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Post by swurveman on Feb 15, 2019 16:33:37 GMT -6
Jeff designed my current space. If I need him I'll call him. OK. I looked at your first post again, and I didn't see anything about Jeff designing it. Since you're already there, I'll just refer you to #2 & #3 of my list. As great as on-line opinions are (and they can point out some interesting directions sometimes), nothing beats pro advice that's custom tailored to your specific needs. As for your 1 room to 2 room conundrum, IMO, it's better to have one room that works great than two rooms that don't work optimally. I have no idea how that applies to you, but it's just a general thought about modern CRM's. re : 1 room - donr had some interesting thoughts.... I didn't think I had to add the disclaimer that Jeff Hedback designed my current space, but will add the disclaimer. I'm looking for people that have done a small control room, because that's what I want to do. Not a lot of people here apparently. We'll see who else chimes in. |
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ericn
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Post by ericn on Feb 15, 2019 16:59:52 GMT -6
OK. I looked at your first post again, and I didn't see anything about Jeff designing it. Since you're already there, I'll just refer you to #2 & #3 of my list. As great as on-line opinions are (and they can point out some interesting directions sometimes), nothing beats pro advice that's custom tailored to your specific needs. As for your 1 room to 2 room conundrum, IMO, it's better to have one room that works great than two rooms that don't work optimally. I have no idea how that applies to you, but it's just a general thought about modern CRM's. re : 1 room - donr had some interesting thoughts.... I didn't think I had to add the disclaimer that Jeff Hedback designed my current space, but will add the disclaimer. I'm looking for people that have done a small control room, because that's what I want to do. Not a lot of people here apparently. We'll see who else chimes in. Yeah I got the feeling that’s were you were leaning, and even with the information that Jeff did your current space I’ll say that a reason to call Jeff, if anybody can make it work acoustically it’s him. The one thing though before any build out of multiple rooms tape it out and see if the spaces will physically work. |
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Post by Tbone81 on Feb 15, 2019 17:43:54 GMT -6
Well, I’m in a small “control room”...almost all my rooms have been small, with low ceilings of 8’ or less. I put control room in quotes because In my house (or my prior garage build out) my studio has always been one room with a small amp room or vocal booth..So it’s not a traditional 2 room setup, but it’s not a one great room design either. Here are some things I’ve learned along the way, maybe a few of them will help.
1) Room geometry seems to be more important than total size/volume. I’m currently in the smallest of three small rooms I’ve had, but it sounds the best...not sure why but I think it’s just the ratio of LxWxH as well as the geometry of the walls (it’s not a perfect rectangle). So room ratios count for a lot.
2) The amount of bass trapping you need is enormous. Think about the most amount of trapping you could come up with...and then triple that. It takes way more than hanging some GIK panels on every wall (I love GIK btw). I have 14 4-6” bass traps from real traps, GIK and other pro sources, but my current room didn’t start to sound right until I built three huge bass traps, each 32”W x 72”H x 11”D and I’m currently building a 4th. And I’m slowly looking into replacing my GIK and realtraps panels with custom made pressure based absorption (but that will take some time).
3) You need enough room to be physically comfortable, not just acoustically sound. People need to be able to sit, play their instruments, relax and be comfortable, not cramped. Also, heat, humidity, ventilation etc become a bigger problem in a smaller space. Don’t underestimate that. Even in a cold climate, in a basement (that are typically prone to moisture problems anyway) you can end up with a musty, hot, humid environment.
4) Its going to cost more in time, money, or both, than you think...so budget accordingly.
5) Careful planning is THE most important step. Plenty of people here, and on John Sayers forum will help you draft up plans, or look over your drafts as you make them. You will likely go through several iterations of a design before you find “the one”
Anyway, that’s my experience. I hope it helps. I love seeing other people build rooms and get into these types of projects so please keep us posted at every stage. I’d love to see how it works out.
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Post by christopher on Feb 15, 2019 18:08:53 GMT -6
I've thought about this a lot, and I'd suggest make a tiny to medium sized vocal booth and giant control room that can also be the live room. I do like listening and adjusting gear while the drummer plays, but truthfully the lows comes through the walls with a massive punchy low end and that isn't part of the recording anyway. So I'd always wait until they stop playing and we listen back before I feel satisfied, and while listening back I can play with EQ/compression etc, so don't need isolation for that... and mostly I'll be moving mics instead of playing with gear.
