There are some exceptions to this. I believe in some of the Newell designs he uses a number of separate damped drywall "walls" in front of concrete walls as membrane absorbers. They have very specific properties (depths, surface density, etc) for tuning them and then since they're pretty massive (in the literal sense of a lot of mass) and cover the entire wall, they contribute to the isolation as well.
Newell uses inside out framing for the inner shell in his designs but not multiple walls - but he does mention Sam Toyoshima using multiple partitions as you're describing in his book.
You should reach out to stefan from dada life and review his studio accoustic! he has the flattest curve i have ever seen in a studio, and it sounds truly amazing! And he KIND OF did this!
Thanks Jesco, it is great information when you have the chance to build a new dedicated room or have the space and money to add an additional wall. Unfortunately there is not much information on the web to acousticaly treat a room when all 6 surfaces (walls, ceiling and flor) are made of concrete, I will appreciate if you share your experience when dealing with this kind of room; please don't tell us we are doomed!
Hi I have this burning question I can't get answered anywhere: I have a really well treated basement studio and 3 way speakers set up 2m away. The closest I can perceive sounds is about 1 meter away from my face. Disregarding my room, what is the closest that sound can possibly get in a studio setup? And how does that change with midfield, far fields kind of set ups?
Hello Jesco.. hope u r doing well ... I would like to know your thoughts on Philip Newells's wall design for neutral studio room which could also be used for control room said to contain the low frequency of the room and absorbs down to 30 Hz. This is essentially said to be a Broadband Diaphragmatic Absorber..
Nice video, thx. Do you have any advice about using MLV (mass loaded vinyl)? I wonder if it makes sense to finish a room with a sandwich of drywall-MLV-drywall as a way to improve isolation without a total redesign/remodel.
I think northward acoustics (built noisias studio) build their rooms that way, but they seem to construct the front wall into an inward shaped rather flat trapezoid to get rid of the 90 degree corners for Bass trapping, and a pretty deep wood construction (about 20cm) on ceiling and sidewalls, which is then filled out with insulation and covered with fabric. At least thats whats to grasp on some of their instagram pics. Any thoughts on that?
No, it will be something similar to: From outside to inside: 12.5mm drywall - studs with rockwool - 18mm OSB - 18mm OSB - bitumen sheets - 12.5mm drywall - bitumen sheet - 12.5mm drywall - acoustic treatment (up to 1200mm on the rear wall)
This begs the question, given sound waves are finite does that mean a more soundproof room will require more absorption because more of the waves are contained and continue to reflect back into the room rather than pass through the wall? That also makes me wonder if with enough absorption in place a fair amount of sound transmission through the wall must be somewhat reduced as the waves are absorbed.
Anyone taking the mass layers off of a wall to use the cavity insulation as treatment is silly, but you can build inside out inner walls in a double wall system, the only difference is the studs are on the inside rather than outside - the air gap stays the same - this allows you to use the studs as a portion of the framing for the acoustic treatment. ~100mm is not thick enough for all of the treatment, but it is useful as part of a Wideband absorption system where the stud bays become the framing for membranes, or in a vocal booth where 100mm of treatment would be thick enough for most of the voice range.
I am currently using an unfinished room to record VO and mix film sound. The only drywall is on the ceiling and rest is open studs with 4 in insulation. I’ve been adding 6 inch insulation over that in key areas then covering with fabric or blankets. This work if my goal is not total soundproofing?
That will work okay to eliminate early reflections (it would be better if the insulation was spaced off the wall) and will somewhat reduce sounds escaping from the room. If you’re just mixing and not recording live instruments then I don’t think the sound escaping will be very loud.
@@ItalianAvalanche What I've done so far seems to make a noticeable difference. I'm out in the country so soundproof isn't so big a deal. And yeah, me talking isn't loud enough to be a concern as far as escaping. Thank you for the answer!
I have a lot of space on the ceiling for absorbers. What do you think would be the best "thick" for the absorbers? Wanted to build 40cm thick aborber above me. These would have between 5 and probably 40cm airgab up to the ceiling. Does that make sense? And what fabric would you use? Would you possibly even build your "better bass trap" for it?
Generally speaking deeper is better however if you go deeper you also need to use less dense material or it will become reflective. Try out the sound absorber calculator that Jesco has shown before. 40cm is very deep and you’ll need very low density insulation.
@@ItalianAvalanche Yes, sorry. The more material absorbs more I know. Also know the calculator. I was just wondering if the front that Jesco uses with his basstraps makes sense and with which fabric I span the whole thing?
Hey I don’t know if you already built them, but I have 30 cm thick bass traps as a cloud. The thicker the better. And it will absorb lower. I didn’t build them myself though I’ve been working with an acoustic expert for a while. He discovered in the last year that leaving an air gap isn’t super effective. You should build it in to the trap, but if you add an additional one, it won’t be as effective. Most of the information out there is outdated and misleading . Hang as close to the wall as possible
![Felix "Unfair" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/Oswujxm2Ag0/mqdefault.jpg)
There are some exceptions to this. I believe in some of the Newell designs he uses a number of separate damped drywall "walls" in front of concrete walls as membrane absorbers. They have very specific properties (depths, surface density, etc) for tuning them and then since they're pretty massive (in the literal sense of a lot of mass) and cover the entire wall, they contribute to the isolation as well.
