TABLE OF CONTENTS 1. INTRODUCTION

2. LAYOUT

3. FLOATING FLOOR

4. DRY WALL

5. HANGING CEILING

6. CUSTOM MADE DOORS

7. CUSTOM MADE WINDOW BETWEEN THE RECORDING ROOM AND

CONTROL ROOM

8. CALCULATION OF STANDING WAVES

9. POWER CALCULATION/REQUIRED UPS AND PC

10. ELECTRICAL SUPPLY

11. LIGHTING AND POWER POINTS

12. AC DUCTING/TONNAGE CALCULATION/HVAC SYSTEM

13. ACOUSTIC TREATMENT

14. ABSORBERS AND DIFFUSERS

15. REVERBERATION

16. EQUIPMENT FOR THE STUDIO::

• MICROPHONES

• HEADPHONE AMP

• A-D/D-A CONVERTERS

• PRE AMP

• CONTROL SURFACE

• ETHERNET HUB

• DI BOX

• JUNCTION BOX

• MICROPHONE STANDS

• PATCHBAY

• POP FILTER

• HEADPHONES

• DRUM KIT

• GUITAR AMP

• MIDI CONTROLLER

• MONITOR CONTROLLER

• ACTIVE MONITORS

• CABLES AND CONNECTORS

17. MAC PRO

18. SOFTWARES AND PLUG-INS

19. SIGNAL FLOW

20. COST SHEET

21. CONCLUSION

     

 

 

 

 

 

 

 

 

 

LAYOUT  

 

 

DESIGN The  day  I  sat  down  to  make  the  design  of  the  BOOM  ROOM;  I  came  up  with  about  half  a  dozen  designs  but  only  to  be  rejected  as  none  of  them  satisfied  me  as  much  as  this  one  did.  

As  its  apparent,  there  is  a   ‘sound-­‐lock’  just  as  we  enter  the  studio.  This  empty  space  is  used  as  a  major  isolation  between  the  control  room  and  the   recording   room,   as   a   person   trying   to   get   to   the   recording   room  from   the   control   room,  will   have   to   go   through   the   sound   lock,  which  prevents  any  sound  leakage.  

THE CONTROL ROOM  

The  Control  Room  has  a  massive  area  of  about  75.6  square  meters.  The  maximum   length,   width   and   height   are   10.5   m,   7.2m   and   4.5  respectively.  

Talking   about   the   design   of   the   control   room   in   the   Boom   Room,   its  based   on   the   RFZ   (reflection   Free   Zone)   to   avoid   the   room   modes.  Because  of   this  design   I   could  achieve  a  difficult   condition   in  a  control  room  of  avoiding  unnecessary  reflections.  The  Control  Room  is  perfectly  symmetrical  and  pretty  diffusive.

There  was  a  necessity  of  a  window  to  connect  the  recording  room  with  the   control   room,   therefore   keeping   the   symmetry   in   mind,   I   have  allotted  a  big  2m  long  window.  

 

THE RECORDING ROOM

Unlike   the   control   room   the   recording   room   is   a   simpler  design.  More  like   a   rectangle   yet   not   many   parallel   walls.   As   one   go   through   the  sound-­‐lock   to   the   recording   facility   of   the   Boom   Room,   tall   walls   and  hugeness   is  pretty  apparent.   I  have   intentionally  made  the  walls  of   the  recording  room  taller,  definitely  taller  than  the  control  room  for  grander  and  much  better   natural   reverb.   Although   to   avoid   room  mode   I   have  made  the  corner  of  the  room  slightly  blunt.  The  maximum  length,  width  and  height  are  10.5  m,  7.2m  and  5.5m  respectively.  

 

 

CONSTRUCTION FLOOR TECHNIQUE: Jack up (wooden)

STC: 58

The Floor construction probably was the easiest to go with. Because of the fact that the area provided to us was on the second floor, a major problem of the structure bond noise was minimized to a great extend. Considering the limitations of the budget, I decided to go with the wooden floating floor design.

On the main foundation provided to us, I installed a pattern of jacks or isolators, with

rubber and spring mechanism. On these rests 2” X 4” wooden joists, filled with glass wool in it. The gypsum board makes the foundation for the floating floor with a 5/8” and ½” gypsum board layers with bitumen coated between them. This is to provide a flat upcoming construction. The board is screwed into these jacks.

BITUMEN

I have also planed to just randomly pour sand inside the cavity to increase the overall mass of the floor, and mass plays a vital role in dealing with structure bond sound.

What follows is a sheet of 5/8” Gypsum board to provide the second foundation in a way. A thin layer of Bitumen, by product of petroleum is then applied to the board. Bitumen is very cheap and has always been a very good sound barrier. After the layer of Bitumen dries out, another layer of Gypsum board of different thickness, ½” is attached using the acoustical glue. The floor is now almost ready. It is finished with a layer of wooden

floor followed by a beautiful carpet, though the carpet doesn’t spread all across the area.

It may look but the walls and the floor are not at all in contact with each other, I knew that if they come in contact, they might act as a pathway to the unwanted sound to travel through, hence defeating the concept of a shell construction. Because of exact calculation a minute gap of ¼ inch is given between the two. The gap is filled with ¼th inch backer rod. The gap is final caulked with a non-hardening compound for the final finishing.  

   

WALL CONSTRUCTION (STC-59)  

The  construction  of  a  soundproof  wall  was  a  very   important  part  of   the  studio   construction.   Because   the   walls   contribute   to   the   maximum  surface  area,   it’s   very   important   to  have  a  good  construction  design   for  the  wall.    

 

  I   have   used   the   usual   shell  design   for   both   rooms   (i.e.   RR  &  CC).  The   image   on   the   right   shows   the  various  layers  that  I  have  used  for  the  construction.   Sticking   to   the  contemporary   studio   wall   design,   I  have   used   the   drywall   construction  with   several   layers   of   gypsum   board  of   various   thicknesses’.   The   layers   of  Gypsum  board  are  placed  strategically  around   various   layers   of   insulation  like  Glasswool,  BBC  (Barrier & Quilted Fiberglass Absorber Composite), Audimute Peacemaker and a very important but not apparent layer, i.e. the air gap.  

 

 

Starting with the given wall, there are sway braces installed as high as 7 feet and as low as Starting with the base, the structure stands on a 2”X4” wooden stud supporter by 4”X3” studs placed 20” apart. The distance between the studs is filled with 75mm glasswool and the BBC. On the vertical studs, Acoustigard Genie Clips are installed in the following pattern.

 

The   GenieClip   arrangement   as   shown   above is to ensure that the Clips evenly supports the drywall structure. The Furring channels are then hung at an equal distance of about 22”. The base for the drywall construction is now

ready. First to be nailed to the furring channel is a ¾ Inch layer of gypsum board. The cavity created by the GenieClips acts as a space where certain frequencies can resonate and finally get absorbed by the Glasswool. A layer of Audimute Peacemaker follows the layer of ¾ Inch Gypsum board, which is a good chose for damping lower frequencies. The acoustical Glue glues the Peacemaker to the Gypsum board. This takes us to the last layer my studio wall construction, which is a 5/8 Inch Gypsum Board layer.

The reason I have used gypsum boards of two different thicknesses is that if they have the same thickness, they both will have the same resonating frequency. And because they have pliable layer of peacemaker in between, we might want to reduce the chances of transferring their energy in the form of low frequency vibration.

