Looking I considered the reflection and how much

Looking closely at the acoustic treatment
of the studio room I have made, I realised that the room would need five bass
traps covering all corners of the room as a way of making sure that when sound
travels through into the acoustically treated areas, they are not contained
bouncing from wall to wall in the enclosed areas. This could potentially cause
the sounds to combine together and create a washed tone within the room.

The bass traps I selected to use in
the studio are porous absorbers. These bass traps are comprised of dense
material and absorb certain aspects of sound waves that come into contact,
decreasing the amount of energy from the soundwaves so that they are very faint
by the time they arrive at the person listening. These dense materials contain
small pores within them, which then allow certain few of the waves to get
through. As the materials that are used are so compact, the sounds become
frigid and deplete within the trap. Foam bass traps in the room would be used
as they are particularly well-put together and would work well at reducing the
unwelcome low frequencies that bounce within the corners of the room.

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When deciding on which acoustic
panels to apply in the room, I considered the reflection and how much of it I
would need to keep in my studio. Reducing reflection too much would only end up
giving a flat, almost dead sound, the room will bear no type of character to
the sound in it. As stated by Everest & Pohlmann;

“Sound emanates from the source
radially in all directions. Direct sound from the source moves past you, and
never returns.”

 

 

 

 

I decided that a few meter square
panels placed in the room will cut out the important reflection points, while
still letting a suitable amount of natural room reverb and reflection to
remain. Placing a 2 by 2-meter acoustic panel on each of the walls within the
room would reduce enough of the reverberation sound, as it is only present in
small sections, there will then still be enough wall space to let the sounds
bounce.

The acoustic panels of the room
would be home-made, it will be constructed using fibreglass. Fibreglass is a
light material, it can be made strong and stable once fused together. This is
the best decision for acoustic panels on the walls. Everest & Pohlmann
state;

“Cotton and many open cell-foams
(such as polyurethane and polyester) are excellent sound absorbers because of
their open-cell porosity that allows cells to penetrate the material.”

 Multiple layers of fibreglass sheets will be
fused together, so that they are around 3-5cm thick. The sheets are thick
enough to absorb sound considerably well, without consuming too much space within
the room. The fibreglass panels will be covered in cloth. This further helps
absorb the sound.

To give the best effect, the panels
need to be positioned correctly, the listening position of the room is
calculated as a third from the back wall. Thus, the panels are required to be
two meters away from the window at the far back of the room. The panels are
placed on the left and right walls from the same height as the monitors, this
is so that the sound is reflected at the perfect height. The middle section of
the back wall, which is two meters high, and therefore an acoustic panel is
placed that was in the middle of the back wall, but 2 meters away from it. This
is directly above the listening spot and will remove any reflection within the
space.

To limit the sound more. Firstly, A
curtain over the back window. As glass is extremely reflective, this can cause
issues with the sound bouncing towards the monitors.

When deciding on the monitors for
the studio, you need to consider the placement of the setup. As the DAW is set
up against a wall the best option would be to use front-ported monitors, as
using rear ported would let sounds escape from the back and instantly reflect from
the reverse wall. This would then cause instant reflection problems.

For echo’s to be heard within a
room, Sounds have to reflect and come back to the listener within 360ms. For
sound to form a noticeable amount of reverberation, sound has to come back to
the listener within 100ms. The formula that is used to work out the time is D/S=T
(Distance over Speed = Time). Thus, the formula used is 12m (distance of the
room and back) / 340m/s = 35ms. This results in the sound not creating any
noticeable reverberation or echo’s.