Hello again gentleman. Thank you again for addressing my questions. Sharing your insight is really appreciated.
As usual though, I'm left with the distinct feeling that my search for the roots of solid Recording Studio design foundations are in vain. If reviewing many subject related forums in the past and present is any indication, it appears that personal preferences, opinions, design philosophys, and other subjective values determine the larger percentage of overall project design than an actual coherent design strategy based on criteria established by a set of Industry set standards that define the performance any control room design MUST meet. Afterall, one only has to look at different completed studios which suggest this may be true.
For example. Let me ask this last question.
Is there a TEST, given by some accredited authority, or accepted by the industry, that once administered by said authority, CERTIFIES that any given control room design meets a threshold set of criteria established by said authority? And if there is indeed a test, do you, as a designer, use this testing criteria as a source of parameters which you seek to satisfy?
I understand there ARE standards, however it appears there is nothing(that I know of) that certifies any given design meets them, or even has to.
And from my understanding(Master Handbook of Acoustics), at one time there was a company called Syn-Aud-Con that did this very thing. Although, also from my understanding, this was a short lived endeavor. Why I don't know. Except maybe for statements made by some well known studio design community members regarding QRD's...like "they don't work and I've seen MILES of them torn out"...and other point blank opinions regarding MANY aspects of control room design, which I mentioned in my first post. In fact, in reply to one of my earlier Studio design knowledge seeking questions regarding "diffusion"..I was actually told by a well known Acoustician, that he could hardly believe that the afore mentioned book was actually a book on acoustics. Go figure.
However, since I am not a member of the Pro Studio design community, and have never had the time or resources to pursue this as a career, I haven't kept abreast of the current state of what QUALIFIES a control room design, other than maybe the reputation of the designers, the owners ears, or a music industry award for sales of a recording. Please correct me if I'm wrong. I'm just trying to understand exactly, what the overriding factors are that justify ACOUSTICAL decisions in control room design...that ALL studio designers agree on.
Anyway, thank you again.