Newell uses inside out framing for the inner shell in his designs but not multiple walls - but he does mention Sam Toyoshima using multiple partitions as you're describing in his book.
You should reach out to stefan from dada life and review his studio accoustic! he has the flattest curve i have ever seen in a studio, and it sounds truly amazing! And he KIND OF did this!
Thanks Jesco, it is great information when you have the chance to build a new dedicated room or have the space and money to add an additional wall. Unfortunately there is not much information on the web to acousticaly treat a room when all 6 surfaces (walls, ceiling and flor) are made of concrete, I will appreciate if you share your experience when dealing with this kind of room; please don't tell us we are doomed!
Hi I have this burning question I can't get answered anywhere:
I have a really well treated basement studio and 3 way speakers set up 2m away.
The closest I can perceive sounds is about 1 meter away from my face.
Disregarding my room, what is the closest that sound can possibly get in a studio setup? And how does that change with midfield, far fields kind of set ups?
Hello Jesco.. hope u r doing well ... I would like to know your thoughts on Philip Newells's wall design for neutral studio room which could also be used for control room said to contain the low frequency of the room and absorbs down to 30 Hz. This is essentially said to be a Broadband Diaphragmatic Absorber..
Nice video, thx. Do you have any advice about using MLV (mass loaded vinyl)? I wonder if it makes sense to finish a room with a sandwich of drywall-MLV-drywall as a way to improve isolation without a total redesign/remodel.
Thanks Jesco. It's very nice to see you've read my email. Big thumbs up from me.
I think northward acoustics (built noisias studio) build their rooms that way, but they seem to construct the front wall into an inward shaped rather flat trapezoid to get rid of the 90 degree corners for Bass trapping, and a pretty deep wood construction (about 20cm) on ceiling and sidewalls, which is then filled out with insulation and covered with fabric. At least thats whats to grasp on some of their instagram pics. Any thoughts on that?
No, it will be something similar to:
From outside to inside: 12.5mm drywall - studs with rockwool - 18mm OSB - 18mm OSB - bitumen sheets - 12.5mm drywall - bitumen sheet - 12.5mm drywall - acoustic treatment (up to 1200mm on the rear wall)
@@paulbishop2161 thx, that clears up a lot✌️
This begs the question, given sound waves are finite does that mean a more soundproof room will require more absorption because more of the waves are contained and continue to reflect back into the room rather than pass through the wall?
That also makes me wonder if with enough absorption in place a fair amount of sound transmission through the wall must be somewhat reduced as the waves are absorbed.
Anyone taking the mass layers off of a wall to use the cavity insulation as treatment is silly, but you can build inside out inner walls in a double wall system, the only difference is the studs are on the inside rather than outside - the air gap stays the same - this allows you to use the studs as a portion of the framing for the acoustic treatment. ~100mm is not thick enough for all of the treatment, but it is useful as part of a Wideband absorption system where the stud bays become the framing for membranes, or in a vocal booth where 100mm of treatment would be thick enough for most of the voice range.
Of course. First you have to build a box within a box and than do your acoustic treatment.
I am currently using an unfinished room to record VO and mix film sound. The only drywall is on the ceiling and rest is open studs with 4 in insulation. I’ve been adding 6 inch insulation over that in key areas then covering with fabric or blankets. This work if my goal is not total soundproofing?
That will work okay to eliminate early reflections (it would be better if the insulation was spaced off the wall) and will somewhat reduce sounds escaping from the room. If you’re just mixing and not recording live instruments then I don’t think the sound escaping will be very loud.
@@ItalianAvalanche What I've done so far seems to make a noticeable difference. I'm out in the country so soundproof isn't so big a deal. And yeah, me talking isn't loud enough to be a concern as far as escaping. Thank you for the answer!
I have a lot of space on the ceiling for absorbers. What do you think would be the best "thick" for the absorbers? Wanted to build 40cm thick aborber above me. These would have between 5 and probably 40cm airgab up to the ceiling. Does that make sense? And what fabric would you use? Would you possibly even build your "better bass trap" for it?
Generally speaking deeper is better however if you go deeper you also need to use less dense material or it will become reflective. Try out the sound absorber calculator that Jesco has shown before. 40cm is very deep and you’ll need very low density insulation.
@@ItalianAvalanche Yes, sorry. The more material absorbs more I know. Also know the calculator.
I was just wondering if the front that Jesco uses with his basstraps makes sense and with which fabric I span the whole thing?
Hey I don’t know if you already built them, but I have 30 cm thick bass traps as a cloud. The thicker the better. And it will absorb lower.
I didn’t build them myself though
I’ve been working with an acoustic expert for a while. He discovered in the last year that leaving an air gap isn’t super effective. You should build it in to the trap, but if you add an additional one, it won’t be as effective.
Most of the information out there is outdated and misleading .
Hang as close to the wall as possible
👍👍