HdAcoustics: Life is Like a P-Bass

Why not...it was a formative year for the business, full of unique opportunties and growth.  Let's look at some of the highlights (not in particular order):

1. First, a new business name: HdAcoustics which is the evolution from Hedback Designed Acoustics.  Who knows, maybe in 2011 I'll actually create a simpler to type e-mail address :-)
2. Chris Myers Studio in Pensacola, FL was completed. http://www.gearslutz.com/board/photo-diaries-recording-studio-construction-projects/460533-birth-my-studio-so-speak.html
3. In the commercial world, HdAcoustics performed extensive acoustical studies and reporting on the behalf of US Federal Court District 12 South Florida.
4. 2010 was the growth of international clients and why not...HdAcoustics is truly built on solid analysis and design principles that don't always require site visits for excellence.  Thanks to Rob Grant in Australia with Poon's Head Studio, Rocky Scofield in Guatemala of the 4,000 seat El Shaddai Christian Church, our wonderful friends Patrick and Fabian in Germany (completing) as well as Stefan in Slovenia (which we are about to begin).
5. In the so close but not quite done category: Ted Brady's exciting dedicated listening room rennovation near Cleveland & Jason Williams' Oracle Studios in Houston.  Very excited for these to complete early in 2011.
6. In the spirit of the internet axiom "It didn't happen if you don't have pics", major successes were had at Paul Mahern's White Arc Studio with a fully comprehensive acoustic rennovation.  Also, David G's Hi-Fi room in Ft. Worth is really sweet.  Looking forward to proper pics as I know you'll enjoy these rooms...Paul and David certainly are!
7. Services: 2010 seemed to be anchored on foundational work in two new areas of service.  The first being BEM or boundary element modeling allows HdAcoustics to very accurately predict the LF response of a designed room with hi-mass isolation walls.  The process allows predictive placements of speakers and ears.  The second major service addition is remote acoustical testing.  On-site testing certainly is the winner in terms of total understanding and the most comprehensive studies/awareness, but it's not always viable...HdAcoustics focused pointed efforts at a remote testing protocol that is easy in the field (client side) yet supplies accurate/revealing data...success!
8. oh...new additions to the "it didn't happen if you don't have pics" category, Rick Krizman's acoustical rennovations in Santa Monica...really can't wait to share this story with you.  Rick was nominated for a daytime GRAMMY this year (congrats).  And, Jason Hall's Studio in Nashville where he's already mixed portions of an Emmylou Harris Live project.
9. Music for the world: 2010 has launched music from HdAcoustics rooms to the world: Ozzy Osbourne's Scream, Lifehouse Smoke & Mirrors, Himuro (Japanese superstar), Sparky Dog & Friends on the college radio charts.  That's a lot of spins, copies and downloads...very thankful.
10. The bigget highlight of all;  the wonderful relations built through the design>finish efforts of this business!!! 

Here's to 2011

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The plan was to post weekly and mix it up with brief exchanges of thought and technical "stuff".  Well, after a few weeks of "thought" it seemed time for some "technical".  Well...hang with me.  It's going to take a bit more time to figure out how to properly insert pics into the Intuit Blog engine.

So plan B: more "thought".  One thing that has been on my mind recently falls into the category: We're better off for it.

The CD as a media is DEAD and let's all embrace it and move toward the new reality.  Why do I want to run toward the new? Simple, the band Lifehouse's new Smoke & Mirrors release.  I feel amazingly blessed that they recorded the majority of the record in "my" studio.  However, the first copy of the CD I purchased was so bright that I really couldn't stand it.  Fast forward through a music loving young daughter who ruined the first cope to copy #2: this piece of plastic, while bright, had magic/depth/nuance/super cool production tapestry elements that were all missing on the first copy.  So, don't trust the format...it is DEAD and we're better off for it.

 Next up, "technical" with part one of The Time Domain. 

