Room combinations and operational considerations 241 recorded in a large room, but it will certainly, for many types of music, be preferable to the recording of a kit in either a more conventional small room or in a dead room. There will be a more potent drum sound and more `feel' for the drummer than would be the case in a small dead room, and yet only very low levels of unnatural room colouration result. The room does not pos- sess the small-room `boxiness' which spoils so many recordings, and has been very well received by musicians and recording engineers. 8.5 Recording techniques for limited acoustics In the small studio complex depicted in Figure 8.5, the main recording area was relatively live, having windows to Control Room One and to Studio Two on two of its sides (its two ends), and a large window to the outside on another side. This wall was of angled brickwork, installed in a saw tooth arrangement, and faced a dead wall on the other long side of the room. The floor was of wood, over which rugs could be laid if required, and the ceiling was `V' shaped, being hard at the side nearest to the control room, progress- ing to soft at the Studio Two side. The room contained a grand piano, the open lid of which could face the hard surfaces if a rich tone was called for, or could face the absorbent `trap' wall if more separation was needed, such as when recording a jazz quartet or similar. In this room, other than with the laying down of rugs or the use of movable