34 Cedar Vale Drive * New Milford, CT 06776 * 860-210-1870 * www.realtraps.com
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James Lindenschmidt, General Manager of RealTraps, here with the December Newsletter.
We're keeping busy this time of year, with the holidays coming up faster than anyone
expected! I'm doing my best to keep up with all the inquiries, and Ethan is hard at work
on his next video, a music theory tutorial to supplement his recent book The Audio Expert. We'll let you know when the video is on YouTube in a
month or two.
CUSTOMER TESTIMONIAL: C-Phonic Mastering
Over the years, Kevin McNoldy has purchased a number of traps from
us. He recently sent us pictures of his new facility and, frankly, they blew us away! We
often say "the more bass traps you add, the better the room will sound," but
Kevin has taken this to a new level, as you can see in these photos of his new mastering
What I love about Kevin's design is how the extensive
treatment is highlighted, as part of the overall room aesthetic, as opposed to trying to
hide away enough treatment to make the room sound good without being seen. And of course,
with this much treatment the room sounds amazing! Kevin emailed us about his experience
with this room and RealTraps. It's a bit
longer than what we usually feature in a newsletter, but he offers some great insight
that's too good not to share in full:
A bit of background is needed to explain how I came to the RealTraps products. My last commercial studio, Crystalphonic, was a multi-million dollar facility with a tremendous
amount of acoustical design put into the rooms. From the designers I hired, one thing that
struck me about their philosophy was that the rooms felt open and alive, rather than the
typical dead, slightly muffled quality you often hear in many designs. As a result, it was
incredibly comfortable to mix and master in those rooms.
When I left the studio, my goal was to create the same
quality of acoustics in a more mobile form. The main reason for this was because a
producer / engineer in today's world must be as flexible as possible. The definition of
"being flexible" to me means you can work anywhere, anytime, in any environment.
Well, how do you take a Crystalphonic-level control room and cart it around from location
to location? How do you take a less-than-ideal environment and turn it into an excellent
control room capable of putting out quality material?
In my new location, I tested acoustic products from many
different companies, but the ones that stayed were the RealTraps products. First off, they yielded the
best results in taming the issues of the room, and they were simple and fast to install.
Second, they could be changed or moved at will - creating a true "variable
acoustics" design that could change based on room alterations. So, if a rack moved,
if a couch changed, or any minor detail shifted and created a new problem in the room
response, the RealTraps fixtures could
easily accommodate. And, since RealTraps
don't only absorb low frequencies (they also are semi-reflective, absorbing some mids and
highs), the end result was similar to the earlier facility - an open, natural sound with
none of the muffled, dead quality I've found in so many studios due to an overabundance of
broad frequency absorption.
Later, I moved to North Carolina and slowly put together a
more permanent control room for mixing and mastering - Cphonic. I used the same RealTraps I had purchased previously, making them
not only perfect for "variable acoustics," but also for mobility. The new room
was larger than the previous room, so MegaTraps were added to the corners to further
refine the low frequency response, along with more MondoTraps to cover the extra space.
REALTRAPS ARE A GAME-CHANGER
The results are stunning - the room sounds incredibly
natural, open, and precise when listening to music, and I'm able to work faster and more
accurately than ever before. Again, if I change anything in the room such as the back
couch or a side outboard rack, and that results in an acoustic alteration that needs to be
dealt with, it's a simple fix. And should I ever change locations, or need to take these
panels to a less-than-ideal room to handle a session remotely, it's as easy as grabbing
them off the wall. This is a complete paradigm shift for me - I'm a Berklee-educated
producer / engineer who built studios in Los Angeles, Nashville, and Virginia before this,
and those previous studios were all "permanent" designs that weren't meant to
move locations (and were all exorbitantly expensive). Achieving the same results with RealTraps and gaining the flexibility they bring
me is incredible, and certainly a game-changer in how I work.
VISUAL AESTHETICS: HIGHLIGHTING THE
In terms of the aesthetic decision to put the RealTraps panels "front and center" in
the room, and not hide them: In my experience, there are two things that attract the
viewer's eye when looking at a control room. The first is the mixing console / control
surface / workstation desk, and the second is the acoustic design and setup of the room.
Consoles are shrinking in today's working environments, and certainly I've gone from
large-format analog consoles to large-format control surfaces to custom-built
workstations. At each stage of the modern studio's evolution, I've noticed an improvement
in the acoustic signature of the space. Nowadays, the look of the acoustics and fixtures
in the room becomes more the "eye catching" part of the design. I see no reason
to paint the walls a light color and "hide" the RealTraps or attempt to blend them in. These are
gorgeous panels that are highly effective on a technical level, so I think it's a great
statement to feature them rather than to disguise them. Personally, I've always used
darker blues and purples in my studios, which I love, but it can be a bit too dark
overall. The lighter color of the RealTraps
panels really brightens up the space, giving it a "lift" rather than the purple
THE REALTRAPS EXPERIENCE
Start to finish, I've had nothing but excellent results with RealTraps. Certainly, I've put an extreme amount
of panels into the room, but even a small number of traps improves any space considerably.
The installation process itself is as fast as it can possibly be - measuring out the
position of the wall and ceiling fixtures actually takes longer than physically hanging
them. The entire time taken to hang everything in the room was maybe two or three workdays
total, that's it! And as each panel was added I could instantly hear the difference.
The results are perfect. I think your approach is truly the
future of design, with how the music and pro audio industry has changed over the last few
years. Achieving a world-class result from products that allow me to be more flexible,
mobile, and to adjust to any situation is absolutely vital in today's world. I give RealTraps my highest recommendation, as these
products truly deliver on every level. My studio photos are the
best endorsement I can provide. Thanks again, Ethan and James!
Thanks so much for the testimonial, Kevin! Good luck in your new
THE DECEMBER SPECIAL
For this month's special, we are continuing our blowout of
TriCorners (normally $269.99 each) at $400 for a pair! TriCorners are a great companion
piece to our Corner MondoTrap, with the same beveled edge design that appears only 1 inch
thick when installed. They are the ideal treatment for trihedral corners in a room, where
2 walls meet the ceiling or floor. From a physics standpoint, these locations exhibit the
strongest bass buildup, so TriCorners are a great solution for taming the low end. Put
them above or below your existing panels in the wall/wall corners. At this price you can
treat all 8 trihedral corners!
No substitutions are permitted, and this offer is good through
December 31, 2012.
See you next month!
General Manager, RealTraps