Thursday, September 26, 2013

Preview Of A New King Felix Track - Digitalis - New Album 2014





http://soundcloud.com/kingfelixmusic/nembutals-preview-off-the

Digitalis is a track from the new King Felix album titled "The Destruction Code", set to be released in early 2014 on Itchy Tasty Records.





Side note about Digitalis relating to Philip K Dick and his book Valis -


Philip K. Dick tried to kill himself several times. The most spectacular of these attempts occurred in February 1976, after his fifth wife Tessa left him. He ingested “forty-nine tabs of high-grade pure digitalis. Normally, twice the prescribed dose of digitalis will kill you. However, Philip had swallowed 12.25 times his daily prescribed dose and survived.

Itchin to hear some tasty beats?
-Itchy Tasty Records
http://www.ItchyTastyRecords.com

Tuesday, September 24, 2013

New single from Dynamite Jacksin now on Beatport.


The newest single "Struggle" is out from Dynamite Jacksin on Itchy Tasty Records. Make sure to check out this symphonic take on the house genre courtesy of the Dynamite Jacksin duo. The single includes the original dance mix and a Symphonic mix with just the original composition done by Dynamite Jacksin themselves. Make sure to pick it up on beatport exclusively for the next few weeks at http://www.beatport.com/release/struggle/1159182. Also make sure to visit Dynamite Jacksin soundcloud page http://soundcloud.com/dynamitejacksin and Itchy Tasty Records Soundcloud http://soundcloud.com/itchytastyrecords to check out more of the upcoming debut self titled album from Dynamite Jacksin in October.























Itchin to hear some tasty beats?
-Itchy Tasty Records
http://www.ItchyTastyRecords.com

Chart from King Felix on Beatport.




















The Newest Dj Chart from King Felix is here with some familiar names off of Itchy Tasty Records including Dynamite Jacksin.

Itchin to hear some tasty beats?
-Itchy Tasty Records
http://www.ItchyTastyRecords.com

Monday, September 23, 2013

4th ANNUAL HAUNT MASSIVE AT AVALON Sunday, October 27, 2013, 09:00PM - With Dynamite Jacksin

HAUNT MASSIVE AT AVALON Sunday, October 27, 2013, 09:00PM - With Dynamite Jacksin

 
http://www.flavorus.com/event/Haunt-Massive-at-Avalon/191820

Come out to celebrate Dynamite Jacksin's album release this halloween at Haunt Massive in Los Angeles CA, @ the Avalon. This is gonna be one spooky costume scary treat as you dance your night away with some of the best edm artists from los angeles.  






Itchin to hear some tasty beats?
-Itchy Tasty Records
http://www.ItchyTastyRecords.com

Balkstar - Suzukee - Release Nov 4th, 2013 - beatport and more

Balkstar - Suzukee (preview) [ITR] Full Release Nov 4th, 2013

Balkstar - Suzukee (preview) [ITR] Full Release Nov 4th, 2013.
Balkstar is an accomplished EDM artist who was born Aotearoa and currently resides in Amsterdam. He is a recent graduate from Dubspot in New York. We are proud to present Balkstar’s first release with Itchy Tasty Records titled “Suzukee”.
The single will be released on November 4th, 2013 on Beatport, iTunes, Amazon, etc.


Released by: Itchy Tasty Records 
Release/catalogue number: ITR25
Release date: Nov 4, 2013
ISRC: QM-DYW-13-00054 

http://soundcloud.com/balkstar



Itchin to hear some tasty beats?
-Itchy Tasty Records

http://www.ItchyTastyRecords.com

Sunday, September 22, 2013

What is an ADSR Envelope?

ADSR Envelopes are an important concept to understand when learning about music production. They are integral in how to go about crafting sounds. 

The envelope from http://www.gavinorland.com/tutorials/what-is-an-adsr-envelope/ below


ADSR ENVELOPE

Above, you can see a diagram of an ADSR envelope. I have actually drawn this with realistic proportions. If you imagine a key being pressed on a physical or virtual MIDI keyboard, with a pad patch selected, it might typically produce a sound matching this envelope, and the envelope represents the amplitude (or volume) of the sound generated over time. Let’s have a look at its phases:

Attack phase

The attack phase begins when the MIDI “note on” message is received – when the key is pressed or the note is encountered in a sequencer. You can see in the diagram that this pad begins inaudible then rises in a period of only half a second to the maximum digital volume of 0dB. So this pad starts quite quickly.