I'm not totally against 2 small rooms for project studios, because really it is nice to "feel" like you are separate and might be more inviting to clients? The bad things I've dealt with in small rooms are reflections (I have ways to deal with that) but mostly its control room translation, esp low end/sub areas,... and there's pretty much nothing I could do about it. And the artist will want to expereince this loud and deep thumping low end, but I know that's not anywhere near accurate in small rooms. They'd be grinning and losing their mind at how much they like it, but I know when they get in the car it will be a serious dissapointment. So much stress to try and work around that.. So maybe I'd start with my first suggestion: a small vocal booth and big control room. And see how that translates. If that's not translating very well anyway, sure consider building one more wall and making a seperate control room. Sometimes it just works, so.. who knows???
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Post by swurveman on Feb 16, 2019 8:37:50 GMT -6
Well, I’m in a small “control room”...almost all my rooms have been small, with low ceilings of 8’ or less. I put control room in quotes because In my house (or my prior garage build out) my studio has always been one room with a small amp room or vocal booth..So it’s not a traditional 2 room setup, but it’s not a one great room design either. Here are some things I’ve learned along the way, maybe a few of them will help. 1) Room geometry seems to be more important than total size/volume. I’m currently in the smallest of three small rooms I’ve had, but it sounds the best...not sure why but I think it’s just the ratio of LxWxH as well as the geometry of the walls (it’s not a perfect rectangle). So room ratios count for a lot. 2) The amount of bass trapping you need is enormous. Think about the most amount of trapping you could come up with...and then triple that. It takes way more than hanging some GIK panels on every wall (I love GIK btw). I have 14 4-6” bass traps from real traps, GIK and other pro sources, but my current room didn’t start to sound right until I built three huge bass traps, each 32”W x 72”H x 11”D and I’m currently building a 4th. And I’m slowly looking into replacing my GIK and realtraps panels with custom made pressure based absorption (but that will take some time). 3) You need enough room to be physically comfortable, not just acoustically sound. People need to be able to sit, play their instruments, relax and be comfortable, not cramped. Also, heat, humidity, ventilation etc become a bigger problem in a smaller space. Don’t underestimate that. Even in a cold climate, in a basement (that are typically prone to moisture problems anyway) you can end up with a musty, hot, humid environment. 4) Its going to cost more in time, money, or both, than you think...so budget accordingly. 5) Careful planning is THE most important step. Plenty of people here, and on John Sayers forum will help you draft up plans, or look over your drafts as you make them. You will likely go through several iterations of a design before you find “the one” Anyway, that’s my experience. I hope it helps. I love seeing other people build rooms and get into these types of projects so please keep us posted at every stage. I’d love to see how it works out. Thanks for your advice. I currently have 40 4" OC703 bass traps, 8 with 6" and a GIK Tri Corner Trap. So, I think I'm covered. I'll be carefully looking at room geometry. Thankfully neither of the spaces are 10x10x10 types. I agree about physical comfort. So, will keep that into consideration as I decide what is my best option. My current mixing space, where guitarists do their overdubs, is close to the back wall. So, I'm not losing any front to back space in the 9'7" x 8'7" x 8' space I'm considering . I am losing width, but overdubbing people want to be in front of the speakers anyway. I have read some impressive experiences of people doing acoustic measurements of the empty room, treating a part of the room, doing another measurement, treating another part, doing more measurements, perhaps moving the mix position, doing another measurement, putting up ceiling treatment, measuring etc., until they get the flattest response. Patience and diligence is very important. I'll keep you posted. I'm still months out. So, I'm in the investigating stage. I really appreciate your advice! |
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Post by swurveman on Feb 16, 2019 8:58:40 GMT -6
I've thought about this a lot, and I'd suggest make a tiny to medium sized vocal booth and giant control room that can also be the live room. I do like listening and adjusting gear while the drummer plays, but truthfully the lows comes through the walls with a massive punchy low end and that isn't part of the recording anyway. So I'd always wait until they stop playing and we listen back before I feel satisfied, and while listening back I can play with EQ/compression etc, so don't need isolation for that... and mostly I'll be moving mics instead of playing with gear. I'm not totally against 2 small rooms for project studios, because really it is nice to "feel" like you are separate and might be more inviting to clients? The bad things I've dealt with in small rooms are reflections (I have ways to deal with that) but mostly its control room translation, esp low end/sub areas,... and there's pretty much nothing I could do about it. And the artist will want to expereince this loud and deep