Acoustic Design for the Home Studio

Erudite, to the point - demystifies often technical material that is intentionally complex, over written SA And actually quite simple when its told in a fashion for beginners, I even took Audio Tech 101 at Art Institute of Boston (AI) and our text books were far far far more intricate (needlessly) and talk about boring - I learned more from skimming this book than I did in my tenure there (not to mention, no one that I know of which graduated are even working in the field, even as an intern for bose or something, let alone as studio engineers).When I opened the book, a quote from Dick Heyser of the JP. Just For Me said Be Careful, you just might have fun. I have read many books on acoustic design and many web postings and forums concerning the proper way to setup a home studio space on a limited budget. Most of these readings were presented in such a way that I felt like I needed an advanced degree in sonic studies. Mitch's book presents a lot of techie stuff in a way that the lay person or musician can clearly understand about how sound works and how to control it in small rooms. His writing style is clear and easily grasped. I think I have read. Light on content This book was a disappointment. It is extremely light in content. The text pages have two inch left margins, a huge font and tons of superfluous pictures. There is not much more information in this book than can be had in a single article on the subject. A website article, EQ/Mix/SOS article, or any gearslutz discussion would probably contain 95% of the information found in this book.Of particular disappointment was the lack of information regarding acoustic design for recording, i.e. tracking.

With the advances in digital technology, musicians can now produce their own music at home. You have to be able to hear what's truly going on with your tracks to make the proper decisions about editing, equalizing, processing, and mixing them. Acoustics can be a complex, math-laden science, but treating a room to make it sound great and function optimally as a recording studio needn't be difficult nor require hours in front of a calculator or computer screen. You can't capture a true sound if the microphones don't hear the instruments and vocals correctly. Whether you want to pursue a no-c

As a music technology specialist, he has taught college courses, lectured, given clinics, consulted with manufacturers, and spoken at festivals, conventions, and conferences around the world. His work Prophecy #1: At First Glance, an experimental percussion ensemble/synthesizer work based on the Fibonacci number series, received a 1991 NARAS (Grammy) award in the Best New Music/New Classical category. About the Author Mitch Gallagher has been chasing guitar tone for more than 30 years. He toured as a lead guitarist/vocalist in rock and country bands and has played with big bands, with fusion and experimental music groups, and as a classical and steel-string guitar soloist. The former senior technical editor of Keyboard magazine and former editor-in-chief of EQ magazine, Mitch has published well over 1,000 articles in music, guitar, and recording publications. His musical composit

His monthly column, "Guitar Tracks," currently appears in Premier Guitar magazine. He toured as a lead guitarist/vocalist in rock and country bands and has played with big bands, with fusion and experimental music groups, and as a classical and steel-string guitar soloist. His work Prophecy #1: At First Glance, an experimental percussion ensemble/synthesizer work based on the Fibonacci nu