Decay phase

The decay phase defines how long the note will take to reach a settled volume after hitting the attack peak. That settled volume is usually lower than the attack peak, since notes in natural instruments tend to “stab” in then fade in intensity a little, but it could indeed be higher. In the example above the pressed note fades again over half a second to a slightly lower amplitude.

Sustain phase

The sustain phase is an important one to understand because the envelope does not determine its duration. Thus the length of the horizontal bar in the diagram (indicating 2 seconds) is actually quite arbitrary. The sustain level is the volume at which the decay will finish and the note will be held at this volume until the MIDI key is released and a “note off” message is received. So this could be after one second or perhaps six seconds.

Release phase

Once the note has been released, the envelope enters its release phase. The line of the envelope here defines how long the note’s volume will take to fade to zero. So in our pad here, it takes a full five seconds, so this is quite a long fade out (with reverb applied it would take even longer!).

Envelope lines do not need to be straight: many synthesisers will allow you to make them curved, making sharper attack sounds, for example. Some even allow additional phases. This, in any case, is the essential outline of the ADSR envelope.

Friday, September 20, 2013

Itchy Tasty Records Amazon Physical CDs Out Now!!1

Itchy Tasty Records  Amazon Physical CDs Out Now!!1

http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Daps&field-keywords=Itchy%20Tasty%20Records


Check out all the great Itchy Tasty Records artist cds that are fresh to your ears and eyes with all customized artwork done by the artists or ITR in house!!1  These Itchy Tasty Records beats will add to any cd collection for edm, dance, techno, glitch, trap, witch house, bass music, electro, jazz, blues acoustic,  dubstep or minimal collection out there. 













Itchin to hear some tasty beats?
-Itchy Tasty Records

http://www.ItchyTastyRecords.com

Dynamite Jacksin Album release october 2013

Dynamite Jacksin (DJ) is a newly formed electronic music duo from Los Angeles California. Dj’s  formation occurred in June 2013 when members Jason Laszlo Toth and Dennis Madrigal saw the underground dance music scene lacking the classic vibe and after hours feel it used to have. Dynamite Jacksin is bringing the dance back to the underground with their timeless electronic music. The music duo that takes a fresh approach to the classic styles of  electronic dance music. Dynamite Jacksin’s tracks are a combination of both  vintage and modern EDM styles. DJ’s well crafted and stylistic blend of these elements creates a  simultaneous essence of vintage sound and timeless music.   Itchy Tasty Records is proud to present Dynamite Jacksin’s new spin on a  classic vibe  with the their debut E.P.  self titled “Dynamite Jacksin”. This album is the debut album release for the group Dynamite Jacksin. They produce some great tech house, techno, and dance music that is perfect for mixing on the dance floor.

Itchin to hear some tasty beats?
-Itchy Tasty Records

http://www.ItchyTastyRecords.com


Dynamite Jacksin - in Stores October 2013


Tuesday, September 17, 2013

Itchy Tasty Records now on Rdio

Itchy Tasty Records now on Rdio


http://www.rdio.com/label/Itchy_Tasty_Records/


Rdio is the groundbreaking digital music service that is reinventing the way people discover, listen to, and share music. With a catalog of 20 million songs — available to play instantly or in perfect-mix stations — Rdio connects people with music and makes it easy to play any song, album, artist, or playlist. Discover what friends, people with similar tastes, recording artists, and more are listening to in real-time and share across Twitter and Facebook. Build a digital music collection that’s available everywhere - on the web, in-home or in-car, on tablets or mobile phones, and even offline.

Launched in August 2010, Rdio is headquartered in San Francisco and was founded by Janus Friis, the co-creator of Skype. Available incountries all over the world, Rdio is funded by Janus Friis through his investment entities, Atomico, and Skype.

Saturday, September 14, 2013

Dynamite Jacksin's Debut Album in Stores Everywhere this October 2013 - Itchy Tasty Records- Free Preview in blog

Dynamite Jacksin (a.k.a. DJ) is a newly formed electronic dance music duo from Los Angeles, California.  DJ's tracks have an instant classic style with a modern twist that is sure to get your heart pumpin', feet movin' and mind racin' all night long.