thumping low end, but I know that's not anywhere near accurate in small rooms. They'd be grinning and losing their mind at how much they like it, but I know when they get in the car it will be a serious dissapointment. So much stress to try and work around that.. So maybe I'd start with my first suggestion: a small vocal booth and big control room. And see how that translates. If that's not translating very well anyway, sure consider building one more wall and making a seperate control room. Sometimes it just works, so.. who knows??? Thanks for your advice Christoper. I already had Jeff Hedback design my live room, with a drum space and a vocal space, using absorption and diffusion over the drum area and absorption overhead (with three 6' GIK screen panels) for the vocal space. It works well. I also have a second room for guitar cabinets, but it is part of a larger utility room where the HVAC system is, water softener, storage stuff etc. So, when bands record I have the vocalist and the amps in the utility room and the drummer in the live room. Then, I typically overdub the guitars and vocals using the live room. If I have the separate control room, I could have the vocalist in the control room during tracking if they want. I think vocalist may prefer this instead of singing along side loud amps. The drum space is in the center/left (from my current mix position perspective) of the 24' x 24' x 8" live room space. So, I don't think a 9'7" x 8'7" x 8' control room built in the far right corner is going to make a large impact on reflections, or radically change the quality of the drum recordings, but I'm not an acoustician. So, that's why I'm asking these preliminary questions and seeking people's thoughts. After more fully understanding the setup, if you have reasoning why you think building the control room would hurt the drum sound, I'd love to hear your thoughts. By not having the mixing desks opposite the drum space near the back wall (with racks) , I'll have an open space and an easier time experimenting with room mics, as that will now be empty space. Of course, it is not ideal large ceiling drum room, but we make the best of what we have . Thanks again for your thoughts! |
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Post by swurveman on Feb 16, 2019 9:07:55 GMT -6
I didn't think I had to add the disclaimer that Jeff Hedback designed my current space, but will add the disclaimer. I'm looking for people that have done a small control room, because that's what I want to do. Not a lot of people here apparently. We'll see who else chimes in. Yeah I got the feeling that’s were you were leaning, and even with the information that Jeff did your current space I’ll say that a reason to call Jeff, if anybody can make it work acoustically it’s him. The one thing though before any build out of multiple rooms tape it out and see if the spaces will physically work. Thanks Eric. We're currently remodeling our master bathroom- talk about expensive!- , so I'm gonna have one of the carpenters check out the space. |
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Post by swurveman on Feb 16, 2019 9:47:48 GMT -6
Well, I’m in a small “control room”...almost all my rooms have been small, with low ceilings of 8’ or less. I put control room in quotes because In my house (or my prior garage build out) my studio has always been one room with a small amp room or vocal booth..So it’s not a traditional 2 room setup, but it’s not a one great room design either. Here are some things I’ve learned along the way, maybe a few of them will help. 1) Room geometry seems to be more important than total size/volume. I’m currently in the smallest of three small rooms I’ve had, but it sounds the best...not sure why but I think it’s just the ratio of LxWxH as well as the geometry of the walls (it’s not a perfect rectangle). So room ratios count for a lot. 2) The amount of bass trapping you need is enormous. Think about the most amount of trapping you could come up with...and then triple that. It takes way more than hanging some GIK panels on every wall (I love GIK btw). I have 14 4-6” bass traps from real traps, GIK and other pro sources, but my current room didn’t start to sound right until I built three huge bass traps, each 32”W x 72”H x 11”D and I’m currently building a 4th. And I’m slowly looking into replacing my GIK and realtraps panels with custom made pressure based absorption (but that will take some time). 3) You need enough room to be physically comfortable, not just acoustically sound. People need to be able to sit, play their instruments, relax and be comfortable, not cramped. Also, heat, humidity, ventilation etc become a bigger problem in a smaller space. Don’t underestimate that. Even in a cold climate, in a basement (that are typically prone to moisture problems anyway) you can end up with a musty, hot, humid environment. 4) Its going to cost more in time, money, or both, than you think...so budget accordingly. 