The phrase ‘studio tan’ will be familiar to many musicians. It refers to the pasty, underfed, hollow look that engineers, producers and players have after a long studio session. And it’s based on the idea that, being sound-sealed boxes containing lots of nickable kit, many studios don’t have exterior windows. The need for daylight for us humans (and most animals) is pretty basic, evolved over millions of years out of the basic logic that there’s a survival advantage for our metabolisms to know the time of day. The pineal gland apparently secretes the sleep hormone melatonin (more about this here) when it’s dark, making us feel drowsy. Put simply, dark studios don’t make you feel good!
This balance between soundproofing and musicians’ sanity has long been acknowledged by studio designers. Peter Gabriel’s Real World Studios in Box has a huge glass-walled control/live room called the Big Room, which all those who’ve worked in it (including my colleague and occasional collaborator Chris) have described as inspirational. So it’s always desirable to get natural light in there if you can get round the technical hurdles of soundproofing, security and air handling.
And I’m pleased to say that the garage studio will have natural light in both rooms. Jeff, Howard and I have been chewing over this problem since the project began. We’ve discussed sunpipes, skylights and daylight light bulbs. But once Jeff saw the angles created by raising the roof, the solution was clear – a strip window running the length of the east side of the building, letting in daylight above the old garage doors’ location. It’ll be behind and above the mixing/Mac area, creating lots of light without screen reflection (Apple are doing some very nice LCD monitors at the moment but many of them include highly reflective glass screens). There are two walls at the back of the control room (interior and exterior) creating a natural air gap of around 5cm, and meaning that the two window panes will be around 25cm apart, giving ample opportunity for angled triple-glazed panes (the angles serve to avoid sympathetic low-frequency resonance between panes from traffic noise).
Artis has now drilled a cable hole through from the control room to the live room. This is easier typed than done; it involved making a 4cm wide hole through several layers of plasterboard, rockwool, OSB chipboard, an air gap (this bit was quite easy actually), a 10cm thick concrete wall, another air gap, and then the rest of the plasterboard/rockwool/OSB layers on the other side. Why didn’t they make these holes when they were building the walls (I hear you ask)? The answer is that the two floating rooms need to settle on their bed of rockwool/membrane/screed etc – and the concrete wall itself will settle very slightly because of its weight. So the only way for the cable holes to line up is to drill them after the structure is complete. This, as with all parts of the construction, preserves the all-important principle that there is no physical contact between the two floating rooms – even the plastic pipes (see picture) that line the holes don’t go all the way through – they are three separate sections which are split across each air gap. We’re still working out what do do with cabling – we could have a standard XLR wall plate in each room, or just chuck loose cables through the hole to the live room as needed, and then fill the hole with a rag to seal it sonically. This might seem like a bit of a bodged working method considering all the detail that’s gone in to the planning and build, but actually it might be the most practical solution because it will allow really simple re-amping, and will reduce the length and number of required cables. Still pondering this.
And.. we have a door! It’ll have interior plasterboard and chipboard lining, plus sound-sealed hinges, which has the added bonus of making it more secure. It was fitted this morning, and will eventually be disguised as one-third of the mock garage door that Jeff intends to create out of MDF, white paint and deviousness.