Posted by Guitar-Guy | Posted in guitar | Posted on 10-11-2004
Designing and building a home recording studio with 2010 Design Studio
instruments for recording and mixing tracks are different, The most visible low in a 5-string bass is the low B at 31 Hz and a kick drum in the 25 to 40 Hz
The wavelength of 31 Hz is C / f = 36.4 1128.6/31 certainly share the same frequency or a harmonic thereof. It is calculated relative to the size that f = c/2L.
Therefore, a wavelength of 25 Hz needs a wall with a minimum length L = 22.6 feet = C/2f to avoid this effect and support the low frequencies are recorded correctly. However, support for large rooms reverberation time tends to smooth the low frequency response. Try to build your studio with at least 1D that support the lowest frequency was recorded. Also, avoid the same size or a multiple of the scale and that these modes will the accumulation of 200% to 300% of normal amplitude.
A closed rectangular room is subjected to waves which include a frequency fundamental and harmonics or nodes that are calculated for each room size room low frequency. If the dimensions of the rooms are well spaced or too small, then modal accumulations occur. As example, if a player plays the bass low B string, 31 Hz in a room that is 16 'x 13' x 10 ', then all surfaces in this room that resonate at 31 Hz or its harmonics vibrate because the minimum length of 18.2 "is only 16 '. Therefore, the natural wave length of the note can not resolve and energy to bounce sound. The battery will probably vibrate like accumulation of problems. It refers to the room volume and reverberation response. Modes (frequencies) above are treated Bco the room with a soft response while modes below Bco value if they lead to accumulation.
Bco = 20.000 * Sqr (Time the length of the room, width, height and the response of the reverberation room. Calculate all frequencies modes modal tangial longitudinal and oblique and graphs to see the results of the spacing between modes of transport and accumulation mode.
Vist www.recording-studio-design-software.com For more details, examples and instructions on the use of this program.
Each room size is calculated wavelength (frequency fundamental) and the harmonics of the low cutoff frequency of the room. The number of modes and their color is displayed in the text box next to each dimension. It is easy to see what size (s) are causing an accumulation mode. Just change the size to see how it affects the spacing between modes to optimize your study room. Enter the dimensions of the room a rectangular reverberation room desired response (RT60) is that the room is. Click the Calculate button to see the results.
The bandwidth is the frequency range around the fundamental frequency (and harmonics)
is represented as a bell curve. If the bandwidth is the bandwidth mode
Otherwise, what excited the extent of the overlap mode. This extra energy
escape mode is added. The chart shows all the modes excited in blue.
BW = 2.2 reverberation time /
room volume is length x width x height in cubic feet.
The calculator converts the aspect ratio in a relationship where 1 is equal to the task. This is useful when you have dimensions that provide good modal space and want to change the size of the room, using the same proportion. Enter a value in the text field and select the foot of the wall to make the change a. Press the up or down button to recalculate the dimensions by the amount entered. Click Apply to update the proportion of project with new dimensions.
The modal frequency current paths are shown in the list box next to each graph. Methods length, width, height and colors are represented as separate for easy identification at the time decide what its size is adjusted to optimize the separation between modes of transport or reduce construction modal ups. This figure represents the low frequency hearing room. The modes of interest. Each dimension (fundamental frequency and harmonics) is calculated Bco.
The maximum amplitude is 300%, which represents the addition of 3 modes of the same frequency that occurs only when three and the modal frequency Oblique a range of 25%. The frequency of all modes of distribution graph plots the three modes. The chart shows all excited modes blue if its "width" 100% higher. axial modes are primary, while modes tangial have a second order effect and oblique modes have an effect third order. Tangial oblique modes and tend to "fill" between the axial
modes.
The goal is to enter dimensions of your room and the desired response reverb and graphs to observe the separation mode. Take a look at the first axial curve. Modes length are shown in green, Burgundy, width, and height in the fire.
If the modes are set too close together are shown in blue. Blue is a problem with front and rear panels, the airspace cavity, insulation, etc. They have a harmonic resonance frequency relative to its longest dimension and resonance modes when under the Bco very happy.
