ABSTRACT

An earlier studio control room design philosophy than that of the Non-Environment room is the so-called Live-End, Dead-End (LEDE). The aspiration for an LEDE room is thus to create neutral monitoring environment. Any room lends some form of context to the listening experience. This remains true even if the principal objective is to avoid giving it any colouration – this is true by definition since it is a different experience to listening outdoors in a field. Early reflexions are destructive to the sound in that they are coherent with the direct sound and that due to differing path lengths they may arrive out of phase with direct sound. The modern control room is no longer place where one technician in brown coat makes hits out of efforts of distant musicians working in different environment. They are built to impose huge amounts of acoustic control, and their acoustics have to be robust to the way in which they are used.