The self-titled release “Dynamite Jacksin”,  is the first full length album for the duo. DJ's music a well crafted blend of both vintage and modern EDM styles. Dynamite Jacksin’s album was created in-house with the use of analog/digital/virtual synthesizers, live orchestral instruments, organic pianos, organs, guitars, midi controllers, mixers and drum machines. Dynamite Jacksin's album gives off that classic afterhours vibe and timeless style that is sure to keep you movin and groovin on the dance floor all night long. Arriving on Beatport, itunes, amazon, and retailers near you Oct 2013 on Itchy Tasty Records
http://www.ItchyTastyRecords.com

Here is a Few Demos From the Up and Coming Dynamite Jacksin Album.








Itchin to hear some tasty beats?
-Itchy Tasty Records
http://www.ItchyTastyRecords.com
©2013 Itchy Tasty Records 
All rights reserved.

Thursday, September 12, 2013

Physical releases on Amazon from Itchy Tasty Records

Itchy Tasty Records physical CDs can now be found on Amazon from King Felix, Wh1ch House?, Huxley's Nightmare, and Super Awesome Ultra Cool.( http://www.amazon.com/s/ref=nb_sb_noss_1?url=search-alias%3Daps&field-keywords=Itchy+Tasty+Records&rh=i%3Aaps%2Ck%3AItchy+Tasty+Records )

Itchin to hear some tasty beats?
-Itchy Tasty Records
http://www.ItchyTastyRecords.com
©2013 Itchy Tasty Records
All rights reserved.

Wh1ch House? - Haunted Friend (Single)
http://www.amazon.com/Haunted-Friend-Single-Various-Artists/dp/B00ESNU3A2/ref=sr_1_2?ie=UTF8&qid=1379038868&sr=8-2&keywords=Itchy+Tasty+Records




King Felix - The Healing Code (Album)
http://www.amazon.com/King-Felix-The-Healing-Code/dp/B00ENP4MJS/ref=sr_1_8?ie=UTF8&qid=1379038868&sr=8-8&keywords=Itchy+Tasty+Records



Huxley's Nightmare - Falling (Album)
http://www.amazon.com/Falling-Huxleys-Nightmare/dp/B00F2O3AI8/ref=sr_1_4?ie=UTF8&qid=1379038868&sr=8-4&keywords=Itchy+Tasty+Records



Super Awesome Ultra Cool - Fuck It (Album)
http://www.amazon.com/Super-Awesome-Ultra-Cool-Fuck/dp/B00F2O1MPG/ref=sr_1_6?ie=UTF8&qid=1379038868&sr=8-6&keywords=Itchy+Tasty+Records





Huxley's Nightmare - Crunchy (Single)
http://www.amazon.com/Crunchy-Huxleys-Nightmare/dp/B00CQD0CZ2/ref=sr_1_9?ie=UTF8&qid=1379038868&sr=8-9&keywords=Itchy+Tasty+Records


Wednesday, September 11, 2013

Kinetics is a cheap and effective floating floor system for sound isolation needed in the studio.

Kinetics is a cheap and effective floating floor system for sound isolation needed in the studio. ITR

KINETICS™
Roll-out Floor Isolation System
Model RIM (Roll-out Isolation Material)


Essentials
Proven effectiveness over the lifetime of an installation.
Quick installation time, especially compared to "jack-up" methods.
Constant System natural frequency across a wide load range.
Flexible capacities allow design for any load; from light wood floors to heavy mechanical equipment rooms.
When used in conjunction with ceiling and wall separation products, Model RIM is an essential component of "room-within-a-room" sound isolation construction.
Application

Kinetics Noise Control’s premier rollout system easily creates an airspace of 1 to 4 inches and incorporates a high-performance resilient decoupler. The isolation material with Model KIP isolators selected and spaced according to design criteria offers major advantages over other systems. Installation labor is substantially reduced, as it is easier to roll out batting with pre-spaced isolators versus measuring for and placing individual isolation mounts. This feature also ensures that the system will reach the high levels of expected performance. This system is designed to meet requirements for; load capacity, natural frequency/pad deflection, and acoustical performance.
Model RIM for Concrete Floated Floors

