Page 20 - 2013 Spring

Most mastering engineers would like to work in a large room, perhaps 20 by 28 feet, but a somewhat smaller space is considered acceptable. A good example of current design prac- tice is Marcussen Mastering in Hollywood. Figure 2 shows Stephen Marcussen’s original mastering room, which was closely duplicated at a new location in 2009. The new room is a fully isolated structure inside a concrete block commercial building. Interior dimensions of the rectangular shell are about 18 by 26 by 10 feet. Stephen originally requested a 12-foot ceil- ing, but it would have been too costly to modify the existing structure. (The theoretical distribution of room modes is actu- ally a little better with the lower ceiling.)
The room’s distinctive appearance was designed by architect Frank Glynn. The horizontal wood slats on the side walls are quite narrow and the gaps are relatively large, so the screens become acoustically transparent below 2 kHz or so. Varied “checkerboard” acoustic treatment is hidden behind the screens and on the end walls. Wall treatment is augment- ed by 5-inch deep bunker traps below the wood screens. The floor is carpeted except for a central hardwood work area. Five large B&W loudspeaker systems are arranged in a stan- dard 5.1 configuration. The final locations of the loudspeak-
ers and the work station were established subjectively through extensive listening tests.
Music Production Rooms
Commercial recording facilities often include include small production spaces rented to independent producers or music composers. It is even more common for composers of film and television music to set up work spaces in their homes. These tend to be fairly small rooms - perhaps 12 by 15 feet—designed primarily for efficient work flow. In almost all cases, the room will be set up for 2-channel stereo moni- toring using small, nearfield speakers.
If possible, such a production room should be laid out symmetrically as if it were a smallish mix room, with a sep- arate computer closet and possibly a small vocal booth. In many cases however, there is barely enough space for the equipment, which includes a digital audio workstation, a computer, loudspeakers, outboard processing gear, and key- boards. Existing doors and windows are additional con- straints. Acoustic treatment may be limited to plant-on absorptive panels and perhaps a bookcase or a few throw pillows.
Fig. 3. Concept floor plan for residential production room.
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