DIY bass traps with Owens Corning 703 cores, on a wooden frame, wrapped in fabric.400 pounds of tabletop glass for a two-pane angled control room window.Multilayer floors: plywood, carpet pad, carpet.
DIY acoustic treatment: adjustable bass traps, foam panels, Auralex SonoColumns.Suspended/drop ceiling using staggered arrays of bass traps.Reducing parallel surfaces by angling walls in.Expanding foam used to seal gaps between the walls, ceilings and beams.Exterior doors used on all rooms for a better seal.Heavy boundary walls, offset stud, variable density drywall, multiple types of insulation.We followed industry design practices by adapting and emulating them into DIY solutions. Keep in mind that if sound can escape, it can also come in. This will keep your customers and neighbors happy. When designing a space for acoustics, you will want to contain leakage, lower the noise floor and create a predictable frequency response. Buying new equipment is much easier than building new walls.
Our recording studio build prioritized the quality and completion of the space, only buying necessary equipment that we did not already own. What you don’t want to do is cheap out on the space and then try to plug the gap with more expensive equipment. Content is always king, but it shouldn’t come at the expense of damaging the audience’s hearing. I think back to all the small boxy cinemas, narrow underground music clubs, project studios and rehearsal spaces I have been to. This happens when sound waves literally start crashing into each other in a destructive manner. Stuffing too much sound in a small space quickly gets painful. Sounds need room to breathe in order to be heard properly. Its baseline acoustics is one of a room’s greatest assets because this quality has an impact on how well the equipment performs. Strip away the equipment and furniture and you should be left with a good sounding albeit emptier space. There will forever be a need to balance design and cost, but that should not mean losing out on quality. This included the rooms’ shape, design, materials and acoustic treatment. We spent a lot of time looking for different acoustic solutions that would work in our space and budget. I had the chance to study acoustics during school and later put theory into practice by helping build and run a recording studio. On the other hand, failing to absorb lower frequencies can lead to bass loading and muffling. An aggressive response in higher frequencies translates to shrill overtones. Too diffuse and the sound feels like it is escaping, but too absorbent and the room sounds dead. Too much reflection introduces long reverb tails. That behavior is a combination of reflection, diffusion, absorption and the room’s overall frequency response. These, in turn, determine how the sound waves behave within the space. When describing a space’s acoustics we are referring to the traits determined by its mix of design, materials and treatment. Try pairing this with an oscilloscope plugin as you will be able to see the shapes and cycles in action as you switch wave types. You can easily demo these waves by firing up a synthesizer plugin on your DAW of choice and listening to how each one sounds and how they combine together.
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