HOW THE STUDIO EVOLVED
When Mairéad became involved in online learning she noticed the poor standard of audio, especially for screen recordings, reusable learning materials (RLO's) and training Videos. This was the inspiration for 'MÓR Sound', a specialised, high quality Voice Over/Post Production service.
The initial idea was to concentrate on location recording with view to off-site Post Production. The first challenge was to design a state of the art critical listening environment to facilitate this.
As many recording artistes will agree the best vocals are often recorded in the Studio Control Room. Why is this?
Because the high quality listening environments provided by good control rooms by default, lend them selves to good vocal recording spaces.
With this in mind Mairéad went the extra mile and extended the acoustic treatment in the control room area of the studio to provide an ideal space for recording vocals.
Even before MÓR Sound was officially launched word started to spread among colleagues and work began to flow in from a much wider community;
Story Tellers, Artists, Playwrights, Poets, Musicians, Corporate Training etc.
The space was designed in consultation with Irish Acoustics
It began with an empty room that sounded lively and bright.
The first challenge was to create a good listening space for post-production.
The room acoustics were tested to determine the best orientation for the 'mix position'.
This was achieved by conducting specific sound measurement tests and forwarding the sound files to Irish Acoustics for analysis.
Test results favoured the long aspect considerably.
Proposed Mix Position
Further tests were conducted to determine the type & amount of acoustic treatment required.
Irish Acoustics recommended products from 'GIK Acoustics' in the UK.
GIK Acoustics also offer 'Acoustical Room Advice', a facility where room details can be submitted to calculate requirements of the space and provide product recommendations.
Acoustic Designers tend to agree that you can never have too many acoustic panels in a room.
We started with two bass trap panels overhead to create what is called 'The Cloud'.
The basic cloud was extended to address ceiling /wall reflections and most importantly side wall reflections.
So with the installation of 6 GIK Bass Traps to the front of the room the primary control room mix position was created.
It became apparent that very little extra treatment would be required to extend the space to create an ideal environment for recording vocals.
Sound Measurment Tests In Progress
Extended Cloud, Ceiling/Wall & Side Wall Reflection Treatment
So a further 8 bass traps were strategically positioned to extend the cloud and address further wall reflections, taking into account potential clients heights and recording positions.
The room was first tested listening to familiar 'Reference Track' material.
The difference in sound clarity when listening to these familiar tracks in 'the new Studio was astonishing!
The audible difference in detail is now incredible, as observed by all clients!
Acoustic screen panels were designed & built to provide additional room treatment also to provide flexible solutions for recording vocals.
Preliminary Tests - Post Acoustic Treatment
Portable Acoustic Screen Panels
Following sucessful preliminary room acoustics tests, Neumann KH310A studio monitors were added.
Final room sound analysis incorporating the Neumann studio monitors has revealed spectacular speaker/room response results.
The ultimate solution! An excellent vocal recording & critical listening space has been achieved.
We could not have wished for a better result!
"I was surprised and delighted at how good the response measurements were. It is not easy to get small rooms into compliance with European Broadcasting Union (EBU) Specifications."
Dan Fitzgerald, Acoustician, IA
MÓR Sound Studio Completed
COMPUTER: Apple iMac 27",
DAW: ProTools, RME interface
MONITORING: Neumann KH310A, Celestion Ditton 66, Yamaha NS10
HD 650, HD 280 Pro, HD 25
MICROPHONES: Gefell, DPA, AKG, Audio Technica.