The electrical socket was a big issue when it came to get them through the wall. I knew that a staggered entry really helps. The   wire   for   the  electrical  socket  as  seen  below,  goes  through  the  initial  first  three  layers  (i.e.   Gypsum   Board   ¾”,   Peacemaker,   Gypsum   Board   5/8”)   and   in   the  cavity  created  by  the  GenieClips  it  changes  it  way.

 

The  distance  between  the  electrical  socket  and  wall  is  kept  about  1/8th  “.  The  electrical  sockets  are  caulked  to  ensure  no  leakage  of  sound.    

Roof Construction (STC-57)

 

The  roof  construction  is  often  difficult  because  of  the  fact  that  it  holds  many  things  all  at  once  against  gravity.  Air  conditioning  ducts  need  to  go  above  the  false  roof  and  all   sorts  wiring   can   be   best   done   on   the   roof.   But  with  more   applications,   comes  more   acoustical   challenges,   like   the   AC   duct   has   the   tendency   to   ring   at   certain  frequencies,   and   if   these   vibrations   are   well   carried   to   the   false   roof,   every  soundproofing  done  is  gone  to  the  trash.  

As  apparent   from  the   image  on  the  right,   the   layers  used   are   not  many  but   its   very   intentional   because  the  load  on  the  roof  would  already  be  high  enough  to  deal  with  lower  frequencies.  Because  of  the  fact  that  the  roof  has   to  hang  not  rest  on   the  concrete  walls,  its   difficult   to   have   really   heavy   roof   hung   from   a  drywall   construction,   and   to   add   up   to   the   weight,  there   are   AC   ducts   gong   all   around.   Therefore,   to  avoid  the  possibility  of  a  weak  roof   falling  down  on  the   engineer,   I   decided   to   go   with   the   suspended  roof  design.          

 

In  such  a  design,  the  roof  actually  is  in  no  contact  with  anything  but  the  main  roof.  The  false  roof  literally  hangs  from  the  main  roof  through  strong  hanging  jack,  I  have  chosen  the  Kinetic  noise  control  ceiling  hangers  for  this  to  work.  

A  set  of  jacks  suspends  a  set  of  joists,  which  acts  as  a  base  for  the  suspended  ceiling.  The  2”X4”  joists  filledwith    a  75mm  layer  of  glass  wool  in  between.  This  layer  acts  as  an  insulator.  Then  a  thin  cavity  is  left  for  the  air  to  help  resonate  certain  frequencies,  which  ca  be  absorbed  by  the  glass  wool.    

  I  have  nailed  a  layer  of  ½“  gypsum  board.  This  further  ensures  that  there  is  no  leakage  from  the  AC  ducts  to  the  ceiling  in  the  form  of  vibrations.  The  ½”  Gypsum  board  is  coated  with  Bitumen,  a  compound  I  have  already  used  for  my  floor  construction.  This  layer  is  to  provide  the  much  needed  mass  to  the  construction  and  Bitumen  also  seals  the  joints.  Then  another  layer  of  Gypsum  board  but  of  a  different  thickness  (i.e.  5/8”  Inch)  is  stuck  to  the  dried  Bitumen  with  the  help  of  acoustical  glue.  

 

Floor, Wall and Ceiling Connections

Window Construction (STC-48)

Window is an essential part of a studio design. It acts as a link between the engineer and the Artists, and the better the communication the better the music produced. Although, the size of the window is very subjective. It can’t be so small that’s only the artist’s guitar is visible through it, at the same time it cant be so huge that it actually acts as a weak link in the acoustical isolation chain. Talking about my design, depending how the rooms were the window of the recording room and the control room mould them in the design.

The Picture above shows how the window of the control room look like.

Using this design against the control room design, I made the windowpanes, non-paralle, doing so I completely got rid of the possibility of certain frequencies resonating between the two panes.

A 1” thick sheet for CR and ¾” Inch thick sheet for RR, of fiberglass is set into a frame, in the respective patterns. The glass sheet rests on a thin layer of gasketting, which makes sure that the glass is airtight and yet not in direct contact with anything. But still to ensure the soundproofing, every joint is caulked.

The image shows the treatment done in between the two windows. As we can notice, there is a gap between the two structures, this gap is provided to are nailed for the finishing.

Ensure that no sound transmits through the structure. Over this gap, is laid a thin layer of Neoprene rubber, this is done to make the window air tight. Then finally, two more wooden planks

Door Construction(STC-49)

The Door is one of the weakest links in the soundproofing chain, because they can’t be hinged from all sides forever. And yet they can’t be removed from a design. So the best way is to try and achieve a good heavy and soundproof door.

Its not easy to achieve as it may sound, remember we want to make it heavy and stern but at the same time as sleek as possible.

My design is actually pretty simple and most of its mass comes from the wood used in the construction.

I believe that there has to be a good balance of mass and void in a good soundproof door. To achieve the desired level of soundproofing it was important for me to make good choices for the materials used in the door.

Deciding just the material wasn’t good enough; to decide which layer comes when in the series was a difficult job.

Starting from the outside, a 2” thick Teak wood plank is nailed with 1.5”X2” wooden studs to get the basic structure. We would need two of these structures. The cavity created by the joists is filled with 25mm glass wool sheet, still leaving an air gap of about 10mm for the resonance to occur.

A thin layer of about 3.2 mm peacemaker is sandwitched in between the similar structures. Due to the amazing capability of the Audimute Peacemaker of providing mass for the least space, it adds to to the overall mass of the door. Peacemaker is a very effective alternative of the MLV (mass loaded vinyl). Its good for low frequency intercption. But here am also using it as an isolater to isolate two layers of studs.

 Rubber  Gasketing

The images above are the clear example of the kind of gasketing I have wished to use. This kind of arrangement is called a head and jam arrangement. Zero international is the brand I have decided to trust for further air tightening my studio doors.

While for the Equipment room and the machine room, I have used an ordinary door construction with basic rubber gasketing.

Standing Waves Calculations Control Room

Dimensions: L- 10.5m

B- 7.2m

H- 4.5m

Axial Mode

Tangential Mode

Standing Waves Calculations Recording Room

Dimensions: L- 10.5m

B- 7.2m

H- 5.5m

Axial Mode

Tangential Mode

Power Calculations Control Room

Console – 4 x 4units = 16 A (Euphonix MC Control + MC Live)

ADDA +outboard gear – 0.25 x 4 units = 1 A

Mac Pro PC = 6 x 1 units = 6 A

TFT Monitors = 1 x 1 units = 1 A

Reference Monitors = 2 x 2 units = 4 A

Keyboard Controller = 0.25 x 1 = 0.25 A

CFL bulbs= 0.5 x 5 = 2.5 A

Total = 30.75 amps x 230V = 8970 / 1000 = 7.07 KVA(max)

Recording Room CFL bulbs= 0.5 x 5 = 2.5 amps

Guitar Amp = 10 x 1 = 10 amps

Total = 12.5 A x 230 V = 2. 87 KVA (max)

So, 7.07 + 2.87 = 9.94 KVA

Hence,

9.94 KVA is what the Studio would be drawing

at peak mode.

