Why does an element small relatively to wavelength create a reactive and non-propagating pressure field (where pressure and velocity are out of phase), while at short wavelengths (ie higher frequency and faster movement) does not? I would think the inertia of the air molecules would be bigger when something moves fast?
If a signal has high frequency and low frequency content (different frequencies across the spectrum are present) , how come the low frequencies take up more headroom in the mix and cause the meter to spike up? Is it that low frequency waves have more acoustic energy or something??
Finished my first round of acoustic treatment in my small home studio last year. Have noticed my mixes are coming out shrill once I listen back in the car. I still have a good bit of insulation leftover, looking for advice before I start throwing more panels all over the place. I used Owens Corning 703 - 2” on the walls, 4” in the corners. Wrapped in acoustic fabric. Sticks out from wall a few inches because I’m using leftover mdf trim board I had lying around.
I have 3 4” slabs left, was planning to build an overhead cloud head cloud with 2 of them, leaves another for another corner trap. I’ve got 6 2” slabs leftover. The brown thing above the couch is more for aesthetics than treatment.
Anything obvious you would address? Last two pics show exactly where my monitors are pointing in the room. I’m thinking I don’t have enough treatment on the backside of room where the monitors point. Or maybe too much high frequency absorption around the monitors… idk. Thoughts? TIA
Hi all. hope you’re well:) I am looking to buy a full audio system for live concerts of around 400-500 people- or even more.
I have my own live band- one that I’ve put together over a period of the last 5 years- and have hosted my own live music shows at my own expense (twice in the past 6 months with crowds of 200 and 400 people respectively).
I’ve noticed that the cost to hire the equipment was quite expensive ( some may even call it exorbitant)- around ZAR 15 000(Rand) per show- roughly 1000 USD. I am thinking of buying my own equipment to use for my live shows and to hire out when not in use (I have another company with bakkies/ pickup trucks to transport and staff to assist and safe storage space) so infrastructure is already in place.
I would like to ask for any good advice/suggestions on the types live concert style audio equipment that would be suitable for this purpose- before I go to the audio shop- and would really appreciate any tips on what to look out for/be wary/careful of.
My budget is around ZAR 400 000 or 30K USD. Would really appreciate any tips/advice. Thanks!
I see this constantly. The classic audiophile stack. Turntable on a butcher block or marble platform, platform on hifi stand/furniture, everything spiked at every junction. Looks serious. Mostly isn’t.
Let me break down the actual physics because this matters.
Where spikes have a genuine use case...
Suspended timber floors with carpet. That’s basically it. The goal there is to penetrate the carpet and underlay and find the structural layer beneath, which stops the speaker rocking on a compliant surface. That’s a real problem with a real solution. I’ll give spikes that.
Where spikes are actively wrong...
Concrete floors. Concrete resonates. The frequencies are higher than timber but it absolutely has modal behaviour. Spiking into concrete couples your speaker directly into those resonances with minimal damping. You haven’t isolated anything, you’ve just changed which resonances you’re exciting. Decoupling platforms with correctly rated compliant material is the physically correct approach on any rigid substrate.
Electronics...
No. A solid state DAC does not care about floor vibration. Neither does a power amplifier. There is no mechanism. No studio in the world spikes their SSL console or their outboard rack and nobody in professional audio loses sleep over it. This is purely a consumer audiophile phenomenon driven by accessory manufacturers and confirmation bias.
The one partial exception is high gain valve stages and MC phono stages, which are genuinely microphonic. I run Sorbothane feet under my WiiM Ultra specifically because the MC phono stage is sensitive and it makes a measurable audible difference. That’s physics working as expected. But the mechanism there is decoupling, not spiking.
Turntables...
Yes, isolation platforms are justified. The stylus is a mechanical sensor with zero rejection of external vibration. Acoustic and structural feedback into the cartridge is real and measurable. But the correct interface material between platform and surface is compliant, not a spike. Spikes into marble is coupling into marble’s resonant modes. Sorbothane feet into the same marble is breaking the transmission path. These are not equivalent and they don’t produce the same result.
What spiking actually does when people report it “working”...
It changes the coupled resonant behaviour of the stack. That changes the colouration of the sound. It’s a tone control. If you preferred the result, fine, but that’s a preference not a fidelity improvement, and misidentifying the mechanism matters because it leads to worse decisions downstream.
The tell...
Anyone stacking components with spikes at every junction while claiming physics-based reasoning hasn’t done the physics. The aesthetic signals seriousness. The mechanism doesn’t hold up. Those are different things and conflating them is how this hobby ends up full of expensive nonsense.
Get the load calculation right for whatever compliant material you use. Decouple on rigid substrates. Save the spikes for carpet. Spend your money on things that actually matter.
Anyone telling you different is selling something or mentally inflexible and driven by dogma.
Hay unas casas a unos 100 m, los vecinos se quejan porque por las noches obviamente el ruido viaja más fácilmente, cualquier ayuda será de mucha utilidad.
It appears easy oh just cut it with an insulation knife, but cutting thickness off precisely and safely sure looks hard :D
Same with if you’re trying to do a 4” sound panel.
Hi everyone,
I’m looking for some advice regarding acoustic treatment for a small band rehearsal room.
The room is approximately:
Important:
I’m NOT primarily trying to soundproof the room from the outside. The main issue is the sound INSIDE the room.
Right now the room is very reflective and fatiguing:
I’ve contacted a local acoustic shop and they recommended covering around 60% of the walls + 50% of the ceiling with 4 cm pyramid acoustic foam, plus some bass traps.
However, after researching a bit, I’m not sure if large amounts of thin foam are the best solution for a loud drum rehearsal room.
Some people suggest:
Potentially I’d also like to record drums with microphones in this room in the future, so I’d prefer a solution that works reasonably well for both rehearsing and basic recording.
My questions:
Budget is flexible(Max around 830EUR or 960 USD), but I’d rather spend money on fewer effective panels than a huge amount of foam.
Thanks!
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Und zwar hatte ich immer in ear billig Kopfhörer benutzt zum gamen die an meinen elgato xlr ) angeschlossen sind und immer extrem laut waren) bis sich meine Ohren entzündeten also weh getan haben bestellte ich mir für 160 die beyerdynamic Kopfhörer ( super bequem ) und der Sound ist auch sehr gut , nur hab ich auf meinem xlr auf volle Lautstärke ( pc laut stärke auch auf voll ) aber irgendwie hab ich das Gefühl das ich da noch mehr rausholen könnte kennt sich jemand aus ?
For the time being I’m in a small room, I’m putting up sound treatments and got to the door, which sits in the corner of my room. In pondering what I can do in that corner, I wondered if cutting large holes in my door and putting