The goal is to get the best possible space while minizing accumulations Modal and identify problems modal frequencies. absorption coefficients of materials are measured at 125Hz, 250Hz, 500Hz, 1000Hz, 2000Hz, 4000Hz. Example: If your Bco is 300Hz and 125Hz check accumulations and 250Hz. Other hot spots can be treated with custom design resonators Helmholtz / stamp of these frequencies. Design Studio 2010 allows the user to design and implement Helmotz resonators the database, then selecting acoustic materials in construction the user can maintain, modify, add or remove items from the database using acoustic square feet for this material. Pressing the Calc button will update the calculations of absorption and Sabine reverberation time. By observing the results each frequency reverberation 125Hz, 250Hz, 500Hz, 1000Hz, 2000Hz, 4000Hz, you will see the effect of adding material.
Start by adding walls, ceiling and floor materials to use and enter the zone for each entry. This gives a reference point to start. Can be added other elements such as bass traps, Helmotz resonators, etc. until you are in total reverberation reverberation time design. Select a category filter "Selecting a sound material" list. For example, select
Paredes see all walls or filter more classified by type.
Using a sound meter in your area at baseline of the road and ambient noise out to determine the frequencies that are passed through and the amount of noise reduction necessary. This can be used to choose the construction of the wall. The walls are ordered by STC (sound transmission type). If you need a reduction of 40 dB, then choose the design of STC STC wall 40 vs 60. The cost of the 60 STC walls (double 2×4 walls with 2 layers of 5 / 8 "drywall on both sides filled with insulation bats) may be expensive.
Select the type of filter frequency absorption band of low, medium Medium-low, medium, high, high or wide. When selecting of material in the dropdown menu, watch the coefficients and as well as the total reflection of Sabine made to collect material for current results.
After selecting a type, the list of categories will be updated to reflect the records pertaining to type. Example: The user selects Carpets and rugs search to find any representation of them, or filter by type of carpet to see that they have a model of specific bands. See the results of the reverberation. If the reverberation time is higher in 2000Hz and 4000Hz, and then select a typical group, focusing on the high band. The list will be updated and display materials that have an absorption coefficient with values higher in this range.
Sabine Using acoustic analysis of materials depicting the current study, the control room listening or home theater. If it is not in the database of materials, then you will find on the web and just add that the materials baffle.
After a selection of materials has been made between the area in the empty text field on the SQ. feet and press the calc. A pocket calculator is only a click away. Click the calculator icon appears. multiplies but only provides ground and surface wall calculated with dimensions that are currently enrolled. Look on the wall of different constructions and the COA. Paredes really absorb the low frequencies! A common construction is 2 x 6 walls of 5 / 8 "drywall spaced 24" center filled with 5.5 inches of insulation.
Design Studio 2010 offers the ability to design and perforated Lama Helmotz type and the type of panel absorbers and resonators by clicking on the options menu design absorber. To cope how to annoy, Helmotz resonator design in line with these frequencies.
After designing absorbers Helmotz
installation of panels that can be opened and closed with a hard surface of a reflective side and the other to absorb allow the modification of the response of reverberation chamber. Union absorption and broadcasters as on every wall.
Use mat cooling in some areas reduce reflection.
Place low-frequency Helmholtz absorbers punched in the ceiling construction. conceptions various alternate through the roof. For example, a typical garage 2×8 new general construction beams. If there is a second floor, also Basement also consider the back of a panel. If a second floor, made 5 / 8 "plywood. Fill the rafters with insulation bats. A 2×8 is 7.5 "deep. Apply 3 / 4" strapping in the ceiling beams to give a separation or the use of resilient channels. This gives a space air filled with insulation 8.25 ". Cover the roof with 2 layers of 1 / 2" in cons-plated. Drill with 4×8 sheets of perforated patterns resonators Helmholtz in the design and then screw the strapping. Stain or paint and cover loosely woven fabric with spray adhesive on the plywood. Using a panel thickness of 1 "air space of 8.25" diameter 25 "- .375" for designs Helmholtz achieve the desired frequency range. Please note that all roof panels must be drilled.
Diffusion is also necessary for the disintegration of various sources, direct, indirect and uncertain. Consider the wall panel or disseminators QRD triangular brackets. Design Studio 2010 allows you to design QRD up 43 points. Arrange on the microphones for field recording about drum kits, cabins voice Paino sound etc. to help distribute all audio sources seamlessly in the recording or mixing zone.
Please visit www.recording-studio-design-software.com for more information.
About the Author
D. Curtis Bates is an electrical engineer and software developer and has been a lead guitarist and songwriter for 40 years. In addition, Mr. Bates founded an independant record company and engineered and produced The Rustic Overtones in 1991 and Howie Day in 1998.
Lec 26 | MIT 8.02 Electricity and Magnetism, Spring 2002
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