indie music Archives - Aaron J. Trumm

Home Studio Acoustics Primer

This article on home studio acoustics was written originally for the blog at Carvin Amps and Audio. I repost it here, and encourage you to check out Carvin’s amazing line of products! Also – notification: I sometimes use affiliate links. Some purchases may earn me a commission! 🙂

Many musicians and home studio enthusiasts place top priority on expensive plugins, computers, monitors, and other gear. Those are great things, but the well-initiated know that when it comes to making a home studio great, acoustics is where you can get the most bang for your buck.

Whether you’re recording and want to capture a better sound or mixing and want your mixes to sound great elsewhere, properly treating the room you work in is the best way to supercharge your results.

You may think acoustic treatment is the sole purview of expensive, professional facilities, but that’s not the case. In fact, it’s relatively easy to make a significant improvement to your acoustic environment, even on a budget – if you understand a few basic concepts.

We’ll go over some of those here to get you started improving the sound of your home studio.

Home Studio Acoustics: Why Treat?

If you’ve ever walked into an empty bedroom, you know why acoustic treatment is so important. In a hard cube with six parallel surfaces, sound reflects and interact with each other and the direct sound, causing peaks, nulls, comb filtering, and all kinds of undesirable acoustic phenomenon.

If you’re recording or mixing music, this obviously poses a problem. Since its unlikely you can rebuild the room a different shape, you’ll need to treat it to tame and control its acoustic characteristics.

Soundproofing?

Before we go too far, we should distinguish acoustic treatment from “soundproofing”. Soundproofing really means isolation – aka making sure your sound doesn’t leak into other rooms or bother neighbors (or vice-versa). Isolating a room is a very different job than treating it, and sometimes the two tasks are at odds. So, we’ll leave off isolation for another time, and just talk about treatment.

Absorption and Diffusion

There are two basic solutions to the problem of reflections interfering with each other and causing ugliness: absorption and diffusion.

Diffusion spreads reflections in an even manner, so interactions aren’t as extreme. In a big space, diffusion is an excellent way to create an even, beautiful sound which is not too “dead”. Many types of diffusors are used in big recording or concert spaces to create live, even sounding spaces.

Unfortunately, diffusion requires a lot of space to work and most home studios are just too small. So strategic absorption is most likely your best bet.

If it’s not obvious, absorption simply means absorbing all or most of a sound wave when it gets to a surface, rather than letting it bounce off and cause problems in the room. So, we’ll look at absorption from here forward.

Lows and Highs

While low and high-frequency waves are technically the same animal, they need to be treated differently, mainly because of their size difference (low-frequency waves occur literally over a longer distance).

For treatment purposes, think of low frequencies as anything below about 400 HZ and especially below 200 HZ. That’s the bass and low-mid bass area. For reference, middle C is 262 HZ.

Low frequencies are usually more problematic because you can’t hear them interacting just by clapping or yelling in a room. These frequencies build up or cancel each other out in different spots in the room, causing listeners to hear the bass inaccurately during mixing, or mics to pick up less than ideal low-end information during recording.

Low-frequency interaction might cause a room to sound boomy, a bass drum to sound dull, or a mix to sound thin, to name just a few examples.

High-frequency problems can be heard as ringing, resonating, boxiness, echo, phasing, or other audible phenomena. In recording, these problems can cause instruments to sound flat or extra boomy, make vocals sound ugly and lifeless, or even give a reverberant quality that you don’t want.

In mixing, uneven high frequency reflections may skew the stereo field, or create a wash of sound which makes it hard to hear the difference between left and right, how reverbs and delays sound, or even just how details interact in the mix.

Simple Solutions

As mentioned above, the quickest and often the best solution to these problems is simply to absorb reflections.

High Frequencies

At high frequencies, this is simple. Think of a high-frequency sound wave like a ray of light. It bounces off a wall at the same angle it approaches. In many cases can easily see where you might need high-frequency absorption, but here are some quick tips:

Floor or ceiling – Floor coverings can make an incredible difference in a noisy room very quickly, but professionals often leave floors uncovered and treat the ceiling instead.
Reflection-free zone – in a mixing room, it pays to absorb high frequencies in the area surrounding the mix position. Directly to your left, right, and above you are the areas that cause the most problems. You can also treat the wall behind your speakers, but not every pro does this because speakers don’t necessarily fire backward. Many pros leave the wall behind them live, or if the room is big enough, they use diffusion.
Even out a recording space – In a recording space, there’s not necessarily one area you’d like to sound good. You don’t necessarily have to treat every surface – in fact, that may create an undesirable deadness. Instead, evenly space acoustic panels around the room to tame reflections and even the response.

Low Frequencies

Because of their length (often longer than the room), low frequencies act less directional than high frequencies. Still, they do reflect and interfere with each other, and the solution is almost always to absorb them.