UPS and Power Conditioner APC Smart-UPS VT 10kVA 400V w/1 Batt Mod Exp to

2  

 

 

*  Output  Power  Capacity:  8000  Watts  /  10  kVA    *  Max  Configurable  Power:  8000  Watts  /  10  kVA    *  Nominal  Output  Voltage:  230V,400V  3PH    *  Output  Voltage  Note:  Configurable  for  380  :  400  or  415  V  3  Phase  nominal  output  voltage    *  Efficiency  at  Full  Load:  96%    *  Output  Voltage  Distortion:  Less  than  5%  at  full  load    *  Output  Frequency  (sync  to  mains):  47  -­‐  53  Hz  for  50  Hz  nominal    *  Crest  Factor:  Unlimited    *  Waveform  Type:  Sine  wave    *  Output  Connections:    (1)  Hard  Wire  4-­‐wire  (3PH  +  G)    (1)  Hard  Wire  5-­‐wire  (3PH  +  N  +  G)    (1)  Screw  Terminals    *  Output  Voltage  Tolerance:  +/-­‐1%  static  and  +/-­‐  5%  at  100%  load  step    *  Output  Voltage  THD:  <  2%  for  0  to  100%  linear  load  and  <  5%  for  full  n    *  Efficiency  at  Half  Load:  94%    *  Required  Output  Current  Protection:  20A    *  Bypass:  Built-­‐in  Maintenance  Bypass,Built-­‐in  Static  Bypass    *  Battery  Type:  VRLA    *  Included  Battery  Modules:  1    *  Available  Battery  Slots:  1    *  Typical  recharge  time:  5  hour(s)    *  RBC  Quantity:  1  

 

FURMAN PL-PLUS-CE

Maximum Output Current: 10 amps

Line Cord: 3/1.0MM AWG, 2.5M cord w/IEC female to 10A Schuko plug

Pull-out Lights: Two multi-LED, dimmable lamps

BNC Socket w/Switch: Rear rack lamp, 12VAC 500MA maxx (lamp not included)

Operating Voltage: 180 to 274 VAC

Spike Protection Mode: Line to neutral, zero ground leakage

Spike Clamping Voltage: 375 VAC peak @ 3,000 Amps

Response Time: 1 nanosecond

Maximum Surge Current: 6,500 Amps

Noise Attenuation: 10 dB @ 10 kHz, 40 dB @ 100 kHz, 50 dB @ 500 kHz

Dimensions: 482.6mm W x 266.7mm D x 4.45mm H

Weight: 6 kg.

Power Consumption: 12 watts

Safety Listing: CE  

Electrical Plan Our Main Distribution Unit gives out three phases: One phase is used by the AC and its utilities, the other phase is connected to the UPS in the equipment room, which is further connected to a Power Conditioner, which powers all the Audio Equipments ( through plug points in the recording room and control room). The last phase is connected to another Main Distribution Unit, which gives power to all the 4 rooms in our studio for Lighting and other utilities.

Lighting Plan

Air Conditioning Plan

Side View

Having merely good conditioning doesn’t all the purpose. The well spread cooling is a must. Presumption works well, especially when you know where are all your heat producing equipments kept.

In my design, as it can be seen, more emphasis is toward the mixing desk, where all the equipments and machinery will be kept, but this is primarily done also, keeping in my the fact that the farther the vent the lesser would be the cooling

HVAC TONNAGE CALCULATION

We need two Split Air Conditioners in the machine room and the equipment room, where as for the Control Room and Recording room we use the HVAC system. First we calculate the tonnage required, The unit used is called British Thermal Unit (BTU), and12000 BTU = 1 TONNE Area Area of control room = 72.45 Square meters So, Total BTU = 72.45 x 337 = 24418 BTU (approx.) People Maximum of 6 people = 6 x 400 = 2400 BTU (approx.) Equipments Total Wattage of the equipments= 5750 W Total Heat of the equipments= 5750 x 3.5 = 20125 BTU

Lighting

Lighting Bulbs =13 x 15W = 195W x 4.25 = 829 BTU (approx.) Total Head Load = 24418+2400+20125+829=47772 BTU But, The cooling required is doubled So, Cooling Required= 47772x2= 95544 BTU (rounded off), then we further divide it by 12000 to get = 7.9 Tonnes

A.C. Units

The Bluestar (Ducted Long Distance Cooling System)

This locally sourced cooling system is capable of handling office complexes and entire buildings. The compressor can be kept as long as 50m away as opposed to 6m for regular split air conditioners. The ducting is made by Bluestar. The ducts are wide and there are regular angles in the system, making the airflow as quiet as possible keeping space constraints in mind. The main compressor is a powerhouse. It is placed on the outside wall on a constructed platform. The ducts are placed between the existing wall and the constructed dry walls.

The Vents, made by Bluestar. The grilles are made of plastic, which is quieter than metal. The vents are isolated in their own enclosures. Each enclosure is tightly sealed and is made of absorptive material.

We wil have two Split AC’s in the Machine Room and Equipment Room, and for the

Recording room and Control room we will use the HVAC (heating, ventilation and air

conditioning) system. This is because these three functions are essential in maintaining

comfort in every dwelling. The primary use of HVAC is to regulate room temperature,

humidity, and air flow, ensuring that such elements remain within their acceptable ranges.

Whirlpool   1   ton   split   air   conditioning  unit   for   equipment   room   and   machine  room.  

Acoustic Treatment

Auralex studiofoam wedges 4"

Auralex 2inch wedges

Auralex TruTrap Genesis system

Auralex T’Fusor

Audimute 2'X4' sound absorption panel

Primacoustic Radiator Array

RT 60 Calculations Control Room

Because of the complex structure of the Control it was difficult to get the real RT 60 calculations done. I therefore took reference from an online RT60 calculator to get my approx RT60.

Source: Walter Storyk design Group.

Recording Room As compared to the Control room, recording room was easier to calculate the RT 60.

Source: Walter Storyk design Group.

The Graph above shows the RT 60 in different acoustical treatment varying from untreated to well treated.

Equipments

The PreSonus HP 60 PreSonus HP60 Features: • Six independent ultra-low noise, high output headphone amplifiers (150 mW

per channel) • Two sets of stereo inputs (A and B) with balanced TRS connectors • Stereo external input point on each channel for "more me" with trim control • Mix control between inputs A and B • Talkback with external XLR microphone with control Direct stereo line output on each channel Presonus HP60 Specification Chart

Specification Detail Input A (2) ¼” TRS balanced 10k Ohms Input B (2) ¼” TRS balanced 10k Ohms External input TRS stereo unbalanced 10k Ohms Headphone amplifier output power

150 mW RMS (60 Ohms) per channel

Audio outputs ¼” TRS stereo unbalanced per channel Master controls Talk button, Talkback volume, Input A, Input B Channel controls Headphone level, Mix A/B control, External input

level, Mono, Mute External talkback XLR with TS external control jack Power IEC - factory configured for 115V or 230V Dimensions 1U - 19"(W) X 1.75" (H) X 5.5" Weight 8.0 lbs. Rack Height 1U

The AMS-Neve 4081 When it comes to sustaining the quality of a production. The preamps play the most important role. No matter how great is your setup; all is useless if you fail to persist the quality of the signals coming in.

When I had to trust some brand for pre-amplification, it had to be Neve. The Neve 4081 comprises of four 1081 mic-pre setup. Two of these units can give up to 8 channels of pre-amplification. It might be a pretty expensive idea to have these preamps, but totally worth it. With remote control through a Protools setup, AMS NEVE 4081 tured out to be my best choice for the mic preamps.