Successfully installed for years under concrete floors found in mechanical rooms, studios, ballrooms, and theaters, Kinetics Noise Control’s Model RIM System remains the leading formwork technique for isolating concrete slabs in any floor or roof system requiring sound abatement. An original, Model RIM System consistently provides continuous, high-performing noise control for critical applications. Our pour-in-place floor isolation system incorporates all critical components needed in a top-performing noise control system including: Model KIP isolators fixed in fiberglass batting, Model PIB Perimeter Isolation Board, spray adhesive, plywood junction plates, polyethylene sheeting and tape, and resilient, non-hardening perimeter sealant. Model KIP isolators spaced 12-, 16-, or 24-inches on center are available in different densities allowing for a multitude of load ranges under a single slab while maintaining a constant natural frequency. Factory-trained sales representatives can help designers determine which system to use based on dead and live load requirements. Kinetics Engineering Group will provide design submittals. The fiberglass batting with Model KIP isolators prespaced is rolled-up and delivered in poly bags along with the specified accessories to the jobsite.
Benefits
STC 73/IIC 70 Tests A2-b and A3
Greater load capacity at a lower cost
Can be designed for any load range
Easy to create 1", 2", 3", and 4" airspaces
Fast, simple, inexpensive installation
Factory installation and supervision available
Model RIM System successfully installed for over 45 years
Natural Frequency constant over a wide load range
Concrete Floating Floor Installation Sequence

Click on images for enlarged view



Installation of Model RIM is quick and easy. Decouple the area being treated by installing Perimeter Isolation Board (Model PIB) around the perimeter of the room. Additionally, Model PIB is used as a resilient break against any other non-isolated elements such as curbs, drains, ductwork, adjacent floors, pipe, and walls. The fiberglass batt with pre-spaced isolation pads is then rolled out over the structural floor. A pouring form is created by placing plywood on top of the isolators, and is held together using junction plates and screws. Two layers of 6-mil poly overlapped and taped at the seams cover the pouring form as temporary waterproofing. Concrete reinforcement is installed and then concrete poured in place. As dictated by the designer, trades can move about the floor to complete work in the space without the concrete having been cured to full strength – the floor is already positioned at final design elevation. There is no worry about keeping the floor clear for a second visit to "lift" the slab by an installation crew. The final installation step of the Model RIM System requires removing the Model PIB tear strip and sealing the perimeter of the floating floor with resilient, non-hardening caulk.
Model RIM for Wood Floated Floors

Model RIM System wood floated floors are ideally suited for dance studios, loft style condominiums, recording studios, and any other application where high performance noise control is required and the structure cannot support the weight of an isolated concrete slab. A Model RIM System floated wood floor surpasses performance of continuous underlayments due to the airspace and lower natural frequency created by the Model KIP pads spaced at 12-, 16-, or 24-inches on center. Model RIM System can be supplied to fit any load condition. Installation is easy and quick due to the pre-spaced Model KIP pads. Moreover, the natural frequency remains relatively constant over a wide range of loads, which is common in wood built construction (i.e. a piano in a music studio). Kinetics Noise Control invites comparison between our Model RIM System wood floor and any other product available.
Benefits
STC 66/IIC 63 Test A15-a
Can be designed for any load range
Easy to create 1", 2", 3", and 4" airspaces
Fast, simple, inexpensive installation
Optional channels or nailers can be used for stiffness and increased airspace
Wood Floating Floor Installation Sequence

Click on images for enlarged view



Installation of Model RIM System for a wood floated floor is similar to that of the isolated concrete slab. Starting with a level subfloor, a 3/8" thick strip of Model SRP (perimeter isolation board) is adhered to all non-isolated walls (the height of Model SRP is dictated by the height of the finished floor). The rolls of batting with secured pads are rolled out into place. If heavy point loads exist, individual Model KIP pads are then placed per submittal drawings. Typically, two layers of 3/4" plywood are laid (seams staggered) over the isolation pads, and the finished floor is installed according to the manufacture’s instructions. Where extra noise control is required, layers of gypsum board can be sandwiched between the two layers of 3/4" plywood. This adds mass, an essential requirement to effective noise control – compare sound test A-15-a and A-15-b. The installation is completed by applying acoustical caulking to the top of the Model SRP board.

*sources*
http://www.ItchyTastyRecords.com 

Itchy Tasty Record and sound on sound, tips and tricks on monitor speaker placement!


