My advice is NOT 2 divide the room. Work with headphones when recording, use temporary screens (gobos) tie line wires 2 another room, anything but kill the room's sound.

HOWEVER, since BETOCH AMI ANI YOSHEV, and I know that in most cases ppl will ask a 1,000,000 experts just 2 do the opposite cuz that's what they heard from their GISS (the most knowledgeable Israeli figure) - if U do divide the room try and leave as much length as possible.

Still interested? pls read on:

Ur main problem is trying 2 squeeze 2 rooms in2 1.

Certain ratios (Height vs. Width vs. Length) in a room r recommended in order 2 avoid ringing (boosted level of a wave traveling over and over along a single path, while other waves cancel out).

The more "equal" the dimensions the more "ringy" is the room. Dividing ur room in 2 will create 2 ringing rooms.

Which leads us 2 problem #2:

ur 2nd problem is 2 equal dimensions. (H = W = 2.7m)

Here r some recommended ratios, ur (total space) room ratios r 1.000 x 1.000 x 1.925 .

Don't panic, make urself a nice cup of tea, relax and look a bit @ the numbers below 4 a while:

ציטוט:

NON SCARY TABLE n° reference Author/Source z (Height) y (Width) x (Length) 9 Ref: 1 C. P. Boner: 1942 1.000 1.260 1.587 10 Ref: ? Deviated from 4 1.000 1.260 1.590 11 Ref: ? Deviated from 4 1.000 1.250 1.600 8 Ref: 2 J. E. Volkmann: 1942 (later: H. Bolt) 2.000 3.000 5.000 Ref: 3 Richard. H. Bolt: 1946 - Look further down for Bolt's ratio boundary formulae Ref: 4 Newman, R. H. Bolt, L. Beranek: 1957 - Look further down for a Pictogram of acceptable Room Ratios. 2 Ref: 5 L. W. Sepmeyer: 1965 1.000 1.140 1.390 3 L. W. Sepmeyer: 1965 1.000 1.280 1.540 4 L. W. Sepmeyer: 1965 1.000 1.600 2.330 12 Ref: 6 Golden rule ratio: 1968 1.236 2.000 3.236 5 Ref: 7 M. M. Louden: 1971 1.000 1.400 1.900 6 M. M. Louden: 1971 1.000 1.300 1.900 7 M. M. Louden: 1971 1.000 1.500 2.100 Ref: 8 Oscar Juan Bonello: 1981 - look further down for more info. 13 Ref: 9 IEC 268-13: Recommended: 1987 2.800 4.200 6.700 14 Ref: 10 IEC 60268-13: Recommend.:1998 2.700 5.300 7.000 Also look at the boundary condition formula in the Ref list below Ref: 11 EBU R22-1998: European Broadcasting Union recommendations: look further down for boundary conditions: 1998 15 Ref: 12 A worst case scenario 1.000 1.075 1.868

As U can c, even in a worst case scenario there should b a difference between height and width.

Since U'll probably use some acoustic absorbers traps and diffusers, the room will loose some space anyway.

IMO leave the width @ 2.7m, cuz it needs 2 b longer than the height.

Using the worst case scenario ratios lowering the ceiling (or rising the floor) and shortening the length U can reach (H x W x L) 2.51 x 2.7 x 4.69 in meters.

Not the best of rooms, it will still ring a bit, but that's the best U can do.

Peace,

Zooot

Think of the room design as designing 1 reverb preset 4 all the songs U'll b recording...

It's not gonna b optimal, but as versatile as possible.

The walls r parallel and the room is small - ok, so it won't b the Power Station room, but every step helps. U'll have 2 use a designer, or trial and error.

Treatment should b applied as necessary, but I can't tell U by msg where 2 put what. Not until I'll have a diamond in a strategic organ.

Try 2 make the speakers area more "dead", search the forum 4 tips.

Try 2 "break" long parallel walls. Try 2 create spots with different sound in the room. Try 2 create a smooth reverberation decay without sudden "holes" or ring in the spectrum.

Use furniture, books, curtains, cardboard , carpets, windows, mirrors etc. 2 do the following -

3 types of treatment:

Absorption - "sucking" energy. - foam, bass traps, vibrating surfaces (loose cardboard, hanging carpets or barrier mating 4 ex.) and objects.

Reflection - keeping the energy but changing the vector (direction) - walls, panels, glass, floor, ceiling.

Diffusion - "breaking" the energy and reflecting the fractions in different directions @ different times. - built diffusers, books on shelves, stones walls, etc.

If ur GISS makes the 1st million fast, the best construction is a "floating" 1. E.g. a "room within a room", sitting on top of a floating floor, isolated by means of vibrating materials - rubber, foam, springs I've even seen plastic buckets and tires used.

Not likely U say, so settle 4 less as U c fit, as long as U understand what the optimum is.

Turn the space U take of the length (50cm minus wall) in2 a "machine room": put ur computer there (not the kb and mouse pls), ur spk amps, ur GISS, everything noisy. Make sure it's ventilated, not 2 fry it all.

Place all machinery on a floating surface, and isolate the wall as much as U can. Don't 4get 2 make a door... :-), I've seen that 2.

The "moving" acoustics is only 4 screening the mics from the speakers, if U monitor in low volume, or from other instruments.

It may help U make the sound more "dead" if U need it (vocals may need it).

U can make portable gobos (screens, baffles)) out of a wooden frame filled with absorptive material, wheels, and cloth covers.

The ceiling is a light & strong frame (wood, plastic, metal) hung flexibly (springs, rubber straps, shock absorbers) from the outer ceiling and fitted with whatever's necessary.

Hanging it ANGLED will create a different sound - may b better but then may b not.

In most studios the ceiling has more than 1 angled surface, 2 avoid parallel interaction with the floor.

Experiment...

Good luck,

Peace,

Zooot