Acoustic Design For The Home Studio Mitch Gallagher Pdf acoustic design for the home studio Best of all, if after reading an e-book, you buy a paper version of. Acoustic Design For The Home Studio Mitch Gallagher Pdf. Acoustic Design For The Home Studio Pdf | Review Home Decor. We use those all the time but they. Clinic: Demystifying LE for Macintosh and PC (Schirmer Trade Books), and Acoustic Design for the Home Studio (Schirmer Trade Books). Contents. Introduction.
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It was around 1. You quote the normal rate you charge. And you can bet that a whole new approach to the answer that has just been successfully marketed is already on the way. I have a business degree. Variances On the local administrative end. So a long time ago we started to focus on tracking and making sure that we could do that better than anybody. Bill Vol marked it as to-read Jan 21,
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Showing Rating details. Sort order. A good introductory book for anyone just getting into acoustics. At one point, the author mentions that the practitioner can use geometry to place acoustic treatments, but then delivers a simplistic method which can be used without having to do any math.
It would have been nice to have also included, at least, a reference to good starting places for more depth. Indeed this could have been consistently adopted throughout the book. Otherwise, the author does a great job delivering the general idea A good introductory book for anyone just getting into acoustics. Otherwise, the author does a great job delivering the general ideas, materials, and best practices for exactly what the title states.
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While Pro Tools is the accepted standard in commercial recording studios. Given this interest in analog. This setup allows the artist to do MIDI sequencing with hardware synths or with software instruments and audio recording on the computer. A Low-end. Packages such as Apple Logic Pro. After tracking. Steinberg Nuendo and Cubase. For composers. The Next Level Taking things up to the next level means adding the capability to record live drums and multiple musicians at the same time—even bands for recording basic tracks.
This setup will be capable of extensive composing. Money can be saved by searching for similar used equipment. Software synths.
The total area would be about 2. All of those things require more room. As your business does better and better. Keep it in your basement for recording your own music. Set it up as a stand-alone busi- ness. Get a business license. To improve the quality of recordings. TV series. Third Edition This setup gives you 16 analog and 16 digital inputs into Pro Tools. One word of warning: A selection of microphones provides for covering a drum kit.
Some examples: Bear in mind that square footage charges vary wildly depending on where your studio will be located. And there are lots of places where money could be saved.
By care- fully seeking out used pieces of gear on eBay or through used equipment brokers look for their ads in the back of trade journals such as Mix.
Pro Sound News. But keep in mind that used gear may require additional service or refurbishing that can ultimately add 10 percent or even more to the total price. First off. While it may become possible to reduce these expenses later on. Shop carefully. By purchasing all the equipment.
If you can do the work. Getting sued because you were trying to save a few bucks on contracting is not a good thing. Combine it with a FireWire- compatible video camera. Hot water heater. High-tech track lighting. Third Edition 6. Future upgrades could include more outboard. Vegas runs on Windows computers. Insulated walls. Other software. So much for that career in vacuum cleaner sales. If your clients require other video capabilities.
Other gear to consider includes a video capture card or FireWire box. Always seemed to love tin- kering with the volume control on the TV. The stash comes with a note explaining: Always did like the old girl. In per- petuity. Such a nice boy. Try to have fun!
Last month. Curled my kneehose. Machine Control. In many cases. And now. For your dream studio. Console Total: If we have money left over. Allowing for shipping.
MIDI interfacing. To take care of the needs of the analog lovers out there. Our Aviom personal monitoring system will allow ten or more performers to each have their own mix. For 5. Third Edition While our console has plenty of wonderful-sounding preamps built-in. Plug-ins can provide many of the effects that we need. Most Pro Tools systems also ship with a nice package of free plug-ins. Several of these processors will support multi-channel effects for surround mixdown. PR consultant on retainer.
Third Edition Wow. Go for a used console. When all is said and done. The She just wanted to see if you had the guts to go the extra distance. Owner Bronese Recording St. Moved on to track. In they added computerization to the line-up. Back to the Real World Actually. Go for more realistically priced real estate or lease and the overall price of entry drops radically. Maarten www. In other words. And our gear list could be pared down pretty easily.