20 Tips On Monitoring
Tips & Tricks


Published in SOS September 1998
Printer-friendly version




Monitoring
Not even the best monitor speakers guarantee good monitoring -- so how do you ensure that you're mixing on the best possible system? Mixmeister MARTIN WALKER leaks some top speaker tweaks...


The final quality of your music depends not only on your skills at mixing -- having a reliable monitoring setup is vital to the process. Perhaps the biggest problem faced by those who record in personal studios is that their mixes don't 'travel' -- they may sound great on your own loudspeakers, but they sound decidedly unbalanced when played back through other systems. Although you can throw more money at the problem by buying more expensive speakers, this is only half the answer. Indeed, many people create wonderful mixes on very cheap speakers; the art is in knowing how the mix will sound elsewhere. No, the solution is to make sure that you are getting the best sound from whatever monitor speakers you are using, which doesn't necessarily mean spending any more money.


1. If you are about to buy new monitor speakers, or upgrade existing ones, choose something with a neutral sound. Although slightly aggressive, detailed-sounding speakers are very popular, using such monitors as a reference may make your mixes sound bland through more typical systems. One school of thought says that if your monitors have any tonal trend at all, it should be the opposite to that of your music -- so if you want music with lots of bass, mix on speakers that are not bass-heavy, and vice-versa.


2. If you have the luxury of expensive monitors with a very clean and detailed sound, remember that subtle background details in your mixes may be lost on more typical systems which have more colouration. For this reason it is still useful to double-check on cheap and nasty speakers, and many engineers use two pairs of monitors -- an accurate pair for detailed work, and a more 'typical' cheaper pair for checking how the mix will sound on a real-world system.


3. Choose a sufficiently powerful power amp to drive the speakers properly. It is better to have a powerful amplifier connected to small speakers, coasting along with a super-clean sound, than the other way round. Running a small amp flat out into expensive speakers is an easy way to get unexpected repair bills, since the amp may start clipping when you crank it up. Clipping removes the tops of the waveform, which generates lots of harmonics that could fry your tweeters. If you've ever had to replace your tweeters, this could be the reason, and a larger power amp may prevent the problem recurring.


4. Make sure that you use heavy-duty cables between the amplifier and speakers. You don't need exotic hi-fi ones -- although some people swear by them -- but cheap and nasty cable such as bell-flex will compromise your sound, particularly at the bass end. Thicker wiring (some people use solid-core cooker cable) results in a lower overall impedance, which in turn couples your amplifier more closely to the speakers, resulting in tighter and cleaner bass.


5. Speaker positioning can make a huge difference to the final sound. Nearfield monitors (used by most people apart from the dance fraternity) should ideally be about five or six feet apart, and about the same distance from your ears. You won't go far wrong if you position them on two corners on an imaginary equilateral triangle, with your head as the third corner.


6. Keep speakers well away from the corners of the room to avoid boomy bass, and follow the manufacturer's recommendations regarding position relative to the rear wall. Some designs rely on the bass reinforcement that you get when pushing the speaker close to the wall; others will sound balanced only when positioned well away from a wall in 'free space'. Try to place each speaker the same distance from side walls, otherwise they will sound different from each other and spoil the stereo image. It is also advisable to keep their distance from the rear walls as different as possible to that from the side walls, to minimise the effect of the room acoustics.


7. Tweeters should be at ear height, since high frequencies tend to be more directional. For the same reason most speakers benefit from being toed-in slightly, by turning them so that both tweeters are pointing towards your ears. If you regularly have two people listening side-by-side, reduce this toe-in slightly by pointing each tweeter at an imaginary mid-point slightly behind your heads.


8. Check the speaker toe-in angle by moving your chair forwards and backwards. If you are too far forward, central mono sounds will be hard to pinpoint, and moving too far backward will reduce the width of the stereo image. You will probably find an optimum position for your chair, and if this is too far back then your speakers either need moving closer together (or toe-ing in more), and if you need to sit too close then they can probably be moved further apart. You'll soon get a feel for this, and it only needs to be done once.


9. If you can persuade some friends to help, speaker positioning can be carried out the other way round -- by moving the speakers as you listen. Choose the most convenient position for your chair, and then have the speakers moved slowly further apart while you listen in mono. You should get a strong central image exactly halfway between the speakers, but after a certain width this will start to become indistinct.


