Issue link: https://digital.copcomm.com/i/1487666
C A S Q U A R T E R L Y I W I N T E R 2 0 2 3 45 The Foley stage at Westwind Foley artist Mitchell Kohen shapes, sizes, and materials. I knew each room sounded a little bit different, but I knew they were professionally designed, and I trusted them at face value. I had a modest studio setup at home for music, side projects, and quick fixes, but when the pandemic hit, I was thankfully able to work "temporarily" from home. As I began to realize that working from home might last longer than I initially anticipated, I began to make upgrades. I installed absorption panels and a ceiling cloud to tame the high frequencies and combat early reflections, and diffusers to break up the late reflections, avoid an overly dead sound, and also look cool. Things were starting to sound pretty good, but I was really operating mainly on what I had seen in other studios and based on feel. Then I found REW (Room EQ Wizard). After buying a measurement microphone, spending significant time and brain investment into figuring out how to use that software and interpret the results, I determined that I needed bass traps to even out the low-end frequency response in my room. I have to say that I became a bit obsessed. I had never studied acoustics in college, and I barely remembered anything from physics, so I bought several books; Acoustic Absorbers and Diffusers by Trevor Cox, Recording Studio Design by Philip Newell, and Home Recording Studio: Build It Like the Pros by Rod Gervais. I read numerous articles about the subject in Pro Tools Expert, and found an amazing blogger named Jesco who runs a YouTube channel called "Acoustics Insider" and