Spent wisely. We also went for almost all new equipment. A check for double the difference is on the way. Sony MXP console. ProFile 3: Tonca and his wife Margaret attract the cream of the local trade. Helping Hands Tonca no longer hires full-time employees.
The house engineer is a freelancer. Our island is very small. We love what we do. Whatever system you choose. Another route for less-experienced users is to hire a private consultant to help get set up and hone in on your particular focus.
A computer is also invaluable for a number of music applications involv- ing audio and MIDI. If you buy one at the start. Windows computers remain very popular. Let that person recommend his favorite setup. In the pro studio environment. The rest of us are going to have varying degrees of success in going after the things we want in life. What a concept! They retain ownership of the equipment. Needless to say. For the vast majority. Getting Funded There are people who have the means to start up a business as if they were just buying it off the shelf.
No matter how charming you are. But without a moneyed cosigner or another investor. And by the way. Bankers know this. Because up ahead. Or you can simply choose to return the equipment to the company. At the end of the lease. Leasing A leasing company actually is in the business of recording studio ownership. And its name is…the leasing company.
Sort of. It tells the leasing agent just how serious you are about making your business a success. It helps to be a little philosophical when signing an expensive contract. And they are often people who trust their own instincts as much as any corporate bottom line. Remember also that. Some companies may go as high as 15 per- cent more. This can take the form of cash deposits.
A lot of accountants feel that your cash would be better spent on other investments. You get to write off your full payment each month. The leasing agent you deal with may. If you look ahead and consider the extra hundred a month as a necessary cost of doing business. In this case. If anything happens—say. Unlike banks. Their reasoning is that the risks are higher. But the best feature about leasing companies is that they are much easier to deal with than banks.
Their businesses are much smaller than most banks as well. Most banks will only lend about 75 percent of the cost of new equip- ment. Still short on funds? The simpler the package. To illustrate this point. To illustrate. What items would you feel safest about purchasing. For several hours or days or months. Choose a few major items that are proven pieces of equip- ment with strong resale value.
Chapter 4 Making It Happen Another positive factor is that. But back to the buddy plan. Imagine yourself as the owner of the leasing company for a moment. You might choose a package like this: Note that if you are independently wealthy. And try to be conservative in your projections. Some companies are willing to take higher risks. There may be several opportunities to walk directly into an existing and thriving facility by simply offering a cash infusion!
But the rewards are in the thrill of turning the key on a place of your own. Talk to club owners and rock groups. Look for someone who complements your strengths and weaknesses.
It takes vision. And with any luck. Hang notices in recording schools or in the company cafeteria. Maybe he or she just inherited a big chunk of cash. If your presentation is clear and focused. And it feels good. Or maybe he or she is as poor as you are. Third Edition A lot of TV sitcoms are written the same way: No two partnerships are the same.
But even so. There are few emotions in business that compare to those that come from sharing a dream and the effort to make it a reality with a partner you believe in. OR MS. Once you get that far. And respect will continue and deepen over the course of time. Yet another might embezzle the company funds and run off to open a little karaoke bar in Paradise.
And then. Start off as equals. Followed by. Spend enough time. If one partner has more money than the other at the beginning. On the other hand. Or you might wind up just plain hating each other. Win or lose. Maybe one will agree to work more hours or come in earlier to help make up the difference. Then one day at lunch. The key. And really. You also might be able to work out a cash imbalance in salary trade-offs later. That can only lead to one result: With a partner.
Think about the possibilities that two or three people who really want to start up a pro studio can dream up together. Blow that.
But if you start as equal partners. You really can do it. Or a TV production company that not only needs a place to post. Choose carefully. The opportunity is there for the taking. Temptation clothes itself in unending disguises. Two words there bear repeating: Third Edition nonchalantly said. Partnership works on trust.
