Originally Posted By: NigelSpiers
Hi Gordon,

If you are serious about improving the sound of your room and recordings then you may wish to contact my son Oliver Spiers who lives in Brighton (UK) and runs a company called GB Acoustics Ltd.

https://www.gbacoustics.co.uk/

Best Regards
Nigel

Hi Nigel,

Useful to know and bookmarked. I really don't do much recording now though. When I did it was mostly for theatre work, years ago, not for music per se. In that environment the theatre's own acoustics usually dominate anyway, and even that is hugely dependent on the distribution of occupied seats.

I've considered recording music and may yet do some, but so far it's very much a 'maybe'.

The room I use for music playing has numerous issues that I can kind-of manage. The main one is noise from the road, though that's about as low as can sensibly get it, thanks to secondary glazing and a 4ft deep en-suite shower-room between the front wall and the room. The partition between en-suite and room (it's not presently used as a bedroom) comprises multiple vertical glass panels in fairly deep wooden frames and the three layers of glass are all different weights and characteristics. If I started recording I'd likely put a heavy curtain/drape diagonally across the room in from of that partition. Some of the room's oddities are also possible benefits ... a sloping area at part of one end because it's in loft space. Some big lumps of furniture that help to avoid fundamentals reflections and a reverb time that's modest even as it stands. I do have pink-noise spectrum analyser on my mixer, so I have tools to help see what's happening. There's really only one good solution to the road noise issue ... move.

In truth, these days my ears are shot enough that I'd likely no longer notice many issues. I'm in my 70s, have some hearing loss and some tinitus, so I have no hope, really. My days of acute hearing are well gone.

If I really wanted it, I have access to a couple of purpose-built studios at a local college. One of those is pretty good ... sensible size and proportions, non-rectangulatr and with acoustic treatmnents. The other I have little idea about now ... we tried it as a practice room when it was first built and before they'd had any treatment for the acoustics and at that time it was so apallingly bad that we couldn't even use it for practice. It was quite extraordinarilly 'live'. I sometimes wonder if they ever tamed it, of if they failed which is why they still use that older one that was pretty good.

Jazz relative beginner, starting at a much older age than was helpful.
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