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Acoustics for a music studio

its all about designing requirements for a music studio to make it properly functional.

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Acoustics for a music studio

  1. 1. DESIGNING OF MUSIC STUDIO ACOUSTICS.. SUBMITTED BY: AYAN BARANIYA B.ARCH V SEM
  2. 2. ACOUSTICS  A science dealing with the production, effects and transmission of sound waves; the transmission of sound waves through various mediums, including reflection, refraction, diffraction, absorption and interference.  When designing or redesigning an acoustic space, the following basic requirements should be considered: - Acoustic Isolation - Frequency Balance - Acoustic Separation - Reverberation - Cost Factors
  3. 3. ACOUSTICAL REQUIREMENS FOR A STUDIO..
  4. 4. PRIMARY FACTORS GOVERNING STUDIO AND ACOUSTICS Important and relevant aspects of acoustics as:  Acoustic isolation  Symmetry in control room and monitoring design  Frequency balance  Absorption  Reflection  Reverberation.
  5. 5. WALLS The primary goal is to reduce leakage (increase the transmission loss) through a wall as much as possible over the audible frequency range. This is generally done by : • Building a wall structure that is as massive as is practically possible. • Eliminating open joints that can easily transmit sound. GUIDELINES: • the inner and outer wallboards should not be directly attached to the same wall studs. The best way to avoid this is to alternately stagger the studs along the floor and ceiling frame, so that the front/back facing walls aren’ t in physical contact with each other . • Increase transmission loss by mounting the additional layers with adhesive caulking rather than using screws or nails.
  6. 6. WALLS • To reduce leakage that might make it through the cracks, apply a bead of nonhardening caulk sealant to the inner gypsum wallboard layer at the wall-to-floor, wall-to-ceiling and corner junctions. Typical wall construction materials include: CONCRETE: Solid And Expensive HOLLOW BRICKS: often easier than Concrete  GYPSUM PLASTERBOARDS : multiple layers of plasterboard onto a double-walled stud frame is often the most cost- and design-effi cient approach to reducing resonances and maximizing transmission loss. It ’ s often a good idea to reduce these resonances by filling the wall cavities with rock-wool or fiberglass.
  7. 7. WALLS
  8. 8. FLOORS  “ Floating ” floor that is structurally decoupled from its subfloor foundation.  Uses either neoprene “ hockey puck ” isolation mounts, U-Boat floor floaters or a continuous underlay, such as a rubberized floor mat.  The underlay is spread over the existing floor foundation and then covered with an overlaid plywood floor structure.  In more extreme situations, this superstructure could be covered with reinforcing wire mesh and finally topped with a 4-inch layer of concrete In either case, the isolated floor is then ready for carpeting, wood finishing, painting or any other desired surface.  Failing to isolate these allows floor-borne sounds to be transmitted through the walls to the subfloor — and vice versa  gaps can be sealed with pliable decoupling materials such as widths of soft mineral fiberboard, neoprene, silicone or other pliable materials.
  9. 9. FLOORS
  10. 10. FLOORS
  11. 11. CEILINGS  Reduce this noise by simply carpeting the overhead hallway or by floating the upper floor.  hang a false structure from the existing ceiling or from the overhead joists This technique can be fairly cost effective when “ Z ” suspension channels are used.  Z channels are often screwed to the ceiling joists to provide a flexible, yet strong support to which a hanging wallboard ceiling can be attached.  If necessary, fiberglass or other sound-deadening materials can be placed into the cavities between the overhead structures.  Other more expensive methods use spring support systems to hang false ceilings from an existing structure.
  12. 12. CEILINGS
  13. 13. WINDOWS AND DOORS  Visibility in a studio is extremely important to communicate.  Designs vary with studio needs and budget.  Can range from being deep, double-plate cavities that are built into double-wall constructions to more modest prefab designs that are built into a single wall.  Glass walls  Access doors to and from the studio, control room, and exterior areas should be constructed of solid wood or high-quality acoustical materials.  The appropriate seals, weather-stripping, and doorjambs should be used throughout so as to reduce leakage through the cracks.  acoustical sound lock .This construction technique dramatically reduces leakage because the air trapped between the two solid barriers
  14. 14. WINDOWS AND DOORS
  15. 15. WINDOWS AND DOORS
  16. 16. ISO ROOMS AND ISO BOOTHS  Isolation rooms are acoustically isolated or sealed areas that are built into a music studio or just off of a control room. These recording areas can be used to separate louder instruments from softer ones (and vice versa in order to reduce leakage and to separate instrument types by volume to maintain control over the overall ensemble balance.  To eliminate leakage when recording scratch vocals  Designed as totally separate areas that can be accessed from the main studio or control room, or they might be directly tied to the main studio by way of sliding walls or glass sliding doors.  Isolation booths provide the same type of isolation as an iso-room, but are often much smaller
  17. 17. ISO ROOMS
  18. 18. ISO BOOTH
  19. 19. ACOUSTICAL PARTITION  Movable acoustic partitions (also known as flats or gobos) are commonly used in studios to provide on-the-spot barriers to sound leakage.  By partitioning a musician and/or instrument on one or more sides and then placing the mic inside the temporary enclosure, isolation can be greatly improved in a flexible way that can be easily changed as new situations arise.  based around wood frames, fibreglass or other acoustically absorptive materials with your favourite coloured fabric coverings.
  20. 20. ACOUSTICAL PARTITION
  21. 21. SYMMETRY

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