5) Careful planning is THE most important step. Plenty of people here, and on John Sayers forum will help you draft up plans, or look over your drafts as you make them. You will likely go through several iterations of a design before you find “the one” Anyway, that’s my experience. I hope it helps. I love seeing other people build rooms and get into these types of projects so please keep us posted at every stage. I’d love to see how it works out. Thanks for your advice. I currently have 40 4" OC703 bass traps, 8 with 6" and a GIK Tri Corner Trap. So, I think I'm covered with absorption, diffusion is another matter. I'll be carefully looking at room geometry. Thankfully neither of the spaces are 10x10x10 types. I agree about physical comfort. So, will keep that into consideration as I decide what is my best option. My current mixing space, where guitarists do their overdubs, is close to the back wall. So, I'm not losing any front to back space in the 9'7" x 8'7" x 8' space I'm considering . I am losing width, but overdubbing people want to be in front of the speakers anyway. I have read some impressive experiences of people doing acoustic measurements of the empty room, treating a part of the room, doing another measurement, treating another part, doing more measurements, perhaps moving the mix position, doing another measurement, putting up ceiling treatment, measuring etc., until they get the flattest response. Patience and diligence is very important. I'll keep you posted. I'm still months out. So, I'm in the investigating stage. I really appreciate your advice! |
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Post by Tbone81 on Feb 16, 2019 9:53:32 GMT -6
A thought on comfort in a small space: things like microphone stands and guitar stands can get really annoying when space is a premium. Nobody likes dancing around boom arms and bumping into mics. it’s a small thing to do but just getting high quality stands with heavy base plates as opposed to tripod legs can make a big difference. also having high quality telescoping booms, or cutting cheap boom arms to size can really free up space.
Hanging guitars on wall hooks and even attaching overhead mics to ceiling mounts could save lots of floor space too.
Small things like that really add up to making a space more comfortable.
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ericn
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Post by ericn on Feb 16, 2019 11:02:50 GMT -6
Yeah I got the feeling that’s were you were leaning, and even with the information that Jeff did your current space I’ll say that a reason to call Jeff, if anybody can make it work acoustically it’s him. The one thing though before any build out of multiple rooms tape it out and see if the spaces will physically work. Thanks Eric. We're currently remodeling our master bathroom- talk about expensive!- , so I'm gonna have one of the carpenters check out the space. Next to a studio master bath and kitchen are the 2 most expensive rooms good luck! |
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Post by christopher on Feb 16, 2019 13:54:02 GMT -6
Time for my therapy session? ..  Here’s the details.. My best experience in a small room was in a iirc 11x9 room with 7’ ceiling. The owner hired me to start recording there. Whoever made it covered every surface in foam, and it was super dead. I’m listening to a track I did there, and I realize now that the early reflections off the window and console must have given it a low mid presence that made it sound alive. The mixed track has none of that, but if I bring in 300-600 it starts to sound familiar. I remember trying to dial in lows, ...50hz I could drop -12 or boost +10 and not hear any audible difference. Talk about feeling helpless! At +12 I would start to hear something. Nobody had money for proper acoustic treatment, or did I even consider it was possible in this small space- and so I planned to track there only and hire someone else with a better room to mix. That didn’t work out like I planned. It was a pro ‘looking’ place, it had a foamed out vocal booth too with small window, we had visual, and that pro looking booth really helped booking. Without money or even a clue what else to do in this tiny room, I put a dbx 2231 on the mains and shot pink noise adjusting until I got a flat response. I played with EQ and references until every reference sounded as flat and full spectrum as possible. It arguably helped, or didn’t. Maybe there are bass trapping methods that work? And better monitors might work? I only had Event 2020 and NS10s, & a few subs rarely used. There wasn’t much room for traps in there, (and honestly not room for 4 band members) I did drag a big 4x8 loose fiber trap in there once, it didn’t do anything. For lows I used metering, headphones, and I’d desperately walk out to the parking lot to where I could hear something of the kick and bass relationship outside the walls. The difficult thing was, it sounded incredible in there! Exactly like wearing headphones, super dry and you could hear every single thing, the mids sounded warm and up close, it opened up the sound to being more creative and daring. Engineers would stop by and they’d have zero suggestions how to improve the sound of anything. Everything sounded great. So when I’d tell people “hey.. we really need to have this mixed somewhere else with a proper room”, they wouldn’t believe it. Looking back I kind of miss that room where I could close the door and escape. I think it would be cool have a similar dry sounding room again, but one that is much bigger, where I could put a couch for clients, and some more airspace / length for the lows to develop naturally. |
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Post by swurveman on Feb 16, 2019 16:07:33 GMT -6
