Soundman2020 - Studio Design Forum

you've added something to the overall box-i-ness in the corners as well as highly absorptive space above. you're testing an incomplete system where you altered the LF cavity volume (less). and now you also have exposed a massive deep broadband absorber in an otherwise untreated room :-) i'd say add ...

so, in the control room - where are you putting the acoustic absorption?

either position would work given you're probably going to want to use the peak to create a large absorber and with some hard surfaces can provide the desired symmetry either direction. the disadvantage of the long approach is that door on your right (when facing the speakers) because if you like to ...

usually you put your silencer/plenum right over the wall penetration and then route flex (or semi-rigid) duct via the ceiling soffit to get the vents positioned for best symmetry (in a CR, live rooms can be more about simply getting cross flows right).

we've been through a number of permutations at John Sayer's design forum as well. i created the SU blank to facilitate discussions.

the nice thing with the wood frame, you can insert the cloth wrapped insulation/mlv packs into the frame so its exposed which can add a visual interest to them. painted or stained.

my preference for maximizing surface exposure is to make a set of frames - 1x1 + 1x2 so edges are open. generally my clients need to "manufacture" a bunch so using some jigs to align while gluing and tacking is a good choice. see attached as examples.

actually the "hangers" are a device created by Jeff Cooper back in the early 70's he called a "broadband absorber" :-) using Homesote 440 (a medium dense fibre board) or plywood board with soft 1" insulation attach and hung roughly 100mm (4") apart and angled relative t...

also, if the MLV is stretched tight so it has a bass drum like resonance, then that is the pitch it operates at. it needs to be really loose, almost like its going to fall off also using roofer nails with the big orange disks are the best way to attach as its less likely to tear over time.

i asked about mounted vs stands because i'd say 70% of my clients want soffits, and about 30% want to stick with stands because that's what they're comfortable with. in the wider spread - contemplate refractions from the desk and speakers on stands as well as simply enabling a wider sweet spot. most...

sand filled walls can be a nice thing but tend to be complex to build and load. however, building the soffit walls to be filled with sand is a definite option as the sand has mass and is a really good damping material. on a note about subs, mounting them in the soffit can be productive but requires ...

like all good answers, it depends. on the ceiling - do you need the ceiling decoupled? if not, then attaching the gwb to the rafters/joists will suffice. if yo udo need to decouple, resilient channel would not be the way to go, but rather at a minimum, isolation clips on the rafters and hat channel ...

4759 numeric-sequence diffusers are only suitable for rooms that are large enough to have at least ten feet between the diffuser and the ears of anyone in the room doing critical listening there are numeric options for "diffusive" effects though. QRD are particularly known for the lobing ...

a decent estimate for a fully isolated and acoustically treated studio - without equipment - take the high-end home per square-unit-cost (e.g. $250/ft2, £1000/m2, etc) in your area (this cost should include the materials and labor for fine finish) and use that. so, if my population area for a high-e...

i wouldn't call it a live room - but as a vocal booth it could work