10. Once speakers are roughly in the correct position, listen to a wide variety of well-mixed stereo material, and adjust the amount of toe-in in for the best sound 'focus'. Try moving your head slightly side to side to check for a suitably wide 'sweet spot' -- although its size is dependent on speaker design, it is also affected by how you position the speakers.


11. Nearfield speakers should, as a rule, be mounted on rigid stands, although there are some heavy-duty wall-mounting stands available if you need a position close to a rear wall. If you are keen on DIY, you can find suitable plans for floor-mounting stands in the November '95 issue of Sound On Sound.


12. However your speakers are mounted, the idea is to fix them rigidly in the optimum position. Any wobble or rocking will degrade your sound. Think of it like this: every time the bass driver cone is forced forward by the amplifier signal, the cabinet will try to move backwards. If the cabinet ends up moving in time with the music, it not only affects the bass end, but also the high frequencies which are now emerging from a moving source. As the wavelength of sound in air at 10kHz is not much more than one inch, your top end clarity and focus may be seriously affected.


13. Don't perch your monitors on a meter bridge -- not only does this compromise rigidity, but the entire top surface of the mixer then acts like a mirror and therefore artificially boosts mid-range frequencies. You can demonstrate this effect by putting a duvet on top of the mixing desk and listening to the difference this makes to the sound.


14. Many floor-mounting stands have adjustable spikes, which are ideal for ensuring that the speakers are both level and stable, even on uneven floors. Placing some pieces of Neoprene (or three or four blobs of Blu-Tack) between speakers and stands will provide a firm fixing, but still leave a tiny amount of 'give' so that bass frequencies won't rattle the floorboards and spoil the bass end.


15. After everything is in position, re-check your monitoring system by listening to some well-produced commercial mixes. If there are still problems in the sound, it will probably be due to the acoustics of your studio/room. Many books have been written about studio acoustics, and if you aspire to producing commercial releases you may need to consult an expert, but there are still many simple things you can do to improve most rooms...


16. Start by making sure that your recording gear is arranged in a reasonably symmetrical arrangement. To ensure the best stereo sound, the left and right halves of your room should ideally be mirror images of each other. You should also try to prevent strong audio reflections bouncing back from the wall behind you and interfering with the direct sound from the speakers.


17. Unless you have a large, acoustically treated room, avoid using monitors with an over-extended bass response as this will only excite troublesome room modes and give you a false idea of what the bass is doing. A low-end cutoff of around 60Hz is quite adequate for most small project studios. Furthermore, a high bass output makes it harder to concentrate on the crucial mid-range -- whilst it may impress your clients, it will probably result in a worse mix.


18. Strong early reflections from nearby objects in the room will muddy the sound and cause problems with the stereo image. Imagine that each speaker has a laser beam emerging from it. The direct (and strongest) path is directly between the speaker and your ears. However, there are various other important paths that involve only a single reflection (for example bouncing off the ceiling, or the mixing desk).


You can check for strong reflection paths using a mirror -- get someone to hold it on the walls, ceiling, and nearby large objects between your normal listening position and the speakers, and when you can see the speaker in the mirror you have found such a point.


19. Don't put nearfield monitors on their sides (unless they are dual-concentric types) as the sound from the tweeter and bass/mid unit will move out of phase if you move even slightly from the exact centre of the sweet spot. Sideways monitors may look trendy, but they don't work nearly so well as setting them up properly.


20. Finally, check your mixes on several other systems. There is no such thing as the perfect monitoring system and, even if there was, you would still need to check how your mixes are likely to sound on the more modest setups used by most normal listeners. If your mix still sounds good on the car stereo, and in mono through a single 3-inch speaker, you'll know you've done your job well.



sources






http://www.soundonsound.com/sos/sep98/articles/20tips.html


http://www.ItchyTastyRecords.com

Tuesday, September 10, 2013

Room Acoustics - What makes a good room? and Monitor Speaker Placement an ITR acoustic construction.

Room Acoustics - What makes a good room?


The best rooms are at least 15 feet wide, 20 feet long and have a ceiling height of 8 feet or more. This allows the two loudspeakers of a stereo system to be placed symmetrically and with their tweeters at least 3 feet from side and rear walls. With the loudspeaker tweeters 8 feet apart the sweet spot is located on the room symmetry line and at 8 feet from left and right loudspeakers. This leaves more than 9 feet behind the listeners for the sound to travel before it is reflected back. It is very important for balanced phantom image creation that the immediate vicinity around the two loudspeakers is symmetrical.