Time for my therapy session? .. Here’s the details.. My best experience in a small room was in a iirc 11x9 room with 7’ ceiling. The owner hired me to start recording there. Whoever made it covered every surface in foam, and it was super dead. I’m listening to a track I did there, and I realize now that the early reflections off the window and console must have given it a low mid presence that made it sound alive. The mixed track has none of that, but if I bring in 300-600 it starts to sound familiar. I remember trying to dial in lows, ...50hz I could drop -12 or boost +10 and not hear any audible difference. Talk about feeling helpless! At +12 I would start to hear something. Nobody had money for proper acoustic treatment, or did I even consider it was possible in this small space- and so I planned to track there only and hire someone else with a better room to mix. That didn’t work out like I planned. It was a pro ‘looking’ place, it had a foamed out vocal booth too with small window, we had visual, and that pro looking booth really helped booking. Without money or even a clue what else to do in this tiny room, I put a dbx 2231 on the mains and shot pink noise adjusting until I got a flat response. I played with EQ and references until every reference sounded as flat and full spectrum as possible. It arguably helped, or didn’t. Maybe there are bass trapping methods that work? And better monitors might work? I only had Event 2020 and NS10s, & a few subs rarely used. There wasn’t much room for traps in there, (and honestly not room for 4 band members) I did drag a big 4x8 loose fiber trap in there once, it didn’t do anything. For lows I used metering, headphones, and I’d desperately walk out to the parking lot to where I could hear something of the kick and bass relationship outside the walls. The difficult thing was, it sounded incredible in there! Exactly like wearing headphones, super dry and you could hear every single thing, the mids sounded warm and up close, it opened up the sound to being more creative and daring. Engineers would stop by and they’d have zero suggestions how to improve the sound of anything. Everything sounded great. So when I’d tell people “hey.. we really need to have this mixed somewhere else with a proper room”, they wouldn’t believe it. Looking back I kind of miss that room where I could close the door and escape. I think it would be cool have a similar dry sounding room again, but one that is much bigger, where I could put a couch for clients, and some more airspace / length for the lows to develop naturally. Thanks for your story. I'm curious to know when you were mixing in that room? Thankfully, there is a ton of information and technology today to measure and treat rooms correctly. Suffice it to say I won't be using any foam. |
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Post by Blackdawg on Feb 16, 2019 16:45:38 GMT -6
Look up Joe West. His studio is one huge room. He does have a couple iso boots in each corner. But his mix position is smack in the middle of the room. Its pretty cool. And if that guy can mix in the same room, just like a LOT of people did way back in the day. you can too   Bigger room will always be better for low end freq management. Having a small control room will not be good for that. No matter how you spin it. Stay big! |
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Post by swurveman on Feb 16, 2019 17:03:51 GMT -6
Look up Joe West. His studio is one huge room. He does have a couple iso boots in each corner. But his mix position is smack in the middle of the room. Its pretty cool. And if that guy can mix in the same room, just like a LOT of people did way back in the day. you can too Bigger room will always be better for low end freq management. Having a small control room will not be good for that. No matter how you spin it. Stay big! Thanks, but I'm building a control room. Different strokes for different folks and all that. Cool room though. Wish I had that size ceiling and the money he used to build his room. Beautiful wood. |
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Post by Tbone81 on Feb 16, 2019 20:07:09 GMT -6
I went to this studio years ago to host a product demo for antelope...really cool and beautiful setup. Check out the time lapse video showing how they can divide the room with these custom partition doors they have. Something modular like that might work to separate your space when tracking but open it up when mixing. www.woodshedrecording.com/about |
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Post by swurveman on Feb 17, 2019 8:18:18 GMT -6
I went to this studio years ago to host a product demo for antelope...really cool and beautiful setup. Check out the time lapse video showing how they can divide the room with these custom partition doors they have. Something modular like that might work to separate your space when tracking but open it up when mixing. www.woodshedrecording.com/aboutThanks. Those dividers look really cool. My main concern with them would be how much sound isolation they would provide? I want the control room to be isolated from drum sound leakage. Man some of these spaces are beautiful. |
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Post by Tbone81 on Feb 17, 2019 9:10:28 GMT -6
The sound isolation was incredible, but, it was done right (expensive). The doors were custom built, they’re dual layer/pain with a large air gap, they have seals on the top and bottom that lock into place, forming an air lock, and the tracks they’re on are completed decoupled from each side of the rooms they create. literally the foundation/flooring is cut on both sides of the track so that you’re on a different foundation each side of the door. Very impressive design, and I imagine and equally impressive price tag.