So look. Or an investor you meet at a party who comes in as a silent partner and gets a tax write-off to boot. Add a relative who believes in you and has the money to prove it.
OMNIsound Studios has stayed success- ful in an over-built market by focusing on tracking. Over the years. I have a business degree. We track. This is our twentieth anniversary this year. Then I got a job managing a new studio. TN www. I book the studio. They want to come and experience the Nashville session players. The other rooms are booked a week.
Other than that. For engineers we use indepen- dents. Sweethearts of the Rodeo…the guy that owned the studio had these clients and they told him. I was there for about a year. The tracking room stays really busy. From there we did people like Ricky Van Shelton. Dolly Parton. When you look at a business model where you think. I was at a studio the other day. So a long time ago we started to focus on tracking and making sure that we could do that better than anybody.
I had the stance of wait and see. We cater to those folks. I was like. For independent projects. With budgets and Pro Tools. Once you start cutting deals. Hang out at industry events and watering holes. Uncle Sid. Visualize winning! Other Ways to Find Money Of course. In Search of Excellence.
Draw layouts of your control room. You might inspire them to jump in with a promise of a return on an amount they lend you. Work on your business plan. Subscribe to the local and national magazines and become knowledgeable about the studio business. Get organized and design a system that works and grows with you.
Power Schmoozing. Get close. And they can be powerful allies who may want to help you later. Read some of the classic business and personal growth books: Think and Grow Rich. Work together. Cook up a project idea and do it. Pass on the leather jeans for now and think Porsche later.
Read the industry trades. See the reading list in the Appendix. There are a host of alternative methods for getting the funds you need to start up a studio facility. Start a directory of names and addresses. The Richest Man in Babylon. Look around you. This Business of Music. Check and see if there are local trade organizations that you can join and schmooze in. Play together. Partner Up. Bankers like this.
Tell everyone about your plans. Start living the dream. Meet and get to know your banker. Envision your facility as a busy. It will become a private and invaluable business source in the years to come. Think about what work. Clip pictures of the equipment you want and hang them up. Clean up your personal credit.
The second way is to locate a venture capital network. Third Edition But take care regarding the amount of control you grant them. As with any formal loan.
The look of the package probably has as much to do with what makes it into your basket as the contents itself. With relatives. But the recording business does have a panache and glamour all its own. Keep in mind that when a venture capitalist chooses you. Your angel is most likely going to be someone local who will want to keep an eye on you.
There may be no better way to save on expenses These are meetings in which venture capitalists go head-to-head with entre- preneurs in open discussions.
Just think for a moment about what motivates you to buy. He or she will also expect to have a say in the way things are run. You can start the search by contacting your local Chamber of Commerce or other local entrepre- neurial groups.
Many states have special agencies and funds targeted toward business startups. The SBA was set up to help small business entrepreneurs get a foot into the door of many banks that otherwise would be out of reach. To get the process started. The paperwork comes from the government. Such services work by grouping a large number of companies and individuals together and then listing them all in a directory.
Those are the ones you want. Once you have earned credits through the barter service. As a member. What it does is to guarantee up to about 90 percent of the loan the bank makes to the business. Avalanche Studios in Colorado traded a large block of future recording time to a number of contractors and trades people who helped build the place.
In the past few years. But if you plan ahead. A lot of banks turn their nose up at this path. The service supplies your specs and phone number to the customer. Chapter 4 Making It Happen than to simply trade goods or services in lieu of dollars.
The service makes its money by charging a commission on the amount of credit you spend. But there is something of a gauntlet to run before you get the money. You quote the normal rate you charge.
And most are quite impressive— everything from building contractors. The Wall Street Journal. California www. Focus Bands. But hang in there. ProFile 5: Engineer Zone Recording Cotati. Zone Music. Facility Located in the Sonoma County wine country. I have a good relationship with the store. First of all. Stay on top of current trends by reading some of the top periodicals. The money can always be found.
