Getting your home studio to translate properly, in particular the low end, is a hard nut to crack.

I’m sure that, if you’ve already got at least a few mixes under your belt, then you’ve realized that your room and speakers are lying to you. What you’re hearing from the speakers isn’t actually the truth of what’s in the music!

I always found it most obvious when you’re mixing late into the night, loving the music, bouncing away in your chair, thinking: “Man this sounds soooo fat!! I think I finally cracked this mixing thing!!”

And then the next day, all excited you put up the track… and… start crying in despair. Nothing sounds the way it should!! Definitely not like last night! The snare is waaay too loud. And the low end… just… gone. What happened?? How could this be??

I think we all know what happened. Bad room acoustics is what happened!

So you naturally go online and start researching room acoustics. But man is there a flood of stuff to go through. In no time at all you get sucked into this vortex of never-ending forum threads with people fighting, following one link to the next, sometimes decades-old obscure websites and blogs, and you only call it quits after 3 hours have passed, your brain is totally numb and let’s face it:

You still have no idea what to do.

In fact, researching the net has only made you more confused.

That’s the main problem with trying to find answers about treating your room online. There is so much misleading information, contradictory opinions, and half-baked advice that it’s impossible to figure out what actually works.

It’s tough to know where to start, and often it leads you to prioritize and try things that don’t give results. It’s really damaging because it makes you seriously doubt that you can make acoustic treatment work for you in the first place.

So you end up in this frustrating limbo of knowing that you “should treat your room” but not knowing how... And maybe you even try something here or there. But every time you gather up the courage to give it another go and finally crack this nut, it ends the same.

More confusion, more questions, and a smoking brain.

So you surrender and go back to the same old routine of accepting the mush in the low end, fighting your way through every new mix, and constantly second-guessing every little decision you make.

The thing is: it absolutely doesn’t have to be this way.

Done right, treating your room is like buying the ultimate piece of gear.

Treating your room won’t do any of the work for you, but it makes everything you do so much easier. You make decisions faster, which in turn means you work faster, and so you learn faster. It’s like a force multiplier. To the point where you don’t even have to “think” about how your mixes will translate anymore.

Your room and speakers instantly tell you everything you need to know.

It literally becomes a matter of: “Oh, this is obviously not right yet, let me make this slight adjustment, ok there we go, done.”

And when you take the mix out to the car or send it off to a client, you know that it will exactly sound how you mixed it.

Can you see how tremendously more impactful this is than any other piece of gear you can buy?

Just imagine. None of that nagging doubt. Just pure flow.

It was no different for me when I got started treating my room.

But I also very early on started helping others to treat their studios. I just couldn’t stop myself going down the rabbit hole again and again.

And again and again, techniques failed, approaches didn’t work and measurements raised a huge question mark. But it also fast tracked my learning curve.

Now 10 years later, with countless studios under my belt, I know that only a handful of techniques and tools actually reliably improve how a small room sounds and more importantly: how mixes translate.

Classic Pareto Principle: 20% of the effort gives 80% of the results.

If you’re working in a small room on a budget and you want results, it all comes down to having the right tool and how you use it in your room.

That's right, you only need one type of panel and the right placement strategy for it.

You need a panel specifically designed to take care of small room issues in one combined package (low-end mush and high-end overdamping), while hitting that sweet spot between cost, size, and looks.

Done right, it won’t just help you get control of your room’s low-end, but will also treat the rest of the spectrum as well.

Imagine how that simplifies things...

This program is for you if…

• You’re a busy audio engineer/musician with limited funds working from a small home or project studio.
• You need a clear-cut way to control the bass and treat your room using proven techniques. Think 80/20.
• You’re done wasting time digging through endless confusing blog posts and forums.
• You want the information you actually need, delivered in a simple and digestible way by someone who’s gone down the rabbit hole and come out the other side.
• You enjoy DIYing your acoustic treatment, but you want it to look professional.

This is NOT for you if…

• You're a perfectionist that is totally blind to reality and expects world-class acoustic standards in a tiny room at a fraction of the price. I’m not a wizard.
• You’re a complete beginner to sound and you’ve never heard of standing waves or don’t know the general difference between an absorber and a diffusor.
• You are convinced without a shadow of a doubt that you cannot use porous absorbers for controlling bass.
• You're not ready to dedicate the entire room to being your studio.

"Could I find all this material myself?"

Some of it, for sure.