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Post by Bob Olhsson on Feb 17, 2019 10:54:18 GMT -6
Two thoughts:
1. Diffusion is your friend. I use about 2000 LPs! Too much absorption is your enemy because it absorbs way more top than bottom. You want flat response diffused reflections.
2. I avoid ported speakers. The bass wanders all over the place when you move them even a couple inches.
I agree with John that facing the wide wall works really well.
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Post by swurveman on Feb 17, 2019 11:40:15 GMT -6
Two thoughts: 1. Diffusion is your friend. I use about 2000 LPs! Too much absorption is your enemy because it absorbs way more top than bottom. You want flat response diffused reflections. 2. I avoid ported speakers. The bass wanders all over the place when you move them even a couple inches. I agree with John that facing the wide wall works really well. Thanks Bob. I agree.I don't want too much absorption. I don't have 2000 LPs!, but am looking at panels that combine absorption and reflective wood slats. I have ported Adam AX7's, but after setting them up, I never move them. Are you talking about the problems measuring the room accurately, or something else? |
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Post by swurveman on Feb 17, 2019 12:12:01 GMT -6
The sound isolation was incredible, but, it was done right (expensive). The doors were custom built, they’re dual layer/pain with a large air gap, they have seals on the top and bottom that lock into place, forming an air lock, and the tracks they’re on are completed decoupled from each side of the rooms they create. literally the foundation/flooring is cut on both sides of the track so that you’re on a different foundation each side of the door. Very impressive design, and I imagine and equally impressive price tag. Yes, it makes sense by looking at that house/studio that they had the money to do that right. The good news is that, within my budget, this kind of thing is an adventure. |
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Post by Bob Olhsson on Feb 17, 2019 12:15:15 GMT -6
Bookshelves work well. I've always had lots better results from working with infinite baffles.
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Post by Bender on Feb 17, 2019 13:24:48 GMT -6
Look up Joe West. His studio is one huge room. He does have a couple iso boots in each corner. But his mix position is smack in the middle of the room. Its pretty cool. And if that guy can mix in the same room, just like a LOT of people did way back in the day. you can too I like it! Dug up an article or two about the space as I couldn't find a website for it, but Joe apparently throws the drummer in one of the two Iso booths. I get why, multiple players together in a live room etc... wanting greater separation/little drum bleed...but damn seems like a waste of such a high ceiling/big room vibe. If I was booked there I'd want the drums in the room too lol |
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Post by geoff738 on Feb 17, 2019 17:35:47 GMT -6
I guess turning this on its head a little, how small of a drum room can you live with?
Cheers,
Geoff
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Post by Ward on Feb 18, 2019 9:54:06 GMT -6
Two thoughts: 1. Diffusion is your friend. I use about 2000 LPs! Too much absorption is your enemy because it absorbs way more top than bottom. You want flat response diffused reflections. 2. I avoid ported speakers. The bass wanders all over the place when you move them even a couple inches. I agree with John that facing the wide wall works really well. Bookshelves work well. I've always had lots better results from working with infinite baffles. Is there anything you DON'T know? Geez, weigh in more often and save us a lot of speculatory meanderings please!! My own minor contributions: 1. Jeff Hedback is the man. 317-863-0753 office projects@hedbackdesignedacoustics.com 2. My 'Library' on my back wall is a great diffusor filled with books of all different sizes, tape cases and LPs. Drives my OCD wifey crazy! 3. A fractal diffusor overhead filled with various sizes of foam works better than a cloud. 4. The ideal control room dimensions have been stated to be 10'H x 17'W x 23'L and then bullet the ends a bit. Hedback can design all that. He helped me. Kindest regards to the Grand Poobah! |
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Post by Bob Olhsson on Feb 18, 2019 10:02:55 GMT -6
Motown's Hitsville studio was designed this way by RCA. I always wanted a control womb just like it. Studio design went in the toilet during the '70s and finally came back out around 20 years ago.
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