Sound recording studio design and architectural acoustics

Sound recording studios are the music production places that consist of an interaction between architectural acoustics, psychoacoustics, electroacoustics and technology. In the developed countries, these aspects which constitute the interaction have the equal considerations regarding the evaluation of the studio?s qualification. For instance, the technical specifications of the recording equipments have the equal consideration with the studio monitors? technical specifications and with the room acoustical qualities of the studio rooms (performance area, control room and isolation booth). Therefore, in order to qualify for a `good? sound recording studio, all the aspects have to be the strong links of the chain. In the developing countries like Türkiye, although it is possible to have the same studio technology of developed countries due to the decrease of the equipment prices around the world, only a few sound recording studios have `top level? acoustic conditions. The high prices of the acoustical projects, lacking the number of the qualified designers and the unprofessional manner of the studio owners regarding the studio acoustics are the main reasons of this problem. The main goal of this thesis is to examine the role of the architectural acoustics on the sound recording studio design and to divert the attention of the designers, studio owners, the music production companies and the users (technical team and musicians) to architectural acoustic aspects of interaction as much as others. The basis of the thesis is classified under the two main subjects of the architectural acoustics; noise control and the room acoustics. Nonetheless, the historical and technological developments of the sound recording studios are also mentioned so that the role of the architectural acoustics could be well assimilated. In this context, just after the introduction part in chapter 2, the historical development of the sound recording industry and music production are explained under the main heading of music industry. Sound recording studio definition, function, historical development in conjunction with its types, mechanism and architectural characteristics are examined in chapter 3. In the thesis, architectural acoustics are started to be discussed from the begining of chapter 4 and the acoustical performance evaluation criterions are presented under noise control and room acoustics sub headers. Furthermore, the contribution of the studio equipments to the acoustical performance is also emphasized in this chapter. In chapter 5, under the light of the acoustical performance evaluation criterions, the acoustical values that have to be maintained and the must have applications regarding the sound recording studio rooms are examined under the main heading of acoustical design criterions and requirements, in detail. Finally in the conclusion part, a common evaluation is made concerning all of the chapters and recommendations are submitted. Key Words: Production, sound recording studio, architectural acoustics, psychoacoustics, electroacoustics, performance room, control room, isolation booth.