Ive Been Planning This Garage Studio for 10 Years!

#76

the example has a simple turn versus a "twisted path". technically, simply blocking a direct path should be enough - but - if you have noise in the system (machine, other rooms etc) then the extra turns expose more insulation to the flow and thus more opportunities to attenuate it. otherwise if the system is quiet, little or no adjacent noise, and the air flow is slow, you can often use less "silencer", then if you're routing the air through a ceiling soffit + plenum, the amount of noise is also attenuated in the packing around the flex (or hard) duct.
as a general principle, i use duct board whenever possible - it has many benefits of both a hard duct and flex duct in terms of attenuation, air flow, some blocking. of course it's also pricy compared to flex duct, but often is the same or less than duct liner simply because more of it's used by hvac professionals vs duct liner.

#77

Hi folks, it's been a while since my last update but plenty has happened.
Construction is now essentially finished, and I'm preparing to move onto acoustic treatment! Yay :yahoo:

Ive moved my drums and a bit of gear in and am happy to report that the Transmission Loss is exactly what I had hoped for.
While I haven't measured it with DB meter, I have done a real world test by belting my drums loudly at 11pm. :shot:

My wife stood outside and could hear them 'softly', and as soon as she went inside the house just a few metres away they couldn't be heard at all. And the neighbours have all said they cant hear a thing!

My biggest issue seems to be Transmission from the Recording Studio to the Piano Studio - its not anywhere near as quiet in there, so I'm going to have to investigate what the issue is there.

Anyway here's some progress snaps. Enjoy!
Cheers, Graeme

Moisture wrap, cladding and roof going on.

Filling the outer leaf stud bays with fluffy insulation.

Building the inner leaf walls laying down then standing them up.

The airgap between leaves (150mm)

Building the silencers, and installing them in the roof cavity.
In each path one silencer is attached to the outer leaf and the other to the inner leaf.

The finished Piano Studio! My wife is very happy teaching in here now!

Construction complete in the Recording Studio. I'm currently doing some REW testing as well as belting the drums again (finally!)

#78

step one - get a decoupled platform under drums - right now you're transmitting via the slab, and in a quiet room, this will be "loud" compared to the silence. next - some gobos to wrap around the kit and provide some additional absorption.

#79

Thanks Glenn, a decoupled platform sounds like a good place to start.
Is it as simple as using a thick sheet of flooring with rubber feet?
Is there a risk of creating a resonance between the platform and the slab?

#80

Have a look at endorka's drum riser in the topic Amp Riser Effectiveness. You need to understand page 1 which goes through the principles and then page 2 is where Jennifer starts on her drum riser.

#81

Oh wow, yes that's a very cool design! I'm surprised that it isn't super wobbly seeing as its essentially a sheet of ply floating on a piece of insulation. Amazing, I will definitely try this for my drums and amps!

#82

it works because there mass layer is heavy enough to distribute the load across the insulation (or other dampers) fairly evenly. if you did it with 1/4" plywood it would not be as stable as 3x 3/4" plywood or MDF.

#83

So I'm preparing to move on to acoustic treatment now. I'm excited and nervous about this stage!
My understanding is basic, so I'd love a little advice here please.

I followed Stuarts REW guide and took a couple of "before treatment" measurements - one with the speakers 60cm front the front wall, and the other with the speakers 30cm away.

What I think I see in both tests is:
- A large sharp null at 85hz
- Resonances at 65, 100 and 135hz
- A soft wide dip at 15-20K

I figured that 85hz is my most obvious issue so lets start by targeting that.

So, 85hz wavelength = 4m. At 1/16 wavelength that's 25cm (10"), so I should aim for at least that depth of insulation to absorb that frequency.

Now, I'm assuming higher density insulation equals better absorption, to a point. But it also gets more expensive as it gets denser, and at some point its probably too dense and just reflects everything back. Ive heard that the best 'bang for buck' is found at around 30-40 kg/m3, but that's still expensive, so rather than cover my whole studio with it I might just focus on the first reflection points and use something lighter for the rest of the wall.

In the corners, I can get away with cheaper, lighter stuff by going twice as deep (50cm) or more. Build that out all around the top and sides of the room and really suck up some bass.

And finally, once Ive put all that in place, Ive probably absorbed way too much mid and high frequencies, so I might need to add some wood strips across the top to start reflecting that back into the room again. Ive no idea whatsoever how to calculate how much reflective surface to add, or what dimensions it needs to be. Maybe its just trial and error at that point...

Phew.. that was exhausting! Does it sound like I'm on the right track or way off?

#84

the deep 85hz dip which shifts due to speaker movement means you have both a modal and SBIR impact.

Code: Select all

85.9 hz 4.5% 4.01 : 2 : 1 (1,1,1 Oblique)

so all three modes are converged there + SBIR. so basically you need absorption all around - front and back, side to side and ceiling.

#85

GraGra wrote:Source of the post Oh wow, yes that's a very cool design! I'm surprised that it isn't super wobbly seeing as its essentially a sheet of ply floating on a piece of insulation. Amazing, I will definitely try this for my drums and amps!

Yes, as Glenn says, if you build it to his specifications (3 x 3/4" plywood or MDF) it's very stable. You can jump up and down or dance on it no problem, for example.

Cheers,
Jennifer

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