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“The Exact Methods I Used To Build Sound Control, AND Save Thousands By Avoiding Acoustic Foam...”

STOP! (hammer time)

Before you go any farther, make a list in your head of the Studio equipment you would buy if you had an UNLIMITED budget.

Now think of the most unnecessary stuff on that list (like ten Avalon Microphone Pre-amps, or 10 PRS Custom 22's).

Next, think about the equipment you REALLY need to start up your Studio.

Now here is the important part.

Now think of ONLY the equipment you can afford TODAY.

(I don't mean to bring you down)

So what can you do to make youe first list a reality?

Well, there are two things you could do.

Buy what you can, when you can, and gradually get all the gear on that list.

You already know this will take YEARS to achieve.

“I’ll go bargain hunting!” you might say.

Good luck, the price of quality equipment will go down only so much before it becomes obsolete.

“What about “budget” studio gear?”

Staying under budget is what everyone wants, but buying “budget” gear will only hold you back.

Yes, there is good quality "budget" equipment out there, but not enough to fill your studio.

“So how am I supposed to complete my list before I die?!”

The answer is simple:

Don’t Buy it, If YOU Can Build It!

You can save THOUSANDS and THOUSANDS of dollars designing and building your own sound control for your studio.

“I don’t have time to design my own sound control.”

You don’t have to!

BudgetStudioBuilds.com has taken the trouble out of designing and testing the sound absorption you need to build a professional recording studio.

“I don’t have any construction experience.”

No problem. EVERY one of these builds is surprisingly easy, because everything is laid out for you in step by step instructions, with illustrations for every step.

“What’s wrong with buying acoustic foam?”

Two reasons:

1 acoustic foam is overpriced and does not deliver on absorption.

2 acoustic foam looks terrible.  Have you EVER seen a professional recording studio with big foam squares on the wall?

So, what IS your studio budget?

$1,000?

$10,000?

Whatever your budget is, expect to go over; things always seem to work out that way.  You’re under budget, everything is going great, then WHAM! Unexpected costs come out of nowhere, attack your checkbook, and leave you with just enough money to buy a microphone cable.

DON’T LET THIS HAPPEN TO YOU!

Remember, when purchasing equipment for your studio, there is such thing as a deal that’s

Too good to be true.

I know from first-hand experience.  I found a three pack of Shure SM58s for $120 on eBay.
Considering they cost $100 each, I jumped on that deal before anyone else did.

It turned out they were Chinese knockoffs that sounded horrible.  When I went to file a complaint through Pay-Pal, they couldn’t find the seller, so I was stuck with three microphone shaped door stops.

There are countless more horror stories I could share, but you get the idea. 

You can avoid this by dealing with established companies.

Unfortunately, they too sell cheap rip-off products as well. 

They only difference is, they don’t know they’re doing it!

You can trust that most anything you buy from them can be returned or exchanged.

So you’re safe, right?

Think again!

One of the ONLY things you can’t return or exchange is the rip-off product!

BUT HERE’S THE GOOD NEWS!

That one product is completely unnecessary when building a professional studio. 

And that product is ACOUSTIC FOAM!

Look into any professional studio.  How many are using acoustic foam?

NONE!

This is because they know that store bought acoustic foam is COMPLETEY WORTHLESS!

 

 

So What Exatly Do You Need Sound Control For?

Building a recording studio space in an existing structure limits the amount of sound isolation.

A wood framed house is difficult to isolate because the materials are light, and there is only one barrier between the sound and the outside.

In order to effectively isolate your studio you would have to decouple the walls and ceiling. 

This can be done by building another wall inside the existing wall, and another ceiling on top of that,  essentially building a box inside of a box. 

This method is horribly impractical in your home; it would reduce your space dramatically and cost a fortune. 

And even after you build your room in a room, anything below approximately 125 hertz is still going to make its way through. 

Achieving total isolation requires MASS. 

Sand filled concrete blocks, poured concrete, lead, and depleted uranium are all effective in isolation sound. 

Again, horribly impractical, and would cost a fortune

And you would still need to build a room inside a room to achieve total sound isolation.

Considering the cost of total sound isolation, let's talk about what you can do. 

Fill your walls with insulation, the more dense the better. 

The drywall is where you will gain as much mass as possible by layering your drywall sheets with MDF (Multi Density Fiberboard). 

Layer your wall with Drywall, MDF, and then a last layer of drywall. 

Secure each layer with screws and glue; the glue will reduce the amount of vibration between the layers. 

Any more than that is overkill, because it is still not isolated.

Now that you have a realistic idea of what works, let's talk about the sound control. 

You can have a studio, 1,000 feet underground, and it will still sound terrible if you do not control where your sound is going.

To treat acoustical problems in your studio space, you will first need to have an understanding of how sound travels and reacts to its environment. 

Frequencies are measured in hertz, and one “hert” is one cycle per second

This is what a frequency cycle “looks” like.


The human audible range is between 20hz and 20,000hz. 

