ABSTRACT
In the chapters so far we have looked at what a studio needs to be able to achieve; some of the
properties of sound and hearing; the means of providing isolation; the internal acoustic
behaviour of an isolation shell and the means at our disposal to attempt to control the internal
acoustics. What we can now do, therefore, in this chapter, is to apply the information from
the previous chapters to try to create a neutral, unobtrusive, yet musically pleasing room. Of
course, neutral rooms are not necessarily the most inspiring rooms to design, but here they
make a good starting point because the ensuing discussion will take us through a whole range
of acoustic control principles. These can then be refined in later chapters when we begin to
look at rooms with much more specific acoustics for their own specialised purposes.