Rooms can, of course, be much larger than 15 x 20 x 8 feet and with the loudspeakers much further than 3 feet from the walls, but the optimum listening distance for phantom imaging remains equal to the loudspeaker left-right separation or up to 1.5 times that value.

Room construction can vary widely, which tends to affect low frequency reproduction and sound transmission to and from the neighbors. You take what you get and try to correct one or two frequencies if necessary. But, if the room is pleasing to live in, to have a conversation or to relax, is neither a dungeon nor a stuffed pillow, then it is also suited for accurate sound playback. The room should be furnished, have irregular hard surfaces, books and shelves for sound diffusion, rugs, pillows and soft surfaces for sound absorption at higher frequencies. Just keep it lively. The best loudspeakers will make you forget the room, if the room talks back from all directions in the same familiar voice.


Monitor or Loudspeaker and listener placement

It is often assumed that a study of room acoustics can lead to highly specific loudspeaker and listener placement locations, down to within an inch. Other proponents are not as optimistic and recommend a 1/3rd rule (FAQ31). I have come to the conclusion that real rooms are acoustically far too complex to predict the transmission of sound from speaker to listener, where the sound paths are in three dimensions, have direction and frequency dependent attenuation and diffusion, and can excite the inherent resonance modes of a room to unknown degrees.

From practical experience I recommend the following setups as starting points. They are for ORION, a dipole or bi-directional loudspeaker, and for PLUTO, a monopole or omni-directional speaker. Three room sizes are considered. The 180 ft2 (17 m2) room with 8 ft (2.4 m) ceiling would seem like the absolute minimum for quality sound reproduction with the ORION. A 400 ft2 (37 m2) or larger room with 10' (3 m) ceiling should be perfect.

D1 - Dipole setup
ORION separation is 8'. They are slightly towed in. The listener is at the apex of an equilateral triangle. Distance to the wall behind the speakers is 4', and to the side walls 2'.

The listener is only 4' from the wall behind, and this might require some heavy curtains and other absorbing material on that wall. As the room gets larger it expands around this triangular setup and especially behind the listener. Sound should just wash by the listener and disappear.

The wall behind the speakers should be diffusive. The rear radiation from a dipole must not be absorbed or it is no longer a dipole. Similarly, the side walls should not absorb sound at the reflection points but diffuse it. A dipole can even be towed in so that the listener sees the radiation null axis in a wall reflection mirror.


D2 - Monopole setup
PLUTO setup differs from ORION. The listener sits closer to the speakers. The distance to the wall behind the speakers can be slightly less, because of the uniform acoustic illumination of the room. It should not be less than 3' (<6 ms) to separate reflection from direct sound psychoacoustically, and to preserve phantom imaging.

Sidewall reflections should be diffused if treated at all. Absorbing them is like turning down the tweeter. Absorbers are not broadband and ineffective below a few hundred Hz.. Besides, lateral reflections are important for sound scene recognition.

Again, larger rooms expand around the triangle and increase the space more behind the listener than in front of him.





*sources*
http://www.linkwitzlab.com/rooms.htm
http://www.ItchyTastyRecords.com










Itchy Tasty Records on Floating floors for the recording studio!!1 Acoustic treatment below your feet.

Itchy Tasty Records on Floating floors for the recording studio!!1 Acoustic treatment below your feet.  

Types of Acoustic Floating Floors

Floating floors systems are used for many purposes, predominantly sound isolation but also vibration and impact isolation.

In layman’s terms, acoustic flooring is required to reduce noise (or vibration) from a noisy room or environment to areas that need to be quiet. If they are incorporated with acoustically isolated walls and ceilings the combination will greatly reduce the noise levels or energy transmitted to the quiet areas. This is then known as 'box in box'construction.

There are several acoustic flooring systems available. LDS rubber FSN jack-up, FS spring jack-up, MFS spring mounts for wooden floors & EAFM form work method. These flooring systems are used to acoustically isolate a room from its surroundings. The nature of the noise/vibration will dictate the best solution.
• The concrete jack-up system, either LDS rubber or spring, for which Mason UK offers a full design and installation service.
• The concrete formwork system, where concrete is poured on a plywood layer placed on LDS rubber isolators.
• Lightweight wooden acoustic sports flooring, either on LDS rubber floor isolators or low profile floor springs.