AMS-Neve 4081 Features

• The legendary Neve microphone preamp design • Four genuine 1081 Mic preamp channels in a single 9.5” wide unit • Two units can be linked together to provide 8-channels in a 19” unit with optional 19"

rack-mount kit • Remote control using a Mac or PC with Neve Remote Control software • XLR Mic input can be switched between Mic and electronically balanced Line • Switchable 48V Phantom power supply • Digital I/O Option: Firewire/AES interface with four channels of A/D conversion to

either AES or FireWire and 4 channels of D/A conversion. Analogue Insert (pre A/D converter) per channel.

AMS-Neve 4081 Specifications

Specifications   Details  Power 100 – 240V AC Channels 4 Maximum mic input level +24dB Line Input Z in 50k ohm unity gain Outputs Max +26dB into 600 ohms Mic Input XLR input, Z in 1Kohm @ 1KHz Gain

+20dB to +70 dB in 5 dB steps. Dimentions 218 (W) 88.2 (H) 267 (D)

 

 

 

 

 

 

 

 

 

 

The Behringer Ultrapatch Pro Behringer Ultrapatch Pro Features: • 3 modes, easily selectable per channel via top-side switches • "Thru" interconnects each rear jack with its corresponding front jack • "Half Normal" interconnects the two rear jacks of one channel; inserting a plug

into the lower front jack interrupts the connection of the rear jacks • High-quality components and exceptionally rugged construction ensure long

life • Fully balanced high-quality ¼” TRS connectors Behringer Unltrapatch Pro Specification Chart

 

Specification Detail Connector ¼” TRS, Balanced Channels 24 Rack 1U Dimentions approx. 1 3/4" x 19" x 3 2/3" (44.5 mm x 482.6

mm x 93 mm) Weight approx. 4 lbs (1.8 kg)

Apogee AD-16X

Apogee AD-16X Features

• 16 channels of premium 24-bit AD conversion • Sample rates up to 192k • 16 channels of AES, ADAT/SMUX Output • Word Clock I/O • Analog in 1-8 Balanced, DSUB 25pin connector • Analog in 9-16 Balanced, DSUB 25pin connector

Apogee DA-16X

Apogee DA-16X Features

• 16 channels of premium 24-bit AD conversion • Sample rates up to 192k • 16 channels of AES, ADAT/SMUX Output • Word Clock I/O • Analog in 1-8 Balanced, DSUB 25pin connector • Analog in 9-16 Balanced, DSUB 25pin connector • All option cards (X-FireWire and X-HD) facilitate • AES-EBU in x 8, transformer balanced, DSUB 25pin connector (192k single wide compatible)

The AD & DA-16X converters offer the most advanced conversion system in the Apogee product line. With up to 192k standard sample rates, the X-series converters combine Apogee’s legendary conversion quality with the very latest in high-definition digital to provide unrivaled flexibility and quality.

The AD-16X featuring 16 channels of analog to digital conversion and the DA-16X featuring 16 channels of digital to analog conversion, both also offer Big Ben’s C777 clocking technology, SoftLimit and UV22HR.

We connect the X Series (AD 16x and Da 16x), digitally to the Symphony64 Card on the Mac Pro via the onboard X Symphony cards providing 16 channels of digital I/O, known as the Symphony System.

The converters are installed with specialized Apogee breakout cables for easy input and output connections.

Workstation DAW

Apple Mac Pro

Quad-Core

One 2.8GHz Quad-Core Intel Xeon “Nehalem” processor

3GB (three 1GB) memory

1TB hard drive

18x double-layer SuperDrive

ATI Radeon HD 5770 with 1GB GDDR5

 

MIDI

Apple I Mac

3.2GHz Intel Core i3

2560-by-1440 resolution 4GB (two 2GB) memory 1TB hard drive

8x double-layer SuperDrive ATI Radeon HD 5670 with 512MB

I-ONIX U82S (for the MIDI workstation)

Features:

• USB 2.0 Desktop Recording Studio

• 44.1kHz to 96kHz sample rates, 24-bit resolution

• Pantheon II VST/AU reverb plug-in with 6 legendary Lexicon reverbs

• dbx® 60V high-voltage, ultra-low noise microphone preamps on all 8

channels

• Superior sonic performance

• 8 analog combi-jacks for mic/line inputs

• 2 analog 1/4" TRS balanced outputs

• Zero latency monitoring

• Low latency ASIO drivers

• Streamlined monitor form factor puts all recording controls at your

fingertips

• Separate level meters and gain control per channel

• 2 side panel 1/4" instrument inputs

• 2 side panel headphone outputs with dedicated volume adjustment

• Stereo S/PDIF digital I/O

• MIDI in and out

MIDI Controller

M-Audio Axiom Pro 61 Features

• 61-note, semi-weighted TruTouch keybed • advanced HyperControl technology • graphic LCD • compatible with DAWs including Pro Tools, Logic and Reason • 9 sliders, with auto-mute to prevent jumping • 9 buttons complementing the sliders • 8 rotary encoders • 8 velocity-sensitive trigger pads • 12 buttons in keypad arrangement • 6 transport buttons • 7 function keys • aftertouch • 1 sustain pedal socket • 1 expression pedal socket • 1 data/octave button • Pitch bend and modulation wheels

Monitors Equator Audio Research Q8

Depth (mm) (mm): 330 Features: Frequency Response: 38Hz – 22kHz (-6dB) Height (mm) (mm): 330 Weight (kg) (kg): 15.4 Width (mm) (mm): 330 Amplification (Watts): 200 Audio Inputs: XLR and ¼" TRS jack Crossover Frequency (kHz): 2 HF Driver: (8 ohm) 1"Titanium Dome Forward Firing

Compression LF Driver: (4 ohm) 8" Type of Monitor: Active  

Genelec 8030A

The very compact 8030A is a powerful bi-amplified nearfield monitor system ideal for project and home studios, workstations, installations, and surround sound monitoring. The MDE™ (Minimum Diffraction Enclosure™) enclosure has rounded edges and a gently curved front and sides to achieve a very smooth frequency response and superb imaging qualities with minimized cabinet edge diffraction.

Specification Input format Analog SPL Maximum short time sine wave acoustic output at 1 m on axis in half space, averaged from 100 Hz to 3 kHz ≥ 100 dB SPL

Maximum peak acoustic output per pair with music material ≥ 108 dB SPL @ 1m

Drivers Bass 5" Treble 3/4" metal dome Crossover frequencies 3 kHz

Free field frequency response 58 Hz - 20 kHz (± 2 dB)

Amplifier power /ch Bass 40 W Treble 40 W

Yamaha MSR 400

(for the MIDI workstation)

The MSR400 provides three input connectors; XLR-3-31, XLR-3-32, and phone jacks. All inputs are balanced and connected in parallel. The input level range is from -36 dB to +4 dB, allowing the MSR400 to accept output from your mixer as well as other sources such as microphones, synthesizers, or other electronic musical instrument. The control section includes input level adjustment and a two-band equalizer so you can make fine adjustments for optimum matching with your input source.

Features • Brawn and beauty: sophisticated design and powerful sound. • High-performance bi-amplified power up to 400 watts. • Multiple inputs for a variety of sources.

