphonics, but Tak rarely leaves the house for more than two hours in a week. I don’t ‘explore’ well with other ears in range. Every time I pick up the horn and play, I can hear ‘the other’. I really don’t have a clue as to how to handle this. So far the answer has been not to handle it at all.

Langham Research Centre

ResonanceFM, a streaming show from London that was formerly a broadcast station, Has quite a few good shows. One the best for modern music is the one done by the Langham. They have a few disks and CDs. What I have I’m happy with. I’ll probably skip the cassettes, but the vinyl is good.

They played some Ambrose Seddon, but only an extract. He has a new CD on Empreientes Digitales I was hoping to hear. Got a small listen. I like Ambrose’s  work so far. It’s ‘classical acousmatic’ in the sense that it isn’t afraid to delve into the tried and true structural hierarchies, but doesn’t sound like anyone else’s work.éphémères

A quick paste of Langham’s program notes for today:

Langham Research Centre

[Repeated from Tuesday 8pm.] Langham Research Centre present their favourite electronic music and musique concrète, mixing classics and new releases, on the third Tuesday of each month. Tonight: music from Robert Farnon and His Orchestra, Denis Smalley, Ulrich Troyer, Langham Research Centre, Philippe Petit & Michael Schaffer, Annette Vande Gorne, Micheline Coulombe Saint-Marcoux, and Ambrose Seddon. Presented by Iain Chambers and Robert Worby.

The Coming End of Lockdown

Not tomorrow, next week, or probably next month, but barring any mutations or other disasters a vaccine will open the world up again. We’ll go back to teaching in person. People won’t get scowled at (by me) for not wearing masks. We’ll go to a party that will probably be about all our friends being immune. I’ll go the States to hang out with my sister and the rest of the family.

The past year has been different and being ‘free’ will be great, but I don’t see  things quite going back to the way they were before CoVid-19. Concerts, for instance, now have several standing working methods for streaming. That won’t stop. Especially for university based concert music and home artists. Live streams, even ‘watch parties’ have a cozy place in a post-pandemic world.

I’ve been part of two streamed concerts, one from the University of Sheffield and one from The University of Birmingham. Both went well and both had much larger attendance that they do in real life. This is going to be a big boost for composing with 3D audio (HRTF/Atmos/Ambisonic/Dolby. I’m finally joining in, but It’s slow going. That probably means I need to put more work into it.

So I will. I am hopefully in the Spring/April concert in Sheffield and I intend to compose what I’m working on in Ambisonic and render it for headphones as binaural (hrtf).

Wish me luck people (or person, or probably just future me), and good luck to you!

Also, the new website, is mobile friendly. It should be ready by the first of January.