Box in Box
Well-designed studios incorporate the 'box in box' concept, which is an acoustically isolated room, built within the existing structure. This room (or box) is totally separate from the original structure, only connecting through the various spring or rubber components of our products. These acoustic isolation products create an air gap, which controls air-born noise, working in the same way as double-glazing.

Jack-Up LDS Rubber Floating Floors
The Mason FSN Jack-Up system eliminates the need for the labour intensive installation of shutters & the lifting process ensures the airgap without the possibility of bridging. The elastomer used is now LDS (Low Dynamic Stiffness)rubber which is a recent advanced formulation that has the low dynamic


Jack-Up Spring Floating Floors
Mason Industries jack up, spring, acoustic, floating floors are used for low frequency isolation or where impact isolation is required, such as bowling alleys, aerobics & health clubs. Click below to find out more.









Wooden Floating Floors
Wooden floating floors using the Mason MFS spring mount are great for acoustic sports flooring. Their lightweight design means they are often suitable where concrete flooring is not. Click below to find out more.








Form Work Floating Floor
The formwork system is an alternative to jack-up floating floors. The method is one whereby a continuous layer of the isolation media (EAFM Form work mounts) is used as a pouring surface.




Tomorrow we will go into greater detail about how which type of floating floor application
is appropriate for each type of flooring that you would find. ie, concrete, wood, stone, brick, carpet, apartments, houses, decks you name it.  









Thursday, September 5, 2013

NEW ALBUMS FOR SEPTEMBER, OCTOBER, NOVEMBER, DECEMBER 2013 AND JANUARY/FEBRUARY BEGINNING OF 2014 - Itchy Tasty Records

Itchy Tasty Records, Tons on releases coming to you this September, October, November and December, 2013

-All releases will be on beat-port and more.
- We know you will be lovin these tasty beats!!!

Dynamite Jacksin - Let Lucid - September 17 2013
King Felix and Dynamite Jacksin - Perceptual Divide - October
Wh1ch House? - Psychological games - October
Dynamite Jacksin - Struggle (beatport Exclusive) oct 15
King Felix - Big City Vibe   - December
Huxley's Nightmare - Falling album - January
I VII I IX - (unnamed ep)   October 25
Super Awesome Ultra Cool - Fuck it....  September 29
Wh1ch House?  - Life - single - December
BalkStar - Balkstar E.p.  -  November
I VII I IX - PRIZIM - Single - December
King Felix - Electronic Overdose -  January 2014
King Felix - Exegesis - Dec 25 2013
Dynamite Jacksin - Bring it back - full album  - October 26
House of internation beats - (I.H.O.B ) Vol 1 -   Collaboration album - January 2013
Huxley's Nightmare - Sunday in the park with Lucy - November
Balkstar - Balkstar ep - November - 1st
Chris howitt - Just Wanna Feel It - World Debut artist - November 28
Machine Age - DnB Babie - February
King Felix - The Destruction Code - February - 2014
Wh1ch House? - Life - Full Album  - December 25 2013 - (Free on xmas day for one day only)
Dynamite Jacksin - Tunnel Vision - Oct - 2013


Theses are gonna be some epic releases by some of the best up and coming electronic dance music artists of 2013 and 2014.rowing a party to launch us into the new year in los angeles. more details on that soon!!!


 Itchy Tasty Records is also th Be blown aways by the dark sounds of Wh1ch House?, fat bass lines and vocoders of King Felix, rise of IVIIIIX the most unique sound of earth and chillest music  with great subbass. balkstar tech house will keep you grooving. Dynamite Jacksin is a new spin on and old class edm tech house style. Super Awesome Ultra Cool says fuck it.....  with acoustic piano, bass guitar, guiar, and more. Huxley is falling for sultry electronica will give you that ambient sound you have been craving. Watch out for all of these exclusive electronic music hits comming your way to beatport, audio jelly, amazon, track it down, dj tracks, beat bucket, rhapsody,  spotify, the radio, and physical stores near you.

itching to hear some tasty beats?
-ITR

for more information visit Itchy Tasty Records website @
http://www.ItchyTastyRecords.com
http://www.beatport.com/label/itchy-tasty-records/33841
http://www.amazon.com/s/ref=nb_sb_noss_2?url=search-alias%3Daps&field-keywords=Itchy+Tasty+Records