In theory, material that absorbs high frequency waves would also absorb low frequency waves – if it were thick enough. The problem is, in order to effectively absorb lower frequencies, panels would need to be very thick – think eight or more inches. Since most people don’t want to give up a foot of space around their room, low frequencies are usually dealt with differently. Consider these few principles to treat low frequencies:

Corner traps – Bass tends to build up in corners of the room, so this is a great place to absorb. Corner traps of various types are available for this purpose, and ideally should be used in every corner of a room.
Panel traps – A panel trap is a low frequency absorber which uses any of a number of resonating membrane techniques to absorb low frequencies while reflecting highs. This kind of absorber is very handy for taming the low end of a room without making it to dead sounding at high frequencies.
Absorb more – In most rooms, you can’t absorb too much of the low frequencies. So, look for areas beyond just the four vertical corners where you might use various kinds of low frequency absorbers. You can absorb too much high frequency information, depending on your goals and taste, but low frequencies should be generously treated until the room responds the way you want.

Further Study

We hope this primer has helped you get a grasp of the basics behind tuning up your home studio acoustics, but acoustics is a deep science, and we thought we’d give you a few more resources to jump to, so you can further your study.

First of all, check out the “Master Handbook of Acoustics”, by F. Alton Everest, for a deep look at treatment, isolation, and even building for acoustic purposes. For a look specifically at building your home studio, try “Home Recording Studio: Build it Like the Pros”, by Rod Gervais. Finally, to get a deep dive into the physics of sound, try Thomas Rossing’s “The Science of Sound”.

Let us know in the comments your favorite techniques and acoustic products, and don’t be afraid to share pictures of your home studio treatment!

If you have questions or want to talk, just hit me up on Facebook @AaronJTrumm or Instagram

Mastering Good Stage Organization

February 1, 2023 by Aaron

Audio Instruction, Carvin Amps and Audio, Instructional Stuff, Published Work

aaron j. trumm, aaron trumm, carvin, carvin amps and audio, good stage organization, how to organize your stage, indie music, live music, music, music tips, nquit music, stage, stage organization

This article on mastering good stage organization was written originally for the blog at Carvin Amps and Audio. I repost it here, and encourage you to check out Carvin’s amazing line of products! Also – notification: I sometimes use affiliate links. Some purchases may earn me a commission! 🙂

Picture this: your lead singer gets excited and decides to do an Irish river dance during your guitar solo. In an ecstatic frenzy, he leaps and careens. The crowd goes berserk. People scream, people dance, your solo turns into an exalted triumph never before seen in your state…

…Then the singer tangles his foot in your cable, lurches forward, unplugs your cabinet with a screech, and bashes his forehead through the kick drum. The room is suddenly silent while you wonder why your strings make no sound. The greatest rock-n-roll moment in your band’s history? Maybe. But the show is also over – bloody and awesome as it may be.

More often, this foot-tangling disaster happens five minutes before go time, in which case you’ve got no show, no sound, and no epic moment.

This is just one reason you may want to take the time to master good stage organization.

Other Reasons To Get It Together

Besides trip hazards, there are some other reasons proper stage organization is smart. First, you’ve got a better shot at great sound if you’re not running audio cables alongside power cables, due to 60hz hum. Second, planning your stage setup well can make it easier to hear yourself and keep your loudness in check. An organized stage also looks better, and after all this is a show. Not only that, a clean stage goes a long way to making performers feel comfortable and confident. Finally, a well-organized stage is a breeze to set up and take down. And that gives you more time to work out your sound!

Keys to Good Stage Organization

It’s not necessarily rocket science getting organized, but here are a few tips to get you started.

Make a plot – Create a consistent layout on paper, defining where each player will be, where drums, amps and keys will sit, even how cable runs should go. Be sure to allow for performance space, and keep in mind how your members like to perform. Does your singer throw themselves around? Is your bassist prone to jumping into the crowd? In almost every venue, you’ll have to make some tweaks, but at least you’ll have a plan. A proper stage plot will also be necessary to land bigger gigs, so you might as well have one. Here’s a convenient little app to do that.
Set up gear in order – Establish a consistent order of operations for setup, rather than setting up willy-nilly. The order is up to you, but it’s probably a good idea to setup the biggest elements first. One good setup order might be drums, amps, keys, mic stands, power cables, speaker cables, and mic cables.
Try Wireless – While wireless systems can come with their own set of obstacles such as interference and reliability issues, there’s no better way to eliminate clutter than to implement wireless solutions like Carvin Audio’s EM900 wireless in-ear monitor system or wireless hand held mics like Carvin’s UX1200MC. Even guitar purists who prefer high quality cables have been known to make the switch to wireless and never look back.
Flex With The Venue – Sometimes your setup is just too big (or small) for a space. Consider a few alternate drum rigs, cabinets, and even band lineups for various sized rooms. This will not only help you organize your space, but it can work wonders for getting your volume right for the room.
Use Gaff – Anywhere you need to run a cable across a pathway, be sure to use gaff tape to secure the cable properly. Similarly, you might want to tape down pedal boards or keyboard pedals so they don’t slide around when you step on them – or when the singer’s Irish boogie encroaches on your rig.
Go Slow – Finally, give yourself time to set up slowly and with purpose. It can often be hard to get into a venue early due to circumstances out of your control, but if possible, get there early and take your time setting up. This way you can follow your plot, run cables strategically, place gear in its right place, and generally keep organized. If you’re in a rush, these things tend to get forgotten.