Specification

Output power LF: 225W @ 500Hz,THD = 1%, RL = 4ohms HF: 75W @ 5kHz,THD = 1%, RL = 16ohms

Input sensitivity, impedance

MIC/LINE: -36dB/+4dB, 10kohms

Connector (Input/Output) (all parallel)

1: XLR-3-31 balanced 2: XLR-3-32 balanced 3: PHONE balanced

Control

Level Control EQ.LOW (+/- 3dB at 55Hz) EQ.HIGH (+/- 3dB at HF) Power Switch (ON/OFF)

Indicator Power: Green LED Clipping: Red LED

Power consumption 110W

Presonus Monitor Station

FEATURES

• Main volume control

• Three stereo inputs (two balanced TRS, one RCA Aux/Phono)

• Three sets of balanced TRS speaker outputs each with level adjustment

• Talkback microphone with volume control to feed headphone and cue output

• XLR input for external dynamic talkback microphone

• Accurate dual 8-segment LED for metering

• Four loud and clear headphone amplifiers with separate volume control and independent

input source selection

• MAIN and CUE stereo output have independent input source selection

• DIM with variable level adjustment

• Aux and Phono level adjustment

• Mute and Mono

SOFTWARES AND PLUGINS

APPLE LOGIC STUDIO 9

• Gives you everything you need to write, record, produce, and perform on a Mac

• Ideal for "do-it-yourself" musicians; Logic Studio 9 gives you the tools to write, edit,

record, and mix your own compositions

• Includes over 80 studio-quality effect plug-ins, including delays, reverbs, vintage and

modern compressors, and more

• New Amp Designer helps you re-create the sound of 25 legendary amps and 25 speaker

cabinets

• New Pedalboard includes assortment of 30 classic-sounding virtual stompbox pedals

• 20,000 royalty-free Apple Loops (from all the Jam Pack collections) sound great on your

recordings — and onstage

• MainStage 2 lets you perform live with Logic's incredible instruments, amps, effects, and

sounds

PROPELLERHEAD REASON 4

• Powerful and intuitive hardware-style environment

• Virtually unlimited number of instruments at once

• Vast libraries of samples and patch configurations

• Seven incredible synthesizers and samplers

• Full Effects Suite with over a dozen effects and processors

• New groove and arpeggiation tools for added flexibility

CELEMONY MELODYNE

• Powerful adjustment tool lets you polish audio tracks

• Automatic and manual timing and note length correction

• Automatic and manual pitch and pitch drift correction

• Formant and pitch modulation editing

• MIDI file export

• DNA Direct Note Access technology lets you adjust notes in polyphonic audio!

• Easy to use, logical layout makes navigation ultra-simple

• Stand-alone mode or integration into DAWs using RTAS, VST, or AU format plugins

• Compatible with both Mac and PC operating systems

WAVES GOLD BUNDLE NATIVE

CONTENTS • Q10 ParaGraphic Equalizer • S1 Stereo Imager • C1 Compressor/Gate • Trueverb • De-Esser • AudioTrack • PAX Psychoacoustic Analyzer • Doubler • Renaissance Axx • IR-L • Tune LT • C4 Multiband Parametric Processor • Renaissance Reverberator • Renaissance EQ • Renaissance Compressor • L1 Ultramaximizer • MaxxBass

THE EUPHONIX MC CONTROL The Euphonix MC Control control surface combines the functionality of motorized faders, programmable knobs and buttons, and an incredible customizable touchscreen interface for maximum control. Its high-resolution touchscreen lets you easily access and set up functions, while four touch-sensitive motorized faders, 12 Smart Keys, and eight programmable rotary encoders make the MC Control a powerful, flexible DAW controller!

• Customizable touch-screen interface • 12 assignable soft keys • 4 touch-sensitive motorized faders • 8 touch-sensitive rotary encoders • Jog/shuttle/zoom wheel and transport controls • Control multiple applications & workstations via Ethernet • 250X faster and 8X the resolution of MIDI • Supports EuCon, HUI and Mackie Control protocols • Studio Monitor Express software • Slim-line design for easy studio integration and portability

The Euphonix MC control is adaptable with multiple DAWs such as Logic, Reason, Nuendo, etc. Along with this we also have the Euphonix MC Mix, which we use as extra fader packs with the MC Control.

EUPHONIX MC MIX

• touch-sensitive motorized faders • 8 touch-sensitive rotary encoders • 8 displays for surround metering, parameter and track names • Link up to four MC Mix units and/or an MC Control

for up to 36 faders • Control multiple applications & workstations via Ethernet • 250X faster and 8X the resolution of MIDI • Supports HUI and Mackie Control protocols • Slim-line design for easy studio integration and portability

Apple LCD Screen 27-inch (diagonal viewable image size) thin film transistor (TFT) active-matrix liquid crystal display with in-plane switching (IPS).

• Supported resolutions: 2560 by 1440 pixels, 1920 by 1080 pixels, 1280 by 720 pixels

• Colors (maximum): 16.7 million

• Aspect ratio: 16:9

• Viewing angle: 178° horizontal; 178° vertical

• Brightness (typical): 375 cd/m2

• Contrast ratio (typical): 1000:1

• Response time (typical): 12 ms

ETHERNET HUB This is needed to connect the Euphonix MC Control and the 2 MC Mix consoles that we are taking to the DAW. Netgear FS605 Ethernet Switch - 10/100 Mbps Ethernet Hub with Five Normal Ethernet Ports and One Uplink Port

• 5- or 8-port Fast Ethernet switch instantly expands your network • Link up to 5 or 8 PC or Ethernet devices with a fast, auto-switching Ethernet

connection • Supports Windows® and Macintosh® platforms at speeds of up to 10 or 100

Mbps over Ethernet cables† • Every port automatically senses the right speed and full/half duplex mode • AutoUplink™ technology adjusts for two major types of connection cables • Embedded plug-and-play technology—simply turn it on and it works • Sleek, compact design

Microphones Shure SM 57

   An industry-standard, highly versatile cardioid dynamic microphone that can be found onstage and in studios around the world. The ideal choice for sound reinforcement and recording applications, the legendary SM57 is tuned for clean reproduction of amplified and acoustic instruments, targeting

the main sound source while minimizing

background noise.  Specifications    

 

 

 

 

 

 

 

 

 Type   Dynamic  

Frequency  Response   40  to  15,000  Hz  

Polar  Pattern   Cardioid  

Sensitivity    

(at  1,000  Hz  Open  Circuit  Voltage)  

Open  Circuit  Voltage:  -­‐56.0  dBV/Pa*  (1.6  mV)  

*(1  Pa  =  94  dB  SPL)  

Impedance   Rated  impedance  is  150Ω  (310Ω  actual)  for  connection  to  

microphone  inputs  rated  low  impedance.  

Polarity   Positive  pressure  on  diaphragm  produces  positive  voltage  on  pin  2  

with  respect  to  pin  3.  

Case   Dark  gray,  enamel-­‐painted,  die-­‐cast  steel  with  a  polycarbonate  

grille  and  a  stainless  steel  screen.  