If you're willing to spend weeks and months of digging through endless, brain-numbing pages of forum posts, to buy the right academic textbooks, to find and read the right research papers, and analyze the past 70 years of work by studio acousticians.

But figuring out exactly what works, what doesn't, and what the best bang-for-your-buck is in a small, oddly shaped room takes years of experience and experimentation. That is not something that can be found 'out there' just by looking.

Then condensing all this down into a cohesive, easy to follow strategy takes a whole other level of dedication entirely.

And I’m sure that that’s why you’re here in the first place. Because you don't want to (or have time to) become an acoustics guru yourself. Because you're tired of sifting through confusing, headache-inducing information that doesn't lead anywhere!

You need to know that it works. But you also want to get it done and get back to focusing on music.

That’s exactly how I’ve set this program up for you.

DIYing basically pays for itself…

Yes, it's true. The times where DIYing was A LOT cheaper than buying ready are over...

Still, buying ready-made panels of the quality you’ll learn to build easily cost $200 a pop.

But the material cost of building one panel yourself is only around $80!

So even if you include the price of this program, by building 3 of the panels yourself you’ve already saved money!

$297 + 3x$80 = $537 vs 3x$200 = $600

Just imagine how much money you’re saving if you’re building 10, 20, or even more panels for your room!

And if you bought them ready-made you wouldn’t be getting the Absorber Placement Hacks framework which you can use to treat any and every new room you move into down the line.

Sure, you might also get free placement advice for your current room from the manufacturer, but - let’s face it - they are in the business of selling acoustic panels, not giving treatment advice. And it shows.

Of course you could also hire an acoustician to plan a custom treatment solution for your room.

But a decent acoustician will easily cost hundreds if not thousands of dollars, just for their service and time. And even then, especially at the cheaper end, they’ll often have questionable credentials and work ethics, not to mention a money-back guarantee.

Sometimes they’ll even just say outright: “Your room is too small” and drop you like a hot potato. If you’ve had that happen, you know what it feels like…

It doesn’t have to be this way!

With the Build A Better Bass Trap & Absorber Placement hacks bundle you can save BIG by building yourself, but still get professional advice from someone who’s been deep in the weeds, AND apply it in every new room you move into in the future.

One more thing I want to say...

If there’s one thing I’ve learned over the years about getting your room to translate and the value that acoustic treatment brings to the table, it’s this:

The earlier you start, the better.

Mix translation is a process that grows with experience and skill. Getting your room treated won’t do that job for you. Instead, the power of acoustic treatment lies in fast-tracking everything you do - and I mean everything.

Your room and speakers are the main, and only, window into your work. Every single decision you make goes through this bottleneck. That’s why every improvement you make here pays off ten-fold down the line.

Not treating your room is like driving a race car with the handbrake on.

How long are you going to keep that up?

How long are you going to continue fighting your room?

Until the next time you end up with a smoking head after hours of digging through endless forum threads? Or the next time you do a “car check” and the low-end in your mix completely disappears?

It doesn’t have to be this way!

But you need to get started so the process of unimpeded mix translation can take its course.

Once you treat your room, the first thing you'll notice is just the sheer detail that you've been missing out on in the music in general. Small things suddenly jump out at you, even in music that you thought you knew like the back of your hand.

Then you’ll realize that the high end somehow sounds cleaner, tighter, less aggressive. Maybe even a little dull.. Until you realize that it was actually distortion from the room that made it sound artificially bright! Now it just sounds… clean. In a really nice way. And you can work for hours without getting tired and numb.  

Instinctively, you’ll work more quietly. You just don’t need all that volume anymore.

And the low-end! Suddenly it’s no longer just a big mush. You can clearly hear that distinction between the kick and bass, and how they relate and groove together.

Most importantly though, you’ll quickly get a big surprise when your hear how different some of your reference tracks now sound and how HUGE the difference between mixes can be. You’ll realize that often what translates well isn’t even remotely close to what you think “sounds good”.

And then you’re off to the races. THAT’s the key to getting your own mixes to translate.

Eventually, it all becomes second nature. You don’t even “think” about what it sounds like anymore. Your room becomes the ultimate reference point that you know you can trust and can always come back to.

I’m here to show you how you can have that too. Right now.

Join Build A Better Bass Trap today and let’s stop the frustration about your room once and for all.

You have 60 days to go through all the material, to build your own absorber, treat your room, and THEN decide if it’s right for you.

See you on the inside…

Jesco Lohan

PS: Remember that when you join the program you are joining risk-free.