I have access to hundreds and hundreds of electric and acoustic guitars. The studio is in the back of Zone Music. Maintain your focus. Third Edition Contact local universities. And Success magazine devotes entire issues to topics like money sources.
Once I had to stop a session in the middle. Quite a diverse group. And the Bulgarian and his wife. So I try to help people relax and enjoy themselves by knowing when to tell a joke or when to run their voices through the Harmonizer to make those amusing chip- munk sounds. They can bring people back here and show them how various pieces of gear work in a real studio situation. My work won quite a few awards and I got to know everybody in the business. Sometimes during a session.
We also have a saying here. Each year. Third Edition and said these crazy people were there doing a translation tape. I shared my experience and wished him luck. I should be making more money. But many people aspire to larger operations. Two types of people tend to enter this lucrative end of the business: If a one-person operation is your goal. A computer-based DAW setup should virtually eliminate the need to record elsewhere.
Songwriters always need a good facility to demo their material. Composers and songwriters tend to build this type of room. Since most writers tend to work at home already. Fine-tuning and honing their facilities becomes an ongoing task as their careers progress. As for specialties. This is market-driven reality.
For many people. Major record companies. And after an album or two. Both sides saw it as an amazingly lucrative deal. But the all-in deal has undergone a few transfor- mations since then. Once the studio was built. All of these facilities tend to share some basic characteristics. And the fact is that with an adequate setup. For one. Third Edition all hourly charges. The nature of the ad agency business often requires overnight demos. The effect on the high-end commercial studio business was a double whammy.
It was quite an arrangement. Instead of doling out the cash to local studios on an hourly or lockout basis. And so the home has become a viable and vital part of the recording land- scape.
This forced But at the same time. So they still need the major studios for completing at least parts of their projects. Chapter 5 The Project Studio prices down as producers. Now the producers were faced with the same problem they had helped to cause: That created still more competition for the remaining commercial rooms.
But the paradoxical part was that as the major studios began to fold and go broke. Many producers have neither the ability to record a live band nor consoles sophisticated enough to do input computerized mixing. That created an amazing. In many cities. The Current Balance All this has left commercial studios in quite a quandary.
But there was another twist: On the one hand. A corollary effect. Just as in the labor market. That has meant either staying on the cutting edge of world-class technology by creating ever newer and more sparkly high-end rooms.
In sum. Paperwork is the last thing that many producers want to deal with. With the advent of compact digital setups. Commercial zoning tends to be on major thoroughfares and designated shop- ping areas. Industrial regions are isolated from housing tracts. Each of these real estate concerns is mapped out and zoned for the best return. Several home producers moved their operations into the open by building new commercially zoned rooms.
In the major cities. To that end. Add to that the fact that. The writing on the wall. To make matters even more complex. Not only is there a problem with the lower qual- ity some producers are delivering. They are a great conve- nience and a satisfying way to work. What you do with the information is up to you. The result was even more legitimate competition. For every loss of business taxation dollars. That would be an obvious mixed use.
No one complains. Because of that. Home project studios occupy a deliciously delicate balance between these two scenarios. For the most part. Home studio owners cope with these arguments in a variety of ways.
This makes for spirited debate from all sides when ordinance issues come But what about the guy who does astrological readings in his living room. Chapter 5 The Project Studio The complexity begins to occur when people attempt to bring mixed usage to a particular zone.
The work is being done by one person on a per-job basis. If push comes to shove in the eyes of a city inspector.
The fact that many home facilities can offer cut rates on the same equipment as their larger counter- parts has caused real acrimony among commercial owners. Few of us look Both pro and con organizations energetically hail the idea of detailed ordi- nances as the answer to the home-studio debate.
Third Edition to the fore. City building inspectors showed up. I Fought the Law. In the meantime. But if all it takes is one competitor or frustrated neighbor making an anonymous call to the local zoning board. Some operators of obvious home studios were called in by a number of unhappy groups and individuals from their surrounding neighborhoods.
