Recording - February 2013 - 29

Ask yourself: do you spend most of your time mixing? If so, put the console in the sweet spot. Do you spend most of your time playing keyboard? Then maybe it’s a better choice to place the MIDI controller between the speakers. Do you mix in the box or spend most of your time editing? Then perhaps leaving the keyboard and mouse in the center is wisest. These sorts of compromises are probably necessary, especially if the console or keyboard is large. Placement of the computer display raises similar questions. Many engineers prefer the display between the loudspeakers, but placing the display between the speakers is not always ideal for sonics. If you prefer a large monitor, or two displays, the speakers might have to be too far apart and stereo imaging and low-frequency coupling might suffer. Film/TV composers and post-production engineers are faced by similar challenges, as yet another display is required for the video content. Where should this extra monitor best be placed? Solutions For small project studio owners, an assortment of turnkey furniture solutions exist to tackle these sweet-spot challenges. Companies such as Argosy (whose console designs grace the illustrations in this article), Omnirax, KK Audio, Middle Atlantic, and Studio RTA offer a variety of attractive products with slide-out shelves for the computer keyboards, wide desktops for MIDI controllers, rack spaces for outboard gear, and progressively higher shelves for compact mixers, displays, and loudspeakers. At first glance these offerings seem like the ultimate solution to the sweet-spot conundrum: all of the gear is between the loudspeakers and directly in line with the computer display. Unfortunately, some of these desks sacrifice ergonomics in favor of gear accessibility. Depending on the

model, there might not be enough knee space, the computer keyboard might be too low, or the MIDI controller is too high. Often the console shelf is out of reach and the display location is too high for normal sitting height. Still, many of these are great and one might be just right for you and your needs. Just don’t forget ergonomics when making a purchase. The sweet-spot conundrum dictates that some sort of compromise is necessary. Multiple sweet spots As mentioned a moment ago, film and TV composers face a real quandary when designing their workspaces. Not only do many of these individuals need to compose, perform, edit, and mix within the sweet spot, they also need easy viewing of both the computer and video displays. The solution for many is simple: multiple sweet spots, each surrounding a different work-position. It’s brilliant, actually: separate pairs of loudspeakers and displays mounted around the MIDI controller, console, and computer positions. This also allows the gear to be arranged in a horseshoe, with easy ergonomic access via a rolling chair. Yes, things can get complicated, as multiple mice and keyboards are necessary, as well as display and speaker switching. The solution does tackle the sweet spot conundrum head on, though. Regardless of your control room’s size, challenges and compromises exist in its layout. Stay tuned for next month’s installment in which acoustic issues are added to the debate and discussion. Eric Ferguson (ferguson@recordingmag .com) spent a dozen years as a freelance audio engineer in Los Angeles, and is now on the faculty of the New England School of Communications (NESCOM) in Bangor, ME.
RECORDING February 2013

29


http://www.mojaveaudio.com http://www.mojaveaudio.com

Table of Contents for the Digital Edition of Recording - February 2013

Recording - February 2013
Fade In.
Contents
Talkback.
Fast Forward.
The Production Of Clare Fischer’s CD ¡Ritmo!
Big Money Drums.
Recording Fundamentals. Chapter 14: Sweet Spot Conundrums—Part 1.
Sonodyne SM200Ak Studio Monitors.
AKG D12 VR Reference Kick Drum Microphone.
Shure KSM9HS.
Radial Engineering Firefly Tube DI.
Audio-Technica AT4047MP.
Zoom Q2HD Handy Video Recorder.
iOS Music Tools: Take Control!
Emotiva Pro airmotiv 4 and airmotiv 6 Powered Studio Monitors.
DPA Microphones Reference Standard Mics.
Sony Creative Software Sound Forge Pro Mac.
Lewitt DTP 640 REX Dual-Element Kick Drum Mic.
Readers’ Tapes.
Miking An Orchestra—Rock Band And Symphony.
Stereo From A Mono Mic.
Advertiser Index.
Fade Out.
Recording - February 2013 - Recording - February 2013
Recording - February 2013 - Cover2
Recording - February 2013 - 1
Recording - February 2013 - 2
Recording - February 2013 - 3
Recording - February 2013 - Fade In.
Recording - February 2013 - 5
Recording - February 2013 - Contents
Recording - February 2013 - 7
Recording - February 2013 - Talkback.
Recording - February 2013 - 9
Recording - February 2013 - Fast Forward.
Recording - February 2013 - 11
Recording - February 2013 - 12
Recording - February 2013 - 13
Recording - February 2013 - The Production Of Clare Fischer’s CD ¡Ritmo!
Recording - February 2013 - 15
Recording - February 2013 - 16
Recording - February 2013 - 17
Recording - February 2013 - 18
Recording - February 2013 - 19
Recording - February 2013 - Big Money Drums.
Recording - February 2013 - 21
Recording - February 2013 - 22
Recording - February 2013 - 23
Recording - February 2013 - 24
Recording - February 2013 - 25
Recording - February 2013 - Recording Fundamentals. Chapter 14: Sweet Spot Conundrums—Part 1.
Recording - February 2013 - 27
Recording - February 2013 - 28
Recording - February 2013 - 29
Recording - February 2013 - Sonodyne SM200Ak Studio Monitors.
Recording - February 2013 - 31
Recording - February 2013 - AKG D12 VR Reference Kick Drum Microphone.
Recording - February 2013 - 33
Recording - February 2013 - 34
Recording - February 2013 - 35
Recording - February 2013 - Shure KSM9HS.
Recording - February 2013 - 37
Recording - February 2013 - Radial Engineering Firefly Tube DI.
Recording - February 2013 - 39
Recording - February 2013 - Audio-Technica AT4047MP.
Recording - February 2013 - 41
Recording - February 2013 - Zoom Q2HD Handy Video Recorder.
Recording - February 2013 - 43
Recording - February 2013 - iOS Music Tools: Take Control!
Recording - February 2013 - 45
Recording - February 2013 - 46
Recording - February 2013 - 47
Recording - February 2013 - Emotiva Pro airmotiv 4 and airmotiv 6 Powered Studio Monitors.
Recording - February 2013 - 49
Recording - February 2013 - DPA Microphones Reference Standard Mics.
Recording - February 2013 - 51
Recording - February 2013 - Sony Creative Software Sound Forge Pro Mac.
Recording - February 2013 - 53
Recording - February 2013 - Lewitt DTP 640 REX Dual-Element Kick Drum Mic.
Recording - February 2013 - 55
Recording - February 2013 - Readers’ Tapes.
Recording - February 2013 - 57
Recording - February 2013 - 58
Recording - February 2013 - 59
Recording - February 2013 - 60
Recording - February 2013 - 61
Recording - February 2013 - Miking An Orchestra—Rock Band And Symphony.
Recording - February 2013 - 63
Recording - February 2013 - 64
Recording - February 2013 - 65
Recording - February 2013 - 66
Recording - February 2013 - 67
Recording - February 2013 - 68
Recording - February 2013 - 69
Recording - February 2013 - Stereo From A Mono Mic.
Recording - February 2013 - 71
Recording - February 2013 - 72
Recording - February 2013 - Advertiser Index.
Recording - February 2013 - 74
Recording - February 2013 - 75
Recording - February 2013 - 76
Recording - February 2013 - 77
Recording - February 2013 - 78
Recording - February 2013 - 79
Recording - February 2013 - Fade Out.
Recording - February 2013 - Cover3
Recording - February 2013 - Cover4
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