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Was wondering if producing in a bedroom with echo, or reverb, is a bad thing, even if I did pad the walls, and ceiling? I am currently setup in my dining room, but planning to move into one of our spare bedrooms, but was wondering if that would be a bad factor when producing...

if this was my case, i'd produce on headphones

Well there is another spare bedroom, with carpet, and idk if that is the reason why that room doesn't echo, but the one I was talking about has wood floors, and I heard that is also bad, cause of room reflection...

I'd stick to headphones honestly...I find it's a lot easier to get a good space representation as you don't have to worry about positioning and room treatment. But bottom line is, if you can make a track in a room with echo that still sounds good on other systems (including headphones), you'll be fine.

Carpet will reduce echo between ceiling and floor. That's why most studios either have carpeted floors or broadband panels on the ceiling. Doesn't do much for wall to wall reflections though. If you were to buy or build some panels and bass traps you could end up with a good room to produce in, but it also depends on the size and dimension of the room.

As others have said, headphones are usually a safe bet since they remove the room from the equation. But headphones have their own set of problems so you have to balance that. A good pair of mixing headphones will yield better results than a bare or poorly treated room.


From an investment point of view, if you've got a good room candidate, you'll have to spend a few hundred on sound treatment plus the cost of a decent interface and monitors.

Otherwise, you'll be shelling out for some nice mixing cans and possibly a headphone amp.

The amount of money it would take to have a decent headphone monitoring setup would barely buy you a shitty speaker monitoring setup. But if you have the extra cash to invest in speakers and room treatment, you'll have an easier time mixing than on headphones.

Oh smor3s.
You offer free mastering services yet don't have an environment to actually master in.
Many of us have commented on your mixdowns yet you chose to ignore the advise.
And here you are asking about the very things we commented on previously.

Spend some time understanding your craft.

Every room has reverb so it's not necessarily that bad.
Your room has countless other problems that make it a pretty bad mixing environment though.
On the budgets most of us are it makes a lot of sense to mix on headphones, but like SunKlo said: they have quite a few downsides too.

But yeah, at school we have the most expensive desk, top notch monitoring and a room that's purpose built and people still whine about
the sweet spot being to small and the low frequencies being all over the CR.

Electric_Head wrote:Oh smor3s.
You offer free mastering services yet don't have an environment to actually master in.
Many of us have commented on your mixdowns yet you chose to ignore the advise.
And here you are asking about the very things we commented on previously.

Spend some time understanding your craft.

The cacophony of palms meeting faces echoes throughout the hills.

for recording vocals its sometimes a good thing, a famous band had this room i forgot the name but it had a damp echo , really beautifull

Yeah just listen to that plastered drywall sing! You can almost hear the My Little Pony trinkets and Animoporphs books grooving out on the book shelf. Dat warm Ikea sound.

SunkLo wrote:Yeah just listen to that plastered drywall sing! You can almost hear the My Little Pony trinkets and Animoporphs books grooving out on the book shelf. Dat warm Ikea sound.

Dahneboy wrote:for recording vocals its sometimes a good thing, a famous band had this room i forgot the name but it had a damp echo , really beautifull

Natural reverb is always preferred for recording, for mixing that's completely different.

Back in the day they obviously only had reverb rooms (aka bathrooms) and mechanical reverbs (spring and plate).

isn't this the situation near field monitoring developed for?

of course it's not optimal. you're hearing things and making decisions based on stuff that's not in your track.

fragments wrote:

SunkLo wrote:Yeah just listen to that plastered drywall sing! You can almost hear the My Little Pony trinkets and Animoporphs books grooving out on the book shelf. Dat warm Ikea sound.

used headpnes

cent4ur wrote:isn't this the situation near field monitoring developed for?

I guess that was at a time when there weren't so many bedroom producers and most final mixdowns were probably still done in professional studios. Now being a 'producer' is practically synonymous with being a 'bedroom producer' and the standards are raised.

/I could be talking out of my ass

Is producers doing their own mixdowns a recent thing or has that always been done in electronic music?

Near field monitors are used in big studios too though, am I missing something?

Think making the mixdown yourself has always been around, just makes sense when you're creating and bringing every sound
in anyway.

pony x furry crossover

what has electronic music come to

I'm supporting the headphones idea