Connector   Three-­‐pin  professional  audio  connector  (male  XLR  type)  

Net  Weight   284  grams  (10  oz)  

Dimensions   157  mm  (6-­‐3/16  in.)  L  x  32  mm  (1-­‐1/4  in.)  W  at  the  widest  point  

 

Sennheiser 421

 

Pretty much like the Shure SM57, the MD 421 is one of the most recognized microphones in the world. It has various applications in recording instruments, vocals, specially miking the snare bottom. Its excellent sound qualities enable it to cope with the most diverse recording conditions; it’s the best with the transient sounds. It has a 5-position bass control. Features

• Works best with the the Transient Sounds. • 5-position bass roll-off switch • Effective feedback rejection • Clear sound reproduction • Easy handling due to pronounced directivity

SPECIFICATIONS Pick-up pattern: cardioids Frequency response: 30 - 17,000 Hz Sensitivity: (free field, no load) (1 kHz) 2 mV/Pa

+/- 3 dB Nominal impedance: 200 ohms

RODE NT1000

 

RODE NT1000

With its ultra low 6 dBA self-noise and transformer less SMT circuitry, the RØDE NT1000 exhibits exceptional performance when recording both vocals and instruments in the studio. With a full scale frequency range(20Hz-20kHz), the NT1000 has been hailed by many as the ultimate drum over-head and grand piano mic selection. With its 1" HF-2 capsule incorporating internal shock mounting, the NT1000 boasts a 134 dB dynamic range, and 140 dBA SPL capabilities.

SPECIFICATIONS

Power P48 (48V), P24 (24V) phantom supply Acoustic Principle Pressure gradient Directional Pattern Cardioid Frequency range 20 Hz – 20 kHz Output impedance 100Ω Signal noise ratio >88 dB SPL (A – weighted per IEC651) Equivalent noise 6 dB SPL (A – weighted per IEC651) Maximum SPL 140dB SPL (@ 1kHz, 1% THD into 1KΩ load) Maximum output voltage +13dBu (@ 1kHz, 1% THD into 1KΩ load)

Sensitivity -36 dB re 1 Volt/Pascal (16 mV @ 94 dB SPL) +/- 2 dB @ 1kHz  

 

 

 

 

 

 

Shure PG 52 The frequency response of the Shure PG 52 is smooth and extended. Tuned specifically for kick drum applications. Cardioids polar pattern picks up the most sound from in front of the microphone and some sound from the sides. Less susceptible to feedback in high volume settings.

Dynamic cartridge has a simple, rugged coil. Handles extreme volume levels without distortion

Features

• Cartridge includes a neodymium magnet for high output level.

• Internal shock mount for reduced handling noise.

• Durable metal construction.

• Integral stand mount.

• Hardened steel mesh tapered grille that resists wear and abuse.

• Includes 15ft (4.57m) cable and storage bag.

Specifications

Microphone Type Dynamic (moving coil) Polar Pattern Cardioid (unidirectional) Frequency Response 30 to 13,000 Hz Polarity Positive pressure on diaphragm

produces positive voltage on pin 2 relative to pin 3 of microphone output connector

Output Impedance (at 1000 Hz) 300 ohms Sensitivity (at 1000 Hz) -55 dBV/Pa, (1.8 mV), 1 Pascal=94

dB SPL Electromagnetic Hum Sensitivity 25 dB equivalent SPL in a 1

millioersted field (60 Hz) Connector Three-pin connector (male XLR type)

PG 56

The reason I have chosen this microphone is simply because it its age old capability of capturing the real sound of the floor tom and other low mid range instruments.

Features • Tailored frequency response is smooth and extended. Tuned specifically

for drum applications.

• Cardioid polar pattern picks up the most sound from in front of the microphone and some sound from the sides. Less susceptible to feedback in high volume settings.

• Dynamic cartridge has a simple, rugged coil. Handles extreme volume levels without distortion.

• Cartridge includes a neodymium magnet for high output level.

• Internal shock mount for reduced handling noise.

• Durable metal construction.

• Integral stand mount.

• Hardened steel mesh tapered grille that resists wear and abuse.

• Includes 15ft (4.57m) cable, A50D drum mount and storage bag.

Specifications Microphone Type Dynamic (moving coil) Polar Pattern Cardioid (unidirectional) Frequency Response 50 to 15,000 Hz Polarity Positive pressure on diaphragm produces positive voltage on pin 2 relative to pin 3 of microphone output connector Output Impedance (at 1000 Hz) 200 ohms Sensitivity (at 1000 Hz) -56 dBV/Pa, (1.6 mV), 1 Pascal=94 dB SPL Electromagnetic Hum Sensitivity 26 dB equivalent SPL in a 1 millioersted field (60 Hz) Connector Three-pin professional audio connector (male XLR type)

Shure KSM 44a

• Dual 1-inch, externally biased, ultra-thin, 2.5 micron, 24-karat gold-

layered, low mass, Mylar® diaphragms provide superior transient response

• Class A, discrete, transformerless preamplifier for transparency, extremely fast transient response, no crossover distortion; minimizes harmonic and intermodulation distortions

• Full-range frequency response (20 Hz - 20 KHz) for an extremely accurate reproduction of voice and instruments

• Extremely low self noise (7 dBA) for critical studio vocal recording

• Premium electronic components and gold-plated internal and external connectors

• 15 dB attenuation switch for handling high input SPL sound sources

• 3-position switchable low-frequency filter virtually eliminates unwanted background noise

• Durable zinc die-cast housing and hardened low carbon steel grille to protect cartridge from accidental drops

• Uniform polar response provides natural off-axis response for critical recording

• Internal shock mount to reduce unwanted handling and stand noise

• Extended frequency response

• Very low self-noise

• Exceptional low-frequency reproduction

• High output level

• High input SPL capability

• No cross-over distortion

• Extremely uniform polar response

• Superior common mode rejection and suppression of radio frequency interference

Applications

The KSM44/SL is designed as a premium vocal microphone for studio recording. Microphone use, however, is a matter of personal taste. Here is a non-exhaustive list of common applications:

Vocals -- solo, background, voice-over

Acoustic instruments -- such as piano, guitar, drums, percussion, strings

Wind instruments -- brass and woodwind

Low frequency instruments -- such as double bass, electric bass, kick drum

Overhead miking -- drums or percussion

Ensembles -- choral or orchestral Room ambiance pick-up -- guitar amplifier or drums

Specifications

Output Impedance 150 ohms (actual) Attenuation Switch 0 or 15 dB attenuation Low Frequency Response Switch Flat; -6 dB/octave below 115 Hz; Phantom Power 48 Vdc (IEC-268-15/DIN 45 596),

positive pins 2 and 3 Current Drain 5.4 mA typical at 48 Vdc Common Mode Rejection > 50 dB, 20 Hz to 20 kHz Polarity Positive pressure on front diaphragm

produces positive voltage on output pin 2 relative to pin 3

Directional Polar Patterns

Cardioid

Omnidirectional

Bidirectional

Sensitivity (typical; at 1000 Hz; 1 Pa = 94 dB SPL)

-31 dBV/Pa

-37 dBV/Pa -36 dBV/Pa

Self-noise (typical, equivalent SPL; A-weighted, IEC 651)

7 dB 10 dB 10 dB

Maximum SPL @ 1000 Hz

2500 ohm load (Attenuator on)

132 (149) dB

138 (151) dB 137 (150) dB

1000 ohm load (Attenuator on)

127 (144) dB

132 (145) dB 131 (144) dB

Output Clipping Level*

2500 ohm load 7 dBV 7 dBV 7 dBV 1000 ohm load 1 dBV 1 dBV 1 dBV Dynamic Range 2500 .ohm load 125

dB 128 dB 127 dB

1000 ohm load 120 dB

122 dB 121 dB

Signal to Noise ratio**

87 dB 84 dB 84 dB

 

 

AKG C414 XLS

Features  • Nine selectable pickup patterns enable to choose the perfect setting for every

application

• Lock Mode: all controls can be disabled easily for trouble-free use

• Peak Hold LED even detects shortest overload peaks

• Incredible Dynamic Range of 152 dB

• Three switchable different bass cut filters and three pre-attenuation levels

• Leading-edge technology and state-of-the-art components ensure shortest signal path

The new models C 414 XLS and C 414 XL II offer nine pickup patterns which enable to choose the perfect setting for every application. For live-sound applications and permanent installations all controls can be disabled easily for trouble-free use. A Peak Hold LED displays even shortest overload peaks.