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Below is a copy/paste of a post I offered at www.GearSlutz.com (acoustics forum) pertaining to how one becomes a professional studio designer.  I thought in hindsight that this applies to many situations...the process that is.  Here is the link if you want to browze the conversation in context: http://www.gearslutz.com/board/studio-building-acoustics/549493-how-become-professional-studio-designer-architect.html

And, here is the post:

The first suggestion I have is for you to search www.Sweetwater.com and the interview with Russ Berger. Mitch Gallagher asks this very question and Russ eloquently answers in a manner not worth rephrasing.

As your question is asked, a studio designer first and foremost has to completely understand the functions of a studio and ensure/protect those functions to the very highest degree possible (within the given budget).

A studio designer is actually not (typically) a licensed architect or structural engineer. Typically, there is early involvement with local architect if permits are to be submitted. The studio designer does design the architecture, space planning, isolation, internal acoustics, systems and finishes BUT with partners. More and more all architect and engineering processes involve an "egoless" exchange of lead client role (this may extend from a structural engineer the client never meets to a wiring integrator that lives in the space for months). For a complete ground up facility, the studio designer has to be a quarterback and move the ball forward.

Today, there aren't many ground up facilities...more renovations. But that is not really the point. The point is to have the ability to ask the right question, at the right time, in the right manner to get a great result.

I define the design process as the following:
1) discovery: understanding the client’s needs, goals and existing factors
2) design concept: architecturally called the "program" or schematic design. This may be only plan view, but tells the story of form and function
3) documentation & development: the blueprint process
4) actualization: making it real...bid review, through construction monitoring...lots of communication and support. Important to have clarity on the goals and set proper standards and expectations.
5) verification: did we meet the mark? In a remote situation, this could be simple phone call and questioning...all the way to multi-day acoustical measurements and refinements.

Every job follows that path and each category has the ability to be extremely minimal or vastly complex.

I hope this is helpful. Your passions are headed the right direction...do check out that Russ Berger interview.

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Lee Dewyze won 2010 American Idol.  He has just released his debut record and I think it is truly worthy of some attention.  Pop music today is not in good shape.  Most releases have bland songs that are incredibly bright with little sonic "depth/dimension".  While not mold changing to the format, this debut release is good stuff.  Dewyze is an active co-writer of all tracks and the production team was smart to pair Lee with "boutique" producers who brought out his "voice" without overwhelming him with the process.

Boutique producers are becoming the norm.  This is simply a "one-man" writer, engineer, arranger, mixer, multi-instrument powerhouse who creates and delivers the final product (short of masterting in most cases)...great when it works, really worthless when it flops.  From the 1920's through the 1980's, separate careers were forged in the unique disciplines of each area just mentioned.  The great catalogs of acts ranging from Sinatra to Motown display this workflow of yesterday.

Today: low-budgets, uncertain distribution/revenues, and computer based production are forcing the age of the boutique production.  This is occuring in nearly all genres, not just Pop.  Things change and that's not bad.  What is bad is the bar lowering from slipping acountability.  What is good? This quaint and honest release from Lee Dewyze.

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Life is like a P-Bass.  A P-Bass is the Fender Precision Bass Guitar.  Not only is history starting to realize that this modest maker of "lo-notes" may be the pivotal instrument in the development of Pop music since it's creation in the mid-50's, but it is a study in how simple elements can create a powerful system.

As a budding bass player since the age of nine, I could hear the tone of a P-Bass early on.  Always supportive, the instrument still voices clear through any combination of instruments and style of music. 

As a professional bass player, I realized that I could modify the basic elements of the P-Bass system and enjoy the variances.  However if I strayed too far in mods, I lost in areas of support, balance and clarity.

In the realm of small room acoustics, the analagous elements of the "P-Bass" are as simple as a combining "appropriate bass trapping with the strategic control of reflections".  That's my "P-Bass" filter.

So welcome to my blog.  Expect brief gems of learned insights, technically detailed studies, and anything that can help make a given day sound better and be more inspiring!

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