Following discussions concerning the problem of the wayward acoustics at Alan’s studio The Thin Line, in November 1998, it was decided that there were two main areas to tackle – the exposed bare plaster walls and the soaring 20ft high ceilings.
Kevin’s recommendation was the construction of a ‘room within a room’ that could be brought temporarily into play specifically for mixing and then easily removed again afterwards. He proposed a ‘floating’ ceiling supported by the steel beams that span the building and a series of screens to deaden the sound.
Alan’s arsenal of equipment was rack-mounted within Kevin’s unique scaffolding system – a combination of metal frames, sliding work surfaces and extractable pods, customised to contain a range of samplers, synthesizers, tape machines, computers and effects.
Three separate wall areas were fitted with mounted absorbers in the form of foam-filled, wooden-framed panels (sprayed in metallic copper paint) and covered in perforated aluminum. In addition to providing the necessary acoustic qualities, one of these paneled areas that covers a large corner of the studio, was converted into an impressive vocal booth.
Overhead, Kevin constructed 3 x 10ft long metal frames, each containing 8 triangles of specialist acoustic foam, before suspending them at varying heights from the existing steel girders using industrial wires and fixings. Again, these frames were sprayed with metallic paint – copper and steel – and finished with chrome dome-headed bolts, adding to the already stylised industrial look of the studio.
Two free-standing bass trap towers were also developed and built containing foam and covered with aluminum mesh. These were placed directly opposite the speakers for maximum effect. Two floating silver and metallic green screens provide further baffling at the back (or to the sides) of the main working area. A third screen with a glass section was added to create a perfect vocal booth.
Says Kevin: The triangular absorbers in the ceiling are my design. They’re made from 200mm Mellotec blocks supplied by the Noise Control Centre, and they improve the mid-range absorbency. This is important, because otherwise there would only be high-frequency diffusers up there. The bass traps are diaphragmatic. You can’t have a studio without equipment in it. Sound does bounce off the large panels of the big modular synths, but you have that to a lesser extent in any studio. Sound bounces off the mixing desk and there’s nothing you can do about it. You just have to get as much tuning in the empty room as you can, and hope that it’s going to be OK after you populate it.