The C 414 XLS maintains the sonic character of the legendary C 414 B-ULS, the longest-lived C 414 model. Engineered for highest linearity and neutral sound, it is the most universal and versatile large diaphragm microphone for decades. Widely used for accurate, beautifully detailed pickup of any acoustic instrument the new C 414 XLS combines proven reference quality, leading-edge technology and state-of-the-art components.

The C 414 comes complete with carrying case, pop filter, windscreen, and spider-type shock mount.

Specifications

Polar pattern omnidirectional, wide cardioid, cardioid,

hypercardioid, figure eight and 4 intermediate settings

Frequency range

20 to 20, 000 Hz

Sensitivity 20 mV/Pa (-34 dBV) ± 0.5 dB Max. SPL 200/400/800/1600 Pa = 140/146/152/158 dB (0/-

6/-12/-18 dB) for 0.5% THD Equivalent noise level

6 dB-A (0 dB preattenuation) (IEC 60268-4)

Signal/noise ratio

88 dB

Preattenuation pad

0 dB, -6 dB, -12 dB, -18 dB, switchable

Bass cut filter slope

12 dB/octave at 40 Hz and 80 Hz; 6 dB/octave at 160 Hz

Impedance <=200 ohms Recommended load impedance

>= 2,200 ohms

Supply voltage 48 V phantom power to DIN/IEC Powering approximately 4 mA Connector 3-pin XLR to IEC Dimensions 50 x 38 x 160 mm (2.0 x 1.5 x 6.3 in.) Net weight 300 g (10.6 oz.) Patent(s) Electrostatic transducer (Patent no. AT 395.225, DE

4.103.784, JP 2.815.488)  

 

 

 

 

 

 

 

 

 

 

 

Nuemann D01

A/D Converter, optimized for direct conversion of the capsule signal. New capsule design. Additional DSP functions. Limiter (incl. de-esser). All parameters and functions remote controllable

D-01 Specifications Acoustic transducer: K 07 large double-diaphragm capsule,

diameter 30 mm with protected internal electrodes

Directional characteristic: 15 remote controllable polar patterns,

from omni to cardioid to figure-8

Frequency response: 20 Hz to 20 kHz

Free-field sensitivity1) 2): –44 dBFS

Equivalent noise level, CCIR3): 19 dB

Equivalent noise level, A-weighted3): 8 dB-A

Signal-to-noise ratio2), CCIR3): 75 dB

Signal-to-noise ratio2), A-weighted3): 86 dB

Maximum SPL at 0 dBFS: 138 dBSPL

Dynamic range, A-weighted3): 130 dB

Frequency response: 20 Hz to 20 kHz

Free-field sensitivity1) 2): –44 dBFS

Equivalent noise level, CCIR3): 19 dB

Equivalent noise level, A-weighted3): 8 dB-A

Signal-to-noise ratio2), CCIR3): 75 dB

Signal-to-noise ratio2), A-weighted3): 86 dB

Maximum SPL at 0 dBFS: 138 dBSPL

Dynamic range, A-weighted3): 130 dB

Supply voltage range:   +6 V to +10.5 V  Weight: approx. 700 g, Diameter: 63.5 mm,

Length: 185 mm Current consumption: max. 220 mA   Current consumption: max. 220 mA  

Neumann KM 184D

The legendary Neumann sound in the digital realm.

Features

• A/D conversion: Neumann process (patented), 28-bit internal word length

• Digital signal processing: Fixed-point, variable internal word length 28 bits to 60 bits

• Synchronization: Asynchronous operation (free-running, AES42 - Mode 1),

• basic frequency accuracy: ± 25 ppm • Synchronous operation (AES42 - Mode 2), pulling range: Min. ± 100

ppm • Output: XLR3M, 24 bits as per AES/EBU (AES3)

Specifications  Polar pattern4) - Low-cut: flat, 40, 80, 160 Hz - Pre-attenuation: 0 , -6, -12, -18 dB

- Gain: 0...63 dB in 1 dB steps, clickless

- Testsignal: 1 kHz, pink noise, white noise

- Parametric compressor/limiter (incl. de-esser function)

- Independent peak limiter avoiding any clipping

- Switch functions: soft muting, phase reverse, signal lights

- Signal lights: red4) and blue LEDs - System functions, firmware download

Polar pattern4) - Low-cut: flat, 40, 80, 160 Hz - Pre-attenuation: 0 , -6, -12, -18 dB

- Gain: 0...63 dB in 1 dB steps, clickless

- Testsignal: 1 kHz, pink noise, white noise

- Parametric compressor/limiter (incl. de-esser function)

- Independent peak limiter avoiding any clipping

- Switch functions: soft muting, phase reverse, signal lights

- Signal lights: red4) and blue LEDs - System functions, firmware download

Power supply (phantom power complying with AES42)

HEADPHONES

SENNHEISER HD 650

Sennheiser HD 650 Features:

• Top-of-the-range open, dynamic hi-fi stereo headphones.

• Systems with narrow tolerances (± 1 dB), hand-picked in pairs.

• High-quality titanium/silver finish. • Specially developed acoustic silk for

precise, uniform attenuation over the entire area.

• Specially modulated connecting cable (detachable) made from highly conductive OFC copper, Kevlar-reinforced, with very low handling noise, i.e. low structure-borne sound sensitivity.

• Extremely lightweight aluminium voice coils ensure excellent transient response. • Exceptionally comfortable to wear due to elliptical design adapted to the shape of the

ears. • Can be directly connected to stationary hi-fi components of the highest quality, in

particular SACD, DVD-A and CD players.

SENNHEISER HD 280 Pro

• Ear coupling: Circumaural • Neodymium magnets for optimum

sensitivity and wide dynamic range • Very good attenuation of background

noise • Circumaural ear pads provide

comfortable fit • Space-saving design with collapsible,

rotating ear-pieces • Screw-type adapter for 1/4-inch jacks

DIRECT INJECTION BOX RADIAL J48  

It is a Active 48-Volt phantom powered direct box with minimal power draw with high rail voltage. It Will not choke when driven hard. It has a 80Hz high-pass roll-

off filter which reduces mud and increases headroom.

RADIAL X-AMP

The Radial X-Amp is an active re-amping device that lets you use a a pre-recorded track from a line level device to drive two guitar amplifiers or effect pedals simultaneously. This opens the door to explore new musical sounds and spur on the creative process. Re-amping is one of those producer's tricks for bringing new sounds and textures to already recorded tracks, and the X-Amp is designed to to the job well.