They had built full-blown stages and control rooms in their living rooms or garages. But in retrospect. Neighbors would complain about drunken or loud conversations on the sidewalks in the middle of the night. And thus. As time marches on. Only time will tell. Homeowner organizations lobby to protect the sanctity and relative safety of their neighborhoods.
Some have drafted novella-sized ordinances. A commercial studio owner. Variances On the local administrative end.
But the hard facts are that if you book outside session work and thus go into business. If a variance sounds like a good idea to you. And unless your home happens to be in a commer- cial business zone. Consider the following list of yearly responsibilities for which a modest home studio-for- hire would be technically responsible: The loudest complaints from competing commercial studio owners have. For example. Your part-time assis- tant.
Owners take care to isolate the potentially objectionable noise they make. Simply put. Some people have good luck with this. Some project studio owners. Think of what the big guys with 20 full-time staffers are paying! Independent Contractors In Many cities are wrestling with the complex questions of regulating home- based businesses and trying to pass new legislation that makes them both legal and operable without hurting competitors or straining neighborhood relations. Caught in the middle.
Getting Real Home and project studios have become a major and viable presence. Third Edition 3. Withholding Employers pay the equivalent of an extra 10 percent on top of all employee.
Total Yearly Taxes Due: Some have already passed sweeping new home-worker ordinances that will affect their citizenry for years to come. Unemployment Compensation Based on regular employee time only.
Their mission was to concentrate on the broad use of independent contractors on movie sets and related studios. A whole If you take that scenario to bear. Up until this crackdown. The auditors had the power to go back seven years if they chose to. Then the IRS came along. The IC is not considered to be an employee and is therefore responsible for his or her own payment of taxes.
If the IRS prevails. It seemed simple enough to assume that since the engineer only showed up once or twice a week. Their goal was to pull out the taxes due on people who commonly hired themselves out as independent contractors. But an employer takes no withholding out of an ICs pay. The IRS. The results were devastating for many companies. It was the custom of the business community to do so. But the message from the IRS is clear: Your ICs had better stick to the letter of the law.
Chapter 5 The Project Studio team of auditors was schooled in the practices of the industry and then unleashed on a wide variety of studio businesses. When an independent contractor makes a yearly compensation of. For many years. Have a nice day. But those assumptions are gone. Sounds like the government. Paid by the job: Contractors are paid by the job. Job location: Contractors must have control of where they work. So in the past. But how many of the above regulations can you dodge in the studio business?
And still more revisions are afoot. It may take years for all this to shake out in court. No instructions: Contractors are not required to follow. The rest of the 20 regulations are less relevant and easier to bypass for record- ing engineers.
But nothing has been decided. Consult with your accountant before deciding what to do. Setting their own hours: Contractors set their own work hours. Here are some of the 20 factors the IRS uses in determining the potential independent contractor status of a worker: A committee of CPAs and tax regulators announced that major changes were on the horizon.
Have own tools: Contractors should furnish their own tools.
If they work on the premises. Many commer- cial studio owners have heeded these warnings and changed nearly all of their worker relationships from independent contracting to employee status. Contractors have the right to hire others to do the actual work. Best Engineer and Jazz Record of the Year.
The facility gets the project and farms out a few of the components. That makes them independent contractors. And the IC gets to work at home on a purely professional basis. As the technology progresses. NY www.
They take the work off the premises. Many creative musicians. Independent contractors have a legitimate place in the audio world. There is a good and productive relationship to be had between commercial studios and these professionals working at home.
ProFile 6: They excel at music editing. These rigs are extremely pow- erful and compact. It may handle the Foley. But there is still dialog and music editing to be done. I contacted Russ Berger. He suggested that rather than just make the place a little bigger. Neil Dorfsman. And just by social- izing with them and making them comfortable here.
And perhaps most important. So I mortgaged every bit of equity I could. By the time I quit my day job. It has to be creative. That gets my name and picture out there everywhere. And SSL is the same way. My target client is the high-end. Russ does a lot of marketing that uses pictures of my studio on his website and in trade ads.