Acoustics 101 by Auralex Acoustics

More catalogs by Auralex Acoustics | Acoustics 101 | 52 pages | 2016-07-24


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Catalog Acoustics 101

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Consumer Electronics > Home Audio

Featured catalog pages of Acoustics 101

foreword welcome welcome to our newly expanded and revised acoustics the world’s best source for bottom line no bs just-the-facts-ma’am advice on how to build a good sounding recording studio or listening room the tips contained in this small booklet have worked for me and have worked for others including many of our most famous clients they will work for you and if well implemented should actually exceed your sonic requirements and expectations without breaking your piggy bank these tips can save you a lot of time and grief what follows in acoustics 101 is knowledge we’ve gained over our decades of experience in broadcasting music and acoustics all condensed into one handy little reference guide and put into language virtually anyone interested in controlling sound can understand it doesn’t contain any hardto-decipher charts or graphs there’s no smoke and mirrors no dog and pony shows just good solid cut-to-the-chase advice that

construction i.e if the lab measures one partition better than another it should hold true for a real partition built in your studio even though an actual field test of a concrete wall might reveal a field stc fstc that is 5 points lower than the lab test it is still better – relatively speaking – than a simple single-leaf uninsulated drywall partition in the same configuration decoupling this is the concept of detaching partitions from each other or physically detaching layers in a partition in order to improve sound isolation the most common methods of decoupling are • air gaps or air spaces between two partitions • using resilient channels rc8 from auralex between layers and structural framing members for walls and ceilings • “floating” a floor using springs rubber isolators such as u-boats from auralex or other decoupling layers room modes a room mode is a low frequency standing wave in a room normally this is a small room phenomenon

chapter 2 materials and products discussed in acoustics 101 a few general materials as well as specific auralex products are discussed you may or may not be familiar with all of them so we will cover them here in detail to get that out of the way your local lumberyard or hardware store can probably guide you if you do not know exactly where to pick up the items discussed just be careful not to let them steer you wrong with substitutions or deletions what worked once to construct a tight good-sounding recording studio will always work because sound never changes auralex has no interest in reinventing the wheel which is exactly what we would be doing if we attempted to make claims that were counter to the proven construction techniques that are “out there.” the methods and materials outlined here have proven themselves to work many times over and should prove more than sufficient for your needs also with few exceptions do not add multiple layers of the materials specified in

do not have the space you can use 2x4s 2x3s or even 2x2s for the floor the specific material used may not matter as much as the proper implementation of the materials i.e the general method stays the same the preference if you have the space is 2x6 or larger because they allow for more trapped air space and better overall decoupling it is advisable to caulk all edges seams and corners as well as any penetrations – more on that elsewhere particularly where different materials meet leave about a ¼” gap in parallel seams and perpendicular corners and use our new acoustical sealant stopgap™ stopgap is an approved substitute for gypsum board “mud.” tape and finish as you normally would if for whatever reason you cannot build your wall/floor exactly as pictured be it a space limitation lack of funds etc first try to grasp the concepts used in the construction pictured if you are serious about wanting to stop sound transmission it is imperative that you

footage as we would really love to have does this necessarily and always mean that we are forever resigned to suffer with tiny little rooms with flat ceilings no way square footage is expensive but cubic footage is not look at japan — what have they done because japanese real estate is at such a premium i.e they have run out of it they have chosen to grow up instead of out we can put the japanese principle to work for us in order to gain cubic volume for our rooms maybe to a relatively small degree but we can gain some amount of useful cubic space to be sure non-flat ceilings are an easy way to do so see figures 3.3b-c for some examples of good and bad ceiling designs also not that “cathedral” or “a-frame” ceilings can be quite helpful in live rooms they are generally discouraged in control rooms due to focusing effects cathedral ceiling treatment for live rooms figure 3.4 shows an example of how we would suggest you to treat a cathedral ceiling for

chapter 4 doors isolation the best common doors to use are exterior grade solid-core wood “slab” doors that are flat without moldings also common but more expensive are commercial and/or exterior grade insulated steel doors you can add sheetblok to one or both sides of either type of door before installing the knob to provide additional transmission loss then studiofoam over the sheetblok if you have the inclination you can make a door sandwich out of two 2 solid-core doors and a couple layers of sheetblok in the middle this is the sort of thing eddie van halen did at his 5150 studio if you desire to have the ability to lock your door be sure you can find a knob/lock that will work with your thicker-than-normal door double doors backto-back are of some benefit if they are a attached to physically separate door jambs that are floated and b are as far apart as possible given the constraints of your framing structure build your walls and double doors in such a way as to give

choices in sound-rated glass block we highly recommend the products manufactured by pittsburgh corning hvac heating and cooling systems hvac stands for “heating ventilation and air conditioning.” to control noise in hvac systems requires attention to many many details you should note that with regards to minimizing hvac noise we can guide you along the right path however we do not pretend to know how to design the right hvac system for your studio with regards proper comfort temperature and humidity control if you are very serious about controlling noise in your hvac system one thing to consider is hiring an expert versed in the american society of heating refrigeration and air-conditioning engineers ashrae guidelines on hvac noise control alternatively you could order the very expensive handbooks and educate yourself of course we will attempt to summarize here the many concepts covered by ashrae and other experts in the field of hvac noise control whether you are in the

chapter 5 monitor mounting solutions many times a studio owner will build a decent wall then sabotage himself by nailing up a shelf to support his “nearfield” loudspeakers or “monitors.” the problem with this is the monitors generate high spls sound pressure levels transmit the sound through their cabinets and into the shelf then the shelf excites the wall and transmission throughout the rest of the structure occurs so if you must rest your monitors on shelves do what you can to isolate the loudspeakers from the shelves and the shelves from the structure such as covering the shelves with a layer or two of sheetblok or platfoam if supporting your shelves with angle irons which are not pretty if left exposed but very functional and easily hidden with studiofoam place a strip of sheetblok or foam weatherstrip tape on the back of each angle iron then screw it to the wall preferably using plastic wall anchors with your screws whether or not you are screwing into

appropriate the customer originally thought he wanted to purchase venus bass traps and 12 cornerfills for all four 4 wall/ceiling junctures but we recommended lenrds instead because of his room’s size we advised 2 studiofoam for the walls instead of 4 because the slap echo and excessive reverb dictate more coverage not thicker foam if the budget allowed 4 studiofoam would be a welcome substitution more construction tips • when adding layers of building materials or sheetblok to adjacent walls put a layer on one wall then the other then one wall then the other instead of putting all one wall’s layers on at once then moving to the other wall as shown in figure 5.1 this gives sound waves a tougher path to snake through at the corners be sure to caulk with stopgap or mud all joints before adding the next layer • people often ask about using plywood in the construction of their studio plywood is not as wise a choice as gypsum board or mdf because the latter