Stay Organized, Stay Professional

In the end, great stage organization is the key to presenting a professional show, and to being efficient enough to create a professional act (even if you’re an amateur). Organizing your space and your time will have an amazing effect on your look, your sound, your business, and your level of enjoyment.

So, get organized and while you’re at it, let us know your best space-saving stage tips in the comments!

If you have questions or want to talk, just hit me up on Facebook @AaronJTrumm or Instagram

Start With the Drums: Cleaning Up Your Stage Sound from the Ground Up

This article on cleaning up your stage sound was written originally for the blog at Carvin Amps and Audio. I repost it here, and encourage you to check out Carvin’s amazing line of products! Also – notification: I sometimes use affiliate links. Some purchases may earn me a commission! 🙂

We’ve talked at length about why you might want to turn down on stage, and how that can improve your stage sound overall. This conversation usually centers around guitar cabinets. There is ample justification for that, as an out-of-control guitar can be problematic, especially in a small room.

But the ongoing volume war doesn’t always start with the guitarist. After all, there is another instrument that gets pretty loud and at almost every frequency.

No doubt you guessed it’s the drum kit. Drums are by nature loud, explosive, transient beasts, and that’s without adding in the cymbals. Add in the wildness of a typical rock-n-roll drummer, and things can get out of hand fast.

It’s no wonder then that guitar, bass, and vocal P.A. usually end up cranked up to eleventy twelve.

So, one of the best ways you can create a clean, solid stage sound that is audible, tolerable, balanced, artful – and still powerful – is to start from the ground up with the drums.

Cleaning Up Your Stage Sound: Volume First

It’s probably obvious, but the first thing you want to do is talk to your drummer about volume control. The best of the best can keep a solid beat and get a good tone at a variety of volumes. If your drummer has this skill, great! If not, try working on it in rehearsal. Try practicing fully acoustic with no vocal amplification and task the drummer with finding a way to groove so you can still hear.

If a room is particularly small and it proves difficult to cut enough volume with playing technique, try changing sticks. Softer, lighter sticks or even bundle sticks may do the trick. Brushes may even work depending on your genre, but that will obviously change your sound quite a bit.

Then again, adjusting your vibe to a space might be the perfect way to get it right. Experiment with different set ups – an all acoustic setup with hand drums, cajon, or any number of alternate rhythm sections might work, for example.

In many cases, you may just want to bring smaller drums. Opt for the 16” kick instead of the 22”, the lighter snare, and one small tom, as opposed to the full monster rig you might bring to a big stage. Or – gasp – you could use electronic drums (sometimes?).

It’s Not All Volume

Raw volume is just the beginning, and you can go a long way with simply adjusting the pure loudness of your drummer. But just as in studio mixing, it’s not all about fader levels. You can get a lot more bang for your buck in a space if you look at competing frequencies and raw noise.

First, consider the cymbals. A little bit of high frequency sizzle can go a long way in a small room, so think about reducing the size and number of cymbals, and again, help the drummer practice various ways of playing them.

Next consider the ring of the drums. Left unchecked, many drumheads resonate and ring out for a long time, and while that may be desirable at times, you can tighten up your sound by dampening them. Judicious use of moon gels, wash clothes, foam rubber dampers, and other accoutrement can help tremendously.

With drums hitting and dying back, you not only leave room for other instruments to cut through, you also stand a better chance of being tight rhythmically, as room reflections won’t make such a soup of the beat.

During set up, spend time tuning the drums to the room so that resonances are in check, windows aren’t buzzing, chairs aren’t travelling, and so on. And finally, manage creaks and pops and wiggles with proper floor covering, kick pedal lubrication, and so on. The more you can remove excess noise, the more room you have for musical elements.

Worth It In The End

It’s not a lot of bands who take the extra time to address how drums work in a room, but when its done, everything else tends to fall in place. Guitars can sit in the mix, bass can thump, and vocals can cut through without over-compressing. Drums are really the key to cleaning up your stage sound.

In the end it may take some extra thought, planning, and effort, but starting with drums to clean up your stage sound will definitely be worth it – even for the drummer.

If you have questions or want to talk, just hit me up on Facebook @AaronJTrumm – or email me aaron @ aarontrumm.com

Proper Stage Volume: Why (and How) You Might Want to Turn Your Amp Down on Stage

This article on proper stage volume was written originally for the blog at Carvin Amps and Audio. I repost it here, and encourage you to check out Carvin’s amazing line of products! Also – notification: I sometimes use affiliate links. Some purchases may earn me a commission! 🙂

It’s no secret house sound engineers fight with guitarists about proper stage volume for amps, especially in small venues. It may even be a bit of a cliché to mention it. “Turn it down!” often becomes “I’ll turn it down for you!” and “I need it louder!” turns into “I’ll just sneak over here and turn this up…”.

Whichever side you fall on, it turns out both sides have valid concerns, and everybody just wants to achieve the best sound possible. So, let’s look at how and why you might achieve a good balance with house sound, while still achieving the great tone you’re after (and maybe not having to take forever setting up!)

The Can’t Hear Myself War

Here’s the crux of the situation on a stage, especially where a loud rock band and a small venue are concerned: Everyone need to hear themselves (and each other), but no one can!

This actually usually starts with the drums, which are almost always too loud for a room. We’ll tackle how to start at the bottom with this problem in another article, but suffice it to say, if you can tame your kit, the sound engineer/guitar feud will be easier to manage.

Focusing on the guitars, the major problem the sound engineer faces is guitars tend to overwhelm vocals, keys, and other similar elements very quickly. Since the P.A. is the only amplification these elements have, if the guitar amps defeat that, there’s no way to hear anything else in the room.

But The Tone!

The best way to handle that from a purely house audio standpoint is to eliminate the guitar amps, and put the guitars directly into the P.A. This means everyone on stage can get what they need in their monitors, and the house mix can be controlled.

Unfortunately, that can all but ruin the tone many guitarists seek, and that can destroy a band’s signature sound.

To make matters harder, most guitarists achieve their tone by “opening up” the tubes in their amps – by turning them up to eleven. In this scenario, when the engineer asks you to turn your amp down, it means changing the tone.

But in almost every venue outside of a big stage, this volume level will fill the room, blast the audience’s ears, and make the mix impossible to achieve. Even amps that are completely absent from the P.A. mix can’t be overwhelmed in many cases, which means if you turn up to eleven, you’ve just defined your sound as “guitars only, with a guy lip syncing to nothing at the front of the stage”.

If that’s not enough on why you might want to consider lowering your stage volume, consider a few other factors:

Your ears – Hearing loss can occur after only 2 hours of exposure to 80-85 DBs. A typical guitar cabinet measures 115db one meter from the speaker.
The singer – Maybe vocals aren’t your concern, but if your singer can’t hear, they’ll scream. If they scream, they’ll lose their voice, and your next gig may be cancelled.
The audience – In a small venue, guitar amps can overwhelm and hurt audience’s ears quickly, which may cause them to disengage.
Your band – If the guitars are too loud, the bass will turn up. The drums will play louder. The keyboardist will crank the volume. Eventually everything will sound distorted and no one will know who’s who.

Achieving The Balance

So, what’s the solution? You may not want to hear this – but turn it down. Fortunately, there are a number of ways you can reduce your overall volume without ruining your tone.

Elevate Your Amp – If your number one problem is hearing yourself, start by elevating your amp closer to ear level, or pointing it toward you.
Use a smaller or lower power cabinet or a preamp pedal– In many smaller venues, you can opt for a smaller amp such as Carvin Audio’s V112E extension cabinet, or use a preamp pedal like Carvin’s VLD1 Legacy Drive – or this little badass:

Use a post-phase-inverter master volume (aka PPIMV) – An amp using this technology places the master volume after after the phase inverter, allowing you to keep a cranked-up tone while controlling output volume.
Use an attenuator – Patching a power attenuator between the amp and speaker cabinet can also help reduce volume while maintaining tone.
Use an amp shield or baffle – If you’re not having problems hearing yourself, you can use a shield to reduce overall stage volume while maintaining your tone.
Point it back (or to the side) – Known as “backwashing” or “sidewashing”, pointing your cabinet toward the back or side wall may work to reduce in-your-face volume and help tame the sound engineer’s mix.
Try a speaker simulator – Famously used by Rush’s Alex Lifeson, speaker simulators take input from an amplifier and feed it directly to the sound system.

It’s Possible

The encouraging thing is, it’s more than possible to achieve a best-of-both worlds, opened up, high quality guitar sound on stage, while still leaving room for the rest of the band and the sound engineer to help you put your best foot forward. For more discussion on proper stage volume, check out How To Improve Your Live Shows By Reducing Your Stage Volume, on this blog.

And let us know your best techniques for keeping the balance on stage!