JUNCTION BOX

Pro Co SM2404FBX-150

24-Channel Snake, XLR Female-XLR Male, with 4 XLR Returns, 150' Long

Pro Co Stagemaster 8 Channel TRS Drop Snake

8-channel Snake, XLR Combo-1/4" TRS Male, 25' Long

MICROPHONE STANDS

K&M 21021

• Extra tall heavy-duty floor stand

• Designed for studios and drummers

• Cast iron pole insert

• Long legs fold for compact storage and easy

transport

• Two section telescopic pole with noiseless

clutch

• Taller and longer than most stands

• Weight: 5.7 kg

• Height: 43.3"/79.5"

• Boom length: 42.1" Fixed

K&M 25950

Extra low profile floor stand for bass drums or special use. One-piece pole with cast iron base. Complete with boom. It has a matte black finish.

K&M 21019

• Color: Matte Black • Height: 35/63 in. • Boom length: 18.1/30.1 in. • Net weight: 7.3 lbs.

POP FILTER

ROYER PS-101 - Louvered Metal Pop Filter with 13-inch Gooseneck Quantity: 3

 

CABLES AND CONNECTORS

1. DB 25 –DB 25 - Pro Co DA88DM100 - 8-channel Snake, DB25 Male-DB25 Male, 10' Long

2. TRS – TRS - Pro Co BP10 - Audio Cable, 1/4" TRS Male-1/4" TRS Male, 10' Long

3. XLR – XLR – PRO CO XLR20 - Audio Cable, XLR Male-XLR Female, 20' Long

4. XLR – TRS - Pro Co BPBQXM10 - Audio Cable, XLR Male-1/4" TRS Male, 10' Long

5. XLR – TS - Pro Co EXHQXM10 - Audio Cable, XLR Male-1/4" TS Male, 10' Long

6. TS – TS - Pro Co Excellines EG-20 - Audio Cable, 1/4" TS Male-1/4" TS Male, 20' Long

7. RCA – RCA – PRO CO DKRR5 - Audio Cable, Dual RCA Male-Dual RCA Male, 5' Long

8. ETHERNET CABLES - Hear Technologies Cat 5 Ethernet Cable

9. DB25 – TRS - Pro Co DA88BQ5 - 8-channel Snake, DB25 Male-1/4" TRS Male, 5' Long

10. TRS – TS - Pro Co MTIP0408Q15N - 4-channel Insert Snake, 4x1/4" TRS Male-8x1/4" TS Male, 15' Long

11. TRS – BANTAM - TT BANTAM to 1/4 TRS GOLD PATCH

CABLES CORDS 18"

Signal Flow (main desk)

Signal Flow (MIDI Workstation)

COST SHEET

EQUIPMENT

QUANTITY

PRICE

(Each)

(Total)

MICROPHONES

Shure SM 57 2 100 200

Shure PG 56 1 69 69

Shure PG 52 1 119 119

SENNHEISSER 421 1 379 379

NEUMAN D 01 1 4500 4500

Nuemann KM 184D 1 (set of two) 849 849

RODE NT 1000 2 325 325

AKG 414 2 1043 2086

TOTAL 8527

Neve 4081 (Quad Pre) 2 3283 6566

PRESONUS HP 60 1 300 300

Behringer Ultrapatch 1 40 40

APOGEE AD 16X 1 3199 3199

APOGEE DA 16X 1 3149 3149

EUPHONIX MC CONTROL 1 1499 1499

EUPHONIX MC LIVE 3 1000 3000

NETGEAR FS605 1 30 30

MAC PRO 1 6,446 6446

I Mac 1 1699 1699

Equator 2 2117 4234

Genelec 8030A 2 1349 2698

Yamaha MSR400 2 579 1158

PRESONUS MONITOR STATION 1 300 300

SEINHEISSER HD 650 2 500 1000

SEINHEISSER HD280 PRO 6 100 600

LEXICON I-Onix U82 1 869 869

M-Audio Axiom 1 1320 1320

Logic studio 1 499 499

REASON 4 1 300 300

APOGEE SYMPHONY 64 CARD 1 995 995

SYMPHONY X CARD 2 180 360

RADIAL J48 ACTIVE DI 1 200 200

RADIAL X AMP ACTIVE DI 1 200 200

PRO CO SMA 2404 XLR 1 912 912

PRO CO STAGEMASTER TRS DROP SNAKE

1 280 280

K & M 21021 OVERHEAD MIC STAND

2 120 240

K & M 21019 MIC STAND 8 83 664

K & M 25950 MIC STAND (FOR KICK DRUM)

2 82 164

CONNECTORS AND CABLES

DB25 – DB25- Pro Co DA88DM100

6 75 450

TRS – TRS – PRO CO BP10 10 20 200

XLR – XLR – PRO CO XLR20 10 25 250

XLR – TRS - Pro Co BPBQXM10 10 20 200

XLR – TS - Pro Co EXHQXM10 5 20 100

RCA – RCA – PRO CO DKRR5 5 22 110

TS – TS - Pro Co Excellines EG-20 10 16 160

ETHERNET CABLES - Cat 5 Ethernet Cable

7 17 119

DB25 – TRS - Pro Co DA88BQ5 4 98 392

TRS – TS - Pro Co MTIP0408Q15N

1 set 100 100

TRS-BANTAM 2set 38 38

TOTAL 2119 2119

Vents, Ducting and Reinforcement 3500 3500

Whirlpool 1 ton split AC 2 913 1826

Floating floor for the Control room and Recording room

7500 7500

Hanging Ceiling for Control room and Recording room

2500 2500

Dry wall for Control room and Recording room

2550 2550

Caulking 100 100

Rubber Gasketting 120 120

Window Construction 3500 3500

Electrical conducts, cables, circuit brakers and switches

15000 13000

Aeron Chair 3 680 2040

Furring channels/kinetic fittings 150 6850

Labor 5500 5500

Gypsum board 4347 4347

BBC/ Absorbers/ Diffusers 775 4650

Miscellaneous Construction Materials - Tools, Bulbs etc

110 110

Tama Superstar SL Hyperdrive 1 1870 1870

GRAND TOTAL 113530

Conclusion It was great fun working on this project. This project helped gain knowledge about each and every aspect of a studio construction. It is during this project when I realized that I really like the whole concept behind the studio designing, construction and treatment.

This Studio Design also made me aware about the various products that are out there in the market and I am hoping that this should really prove helpful in my professional life.

Talking about my design, which I started working on two months back, I believe to have achieved a decent level of satisfaction, but extreme level excitement that I could complete this project with the deadline. The Boom Room is nothing less than my dream studio and now I can feel the attachment with it.

It was during this project when I decided to learn animation just to present the boom room in a better way. The idea is great and very applicable and I am hoping that the college would believe in the boom room as well.

The Budget is well utilized leaving merely about Rs. 4680 left which is a pretty good threshold for a hypothetical studio.

Everything looks great, it’s just that I wish the Boom Room actually existed. Well maybe not, because if it did, I would have never gotten the chance to build it.

Regards

Siddhant FNU

ID No. 20544

Batch 25

Special Thanks

Sweetwaters.com for the reference