Lets assume we have all the structural issues resolved in our recording studio design and can now focus on the inside of our studio. Our goal is to take the room sound out of our mix, so we are hearing everything that we want to hear and not what the room tells us we should hear in our recordings.
Accurate playback of all recorded information is a must have. We must know what is there and then, begin to correct any “errors”. We do not want the acoustics of our room to add anything of its own to the mix. If we are recording live, we want a certain amount of “room sound”. Just the opposite happens when we play that recorded data back through our monitors. We do not want to hear the room at all. We want to: “Listen to The Music, Without Hearing the Room” Sorry, about that, but I couldn’t resist. Our reputation as engineers depends completely on getting the mix right.
In our recording studio design at the listening or monitoring position, we have the room side wall and rear wall reflections to control along with the reflections off our console. These two acoustical issues really define the impetus behind near field monitoring. If you sit close to the left and right channels, you minimize the impact of the reflections from the side and rear walls. The console bounce is another issue. I don’t think anyone has solved that one yet. If you don’t prefer near field monitoring, treat the rear wall with diffusion and the side walls with absorption. This will go along way to minimize reflected energy impact at the monitoring position for any type of recording studio design.
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