Soundman2020 - Studio Design Forum

nice! for some reason i though there was a UK source for the boot seals similar to what Rod had in his book. nicely done workaround though!

gullfo wrote:Source of the post nice! for some reason i though there was a UK source for the boot seals similar to what Rod had in his book. nicely done workaround though!

I think there is, either that or an equivalent. In truth, it's my own fault, I rather wanted a brown seal to blend in with the wood, and as far as I know the boot seals are only available in black

Cheers,
Jennifer

you gosh darn fashionistas!

I certainly paid the price for my vanity in hard labour

Jennifer
Loving your detailed posts on this - I've now got all my materials - rubber, heavy duty hinges, heavy duty closers and drop seals and about to embark on the doors. I'm on to the router jig idea - I have 20 hinges to do - 40 mortices
I just need to do some testing on my seals as to compression - my working assumption is 40% based on the following
https://www.elastoproxy.com/enclosure-g ... mpression/
Andrew

gearjunk1e wrote:Source of the postI just need to do some testing on my seals as to compression - my working assumption is 40% based on the following
https://www.elastoproxy.com/enclosure-g ... mpression/
Andrew

Great stuff, your mortice jig will certainly pay for itself!

Perhaps it depends on the type of gasket used, with the rubber D profile ones I used I'd be lucky if I got 20% compression, even with the heavy duty door closer spring dialled up to be very powerful. If you are using a different type of door closer, or prepared to push the door with a good bit of pressure onto a latch, perhaps you'd get more compression? I don't recommend the "door requiring a good bit of pressure when closed to latch" approach by the way - most people won't properly close the door.

Cheers,
Jennifer

most of the IAC type sound isolation doors use latches to compress. usually 25% - 45% compress is enough depending on the size and softness of the seal material. larger soft material doesn't need to compress as much to achieve a full seal. at the expense potentially of volume and space needed for the gaps.

I've still not measured the difference in sound transmission after adding mass & green glue to the wall of room 1, and mass (plywood & MLV) to the door, but thought it might be useful in the meantime to provide some anecdata.

The control room is at the top of the house, "studio room 1", and the wall & door in the top room in these images are the improved ones.
The general goal was to reduce the amount of sound coming from this room into the stairwell and consequently the rest of the house. In particularl "house room 1" where my wife sometimes works. The doors into this room are interior glass ones and provide very little sound attenuation.

Before improving the wall & door in studio room 1, I could monitor music at 85 dB and as long as the doors to the downstairs room were closed it would be inaudible there. After improving them, music at this level is inaudible in the downstairs room even with the doors open.

Before improvements, when I listened at 95dB e.g. to mix the rhythm section or get a vibe for people recording overdubs, it would be distractingly audible in the downstairs room. Since improvements, I can listen and record at that level without it being noticed.

I'd say this full spectrum improvement of ~10dB including the low frequencies is consistent with the improvement predicted from lab measurements of similar partitions. Black line is original room, green is the improved one. The heavy door (going from 30kg to 75kg) made a remarkable difference in combination with the improved wall.

I suspect the improvement in the door may be more than the additional mass alone would account for. This could be explained as the unimproved door had panels with large recessed portions on both sides, so the mass of a significant area would be lower than the door average, making a significant weak link the attenuation. I took this into account when improving the door, filling the recesses on the improved side with MLV to make up for the loss of mass from recesses on both sides of the door.

Cheers,
Jennifer

berry berry nice!

Wow! That's pretty darn good, Jennifer! Any way you look at it, that's a very significant improvement, and I think well worth the effort.

Congratulations!


- Styart -

Oh, and one more thing you deserve congratulations for....

Your thread is getting enticingly close to HALF A MILLION VIEWS!!! Right now it stands at 421,094. That's pretty darn amazing too!

You are inspiring a lot of people, apparently.

Awesome!


- Stuart -

Thank you both, and it's great to see you back Stuart!

Re-reading my post I said the room my wife sometimes works in is "house room 1" but that was a typo, I meant "house room 5", the large room on the ground floor. Hopefully it was clear from the context. By way of comparison, the sound attenuation between that room and "studio room 1" is similar to a very good party wall in a terraced house I measured a few years ago. I couldn't be happier with the result, it performs better than hoped.

Cheerrs,
Jennifer

Another sound reduction related anecdote.

A few weeks ago I was recording the band tracks for a rock album. 6 musicians all at once. The keyboard player, singer and guitar amp were in "studio room 2". The rest of the band including guitarist were in room 1. I connected his guitar to the amp in the other room using a Little Labs Instrument Cable Extender, which lets you send a guitar cable signal along standard XLR cables.
So they're all setting up, getting sounds, and both doors are open. The guitarist is playing and his amp is gloriously loud. It's difficult to hold a conversation in room 2. Someone comes out of room 2, and closes the door. It's just a standard fire door so it attenuates the guitar amp sound a bit, but you can still hear it well. They cross the landing into room 1, the heavy door closes behind them, and the sound from the guitar amp disappears. All you can hear is the direct acoustic twanging of the strings on the electric guitar in room 1. Maybe you had to be there, but it was laugh out loud funny, like that Bill Bailey sketch where he impersonates The Edge out of U2

Who'd have thought the practice of applied acoustics could bring a bit of humour into the world eh?

Cheers!
Jennifer

nice! don't forget to put a mic in front of those electric guitar strings if you have that option. i've taken to using a piezo on my electric strat to get some of the acoustic bits to mix back in (somewhat lazy as i'd normally re-play it using my acoustic, but then when i do that, i'm down a rabbit hole because if i had that energy or inclination to do that, then i start to think - hey i'll also re-play it with my 12-string, and my nashvile strung, or hey, there's my uke in the corner, why not... and i just wanted it quickly... lol)

I recognise that rabbit hole LOL I'll try the string thing at the next opportunity, cheers!