Higher frequencies reflect off of objects, such as a wall, and lower frequencies go around and through objects. 

High frequencies reflect  because the sound wave is small, for example, 2,000hz is 6.75 inches in length. 

This means it does not move much air, and is not strong enough to transfer its energy through the wall. 

On the opposite end of the spectrum, low frequencies are larger and move more air. 

A 20Hz wave is 56 feet long, which is longer than a semi trailer. 

So when a 20Hz wave hits a wall, it will cause the wall to vibrate and transfer that wave's energy.  

Here is visual reference to keep in mind when treating a space.

 

20Hz 



80Hz 


 

125Hz 

 

250Hz

 

1,000Hz


4,000Hz

20,000Hz


 

 

Take another look at these frequency cycles; these are the measurements of frequencies in feet.  This is what you will need to control:

20Hz        = 56ft
80Hz        = 14ft
125Hz      = 9ft
250Hz      = 4.5ft
1,000Hz   = 1ft
4,000Hz   = 3.5in
20,000Hz = .6in

So what kind of absorption do you need to control the sound in your studio? 

You can plainly see that almost everything on the market is not going to be thick or dense enough to control frequencies less than 4,000Hz at recording volume, and you can forget about tracking drums. 

acoustic foam may be able to control the sound in your studio to an extent, but not nearly enough if you are really trying to eliminate standing waves and low-end build up.

What do you think will happen when you put 1, 2, even 4 inch panels on a wall? Sound will come right back at your microphone and cause all kinds of trouble when tracking. 

Let’s do some math with the two most inexpensive acoustic foam tiles on the market today. 

Right now, you can buy 1in x 1ft x 1ft panels for around $5.00 each.

That sounds like a good price until you consider what you’re actually buying.  Whatever room you are putting this absorption in, don’t expect to control anything louder than talking, or any low to mid-high frequencies.

So let’s say you want to put this near-worthless absorption on one wall in your basement, floor to ceiling.  Let’s say the wall is 20ft x 8ft = 160sq ft. 

To cover that in 1in x 1ft x 1ft panels, that comes to $800!

OK. Now let’s take 2in x 2ft x 2ft panels (also available for around $20) and apply them to the same wall.  Covering 160sq ft will still cost $800.

$800 for one wall! And that’s the cheapest available!

So ask yourself, how much will you spend to treat your tracking room and control room with absorption?

When you do the math, make sure you’re sitting down because you may get light headed.

That is the most “cost effective” sound absorption method you can buy. 

If you are building your studio in your home, I’m guessing you are going to use a pre-existing space, and are not planning to build yourself a custom tracking room. 

This presents challenges such as slap echo, flutter, low frequency build up, and your neighbors complaining about noise, just to name a few.

So in order to get the kind of sound control you need, you will need acoustic foam that is either super thick, or super dense, both of which will cost an arm and a leg, and if you want thick and dense, get ready to take out a loan. 

Even with store bought foam, you will still have a problem with isolation.  Isolation is never an easy fix when building in a pre-existing room.

Without the option to build a high mass and de-coupled wall, you will have to rely on using dense materials.

Using dense materials will have a positive and negative effect on the sound in your room.  It will help promote isolation, and wrangle some low resonant frequencies, but will bounce back mid to high frequencies.

So if you cover your wall in super dense acoustic foam only, you still haven’t solved the problem.  If you want to layer open cell foam on top of the dense foam, you will be doubling what you already spent the first time around!

So the question you need to ask yourself right now is:

“Why BUY it when I can BUILD it?”

We guarantee you that will spend at least $1500 on acoustic foam before you figure out that it is worthless.

We can also guarantee that you can build all the sound absorption you need, and it will cost under $500!

For under $500 you can build:

8ft x 8ft x 7in drum riser filled with a half-ton of sand  $500 retail

200sq ft of 9in thick wall mounted absorption             $4,000 retail

4 - 4in thick super dense Gobos                                 $1,200 retail          

8 - 4in thick super dense ceiling absorption clouds       $1,600 retail

8ft of linear Reflective Phase Grating                         $400 retail

And 8sqft of nonlinear Reflective Phase Grating           $600 retail

Floor to ceiling bass traps                                         $1,300 retail

For a total of                                                           $9,600

Which means you will save 

$9,100!

Building your own sound absorption is very easy, and will allow you to spend money on EQUIPMENT instead of absorption.

This can save you enough money to pick up a Neumann TLM 103 for $1,099, and an Avalon VT-737sp pre-amp for $2,250 without even blinking!

This eBook will show you exactly how to build everything on that list, using materials available at your local home improvement store. 

This requires little to no previous construction experience.  All I knew when I started was how sound worked, and how my budget didn’t!

It took me a week to design and build everything in this book, so I can’t even imagine how fast you can finish your studio.




If you don't think you can build the sound control you need, think again! Just see what other home studio builders, just like YOU are saying about BudgetStudioBuilds





"I cant believe how many things I can build for my studio! The easy to follow instructions made everything go so smoothly! I did run into a problem because I had to borrow tools from a friend, but BudgetStudiBuilds.com support helped me work through it and find the best way to use what I had."

Kelly Miller
-JAMM! Studios







Talk about FAST! I had my studio up and running LONG before I expected, and I was able to afford a computer and interface that was WAY out of my budget when I started!

Larry Beckler
-Logic Records

 






"This is the future of home studios. I just cant believe how I never thought of this before, but I guess that was for the better because BudgetStudioBuilds took care of the hard part. Now I have a HUGE budget for gear, and clients have already booked me up for months!"

Jeff Kappel
-Concrete Recordings








Here are some of the sound control methods you will learn

Gobos:


Gobos are used to absorb, deflect and isolate sound.  Most gobos are 6ft tall, 4ft wide, and have wheels. 

For example, you can put gobos around your drum kit at different angles for deflection, and between guitar amps to separate the sources.


Clouds:


Clouds are called so because they usually hang from the ceiling. 

These can be very handy when you want to control sound in specific areas of your studio space. 

With their small size and light weight, clouds are a handy asset to your sound control.


Wall mounted absorption (moveable and permanent):


Placing absorption on your walls will help control the frequencies of the room and reduce slap echo. 

This type of absorption is very effective in high volume areas. 

Having 9 inches of R19 fiberglass insulation dramatically reduces slap echo of high volume, and controls the high frequency reflections. 

Drum riser:


Drum risers achieve two things: They decouple you from the floor, and absorb vibrations from the drum set that would otherwise permeate back up through the drums. 

A drum riser can also be used to isolate vocals, guitar and bass cabinets as well.

Linear RPG & Non-Linear RPG


Have you ever walked down a hall with concrete walls, ceiling and floor? 

Have you ever notices how sounds seem to “flutter” in that hall? 

That is called slap echo, and it is caused when sound bounces around between two parallel surfaces. 

This is a death sentence to any studio space because the  sounds that slap back will cancel out certain frequencies of the source sound.

To correct slap echo, you need to create a non-parallel surface. 

You can achieve this by building your wall at an angle, or place a gobo behind the microphone at an angle for deflection. 

But the most effective way to eliminate slap echo is to scramble the sound on its first bounce. 

In order to scramble phase, you need something with pits and rises to bounce the sound back at different times.

This is where we implement RPG.  This stands for Reflective Phase Grading, and it does exactly that, it reflects sound back in a different phase alignment. 

With scrambled phase, frequencies will not cancel at the microphone because they are arriving at different times.

Bass Traps:

Control the low end build up in a room

 

You will be able to build all of these sound absorption and sound control methods, using materials found at your local home improvement store in under a week!



Here are some sample pictues of the project illustrations



Gobos


Gobos are used to absorb, deflect and isolate sound.  Most gobos are 6ft tall, 4ft wide, and have wheels.  For example, I put gobos around my drum kit at different angles for deflection, and between guitar amps to separate the sources. 

Drum Riser


Drum risers achieve two things: They decouple you from the floor, and absorb vibrations from the drum set that would otherwise permeate back up through the drums.  A drum riser can also be used to isolate guitar and bass cabinets as well.


Reflective Phase Grading


To correct slap echo, you need to create a non-parallel surface.  You can achieve this by building your wall at an angle, or place a gobo behind the microphone at an angle for deflection.  But the most effective way to eliminate slap echo is to scramble the sound on its first bounce.  In order to scramble phase, you need something with pits and rises to bounce the sound back at different times.






So a SERIOUS question I put to you is:

What would you rather spend you hard earned money on? Overpriced foam, or studio equipment?

Instead of overpriced acoustic foam, you can be outfitted with premium equipment, just like the pros, and put out music that will rival Nashville.

Besides saving money, and being able to afford high end gear, the benefits will keep rolling in.

You saved money, which means you won’t have to take out a loan;

Which in turn lets you keep all the money you make in your studio;

Then that will allow you to have dirt cheap rates for professional recordings;

Which will attract more clients;

Which will continue to grow your business;

Which will allow you to start charging $500 per hour;

Which will allow you to buy even better gear to make even better recordings.

Before you know it, you will have your own commercial studio with huge acts coming to you to record.

And it all started because you didn’t waste your money on overpriced acoustic foam.

As you can see, this eBook is already worth well over $9100 in savings.

The original cost of this information was $297.00, but I soon realized that $297 was missing the point.

So I have reduced the cost, making this more affordable for you, the studio builder, and reduced the price to $97.00

 

For Black Friday, BudgetStudioBuilds.com Reduced the Price to $47.00

 

 

BudgetStudioBuilds.com has extended the Cyber monday special!

Now you can get all the information you need to save ridiculous amounts of money for only

 

If you decide you want to save money now, so you can make a name for yourself sooner, sign up now.

Good luck with your studio,

-John

 


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P.S.

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