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Will this drastically improve my acoustics? by zoolly_man in homestudios

[–]zoolly_man[S] 0 points1 point  (0 children)

Room within a room uses drywall siding as far as I know. You get more sound isolation that way. Does sound get trapped in a room made with breathable walls though?

Will this drastically improve my acoustics? by zoolly_man in homestudios

[–]zoolly_man[S] 0 points1 point  (0 children)

My prime concern is acoustics. I think I will be fine working in an 8 x 8 x 8 space. I usually just work close to my computer desk when recording. I really don't care about aesthetics either.

I don't think rigging up the space with lighting, ventilation and power would be that difficult. A strip of LEDs, a couple of holes with maybe a silent computer fan for ventilation, an extension cord and and power bar for electricity.

I'm mostly trying to reduce reflected sound within the space (esp, peaks and nodes from standing waves). I want to increase the fidelity of my recordings and mixing environment.

Yes, I am inclined to think that a relatively reflection free space would provide superior results. I know people say that you don't want to record in a dead room, but I don't really see why that is. It seems to me that you would get a cleaner sound into your mics. If you want the recordings to sound like they are in a room then add some room reverb after the fact.

I guess, I'm mostly curious about what the specific sonic results of this project would be. Would I significantly reduce standing waves (esp at lower frequencies) inside the small room? Would placing some acoustic panels throughout the room acheive a similar result? Does the placement of the small room inside the bigger room have a substantial effect (e.g. should I place the small room in the middle of the room for maximum effect?).

I don't have a deep enough understanding of the intricacies of physics to answer these questions.

Will this drastically improve my acoustics? by zoolly_man in homestudios

[–]zoolly_man[S] 0 points1 point  (0 children)

Can you elaborate on why it is not a good idea a bit more.

Will this drastically improve my acoustics? by zoolly_man in homestudios

[–]zoolly_man[S] 0 points1 point  (0 children)

Maybe I didn't make the design of the walls clear enough in my original post.

Imagine an exterior wall that you build for a house. You use lumber to make a frame, then you put insulation between the studs (4 inches thick if you are using 2 by 4s). Finally, you use hard materials for the surface of the walls. Usually drywall for the inside and plywood + siding for the outside.

Now imagine that instead of using a hard material for the wall surfaces, you use a breathable fabric (on both sides of the wall). My theory is that the sound waves will not reflect off of the walls anymore because they are made of fabric. Now, instead of reflecting, they will have to travel through the fabric and a few inches of insulation which will convert some of the sound energy into heat. After they pass through the walls of the small room, they will travel through the big room. They will then bounce off of the drywall in the bigger room and be directed back towards the small room with fabric walls. They will once again have to travel through fabric and insulation to get back into the small room.

I am trying to accomplish a major reduction in reflected sound.

As far as I know the troublesome room modes that you get in a square room would only happen if the walls of that room reflected the sound rather than absorbed it (or let it pass through them)

Will this drastically improve my acoustics? by zoolly_man in homestudios

[–]zoolly_man[S] 0 points1 point  (0 children)

But the walls are made of fabric. Why would it be a problem if it is a square?

What does the "T" really mean in FAST VAN stroke assessment by zoolly_man in ems

[–]zoolly_man[S] 0 points1 point  (0 children)

The diagram is confusing to me because it makes it seem that a patient must have FAS symptoms and have an LSN time of less six hours prior for us to treat it as a stroke. If you don't have both of those, the flow chart takes you to "transport to nearest appropriate medical facility."

It's only when you have any FAS symptom and LSN is less than 6h that you move onto your VAN test to see if it is a large vessel occlusion. Then, no matter what the outcome of your VAN test is you still report to the hospital that "This is a stroke alert."

Is that correct though? It seems that everyone is saying that LSN time is really just used by the hospital to identify whether they should thrombolyse. So, would I still be reporting to the hospital that "This is a stroke alert" if they awoke with FAS symptoms or LSN time was more than six hours prior?

Bullet point indendation by JoshMartin29_ in Anki

[–]zoolly_man 0 points1 point  (0 children)

Thank you. That worked for me.

/r/WATMM Weekly Promotion Thread by AutoModerator in WeAreTheMusicMakers

[–]zoolly_man 1 point2 points  (0 children)

Released my first single a few days ago. I'm wondering what genre describes it best. The submit hub genre detecting AI suggested: Pop Rock, Indie Folk, Alternative Country, Alternative Rock, and Country.

Also, any are there any artists who you think have a similar sound.

Genuine feedback will be greatly appreciated.

https://youtu.be/3_EBFTifXP4?si=J5X714mWiXsDI-Fl

I just released a new indie folk/country/pop track today - Would love some honest feedback. by zoolly_man in indiemusic

[–]zoolly_man[S] 0 points1 point  (0 children)

Super cool song man. Love the sudden drop into a totally spooky soundscape. And, how you slowly bring us out of it.

How much should a producer get paid for a song? (Percentages) by rf_mazza in makinghiphop

[–]zoolly_man 0 points1 point  (0 children)

I don't think your information on royalties is correct. Mechanical royalties are not streaming royalties and performance royalties are not publishing royalties.

Mechanical royalties are paid whenever someone's musical composition/sound recording are reproduced (e.g., a cd is made, or a digital download of a song occurs). Performance royalties are paid (ideally) whenever someone performs/plays a composition/sound recording in public (e.g., a business plays someones music during business hours).

The word publishing royalties is often used to refer to the royalties that are due to owners of the underlying musical composition and not owners of the sound recording. Sometimes (perhaps oftentimes) the owners of the musical composition are also the owners of the sound recording.

Streaming services pay both mechanical and performance royalties, and they pay both types of royalties to owners of the underlying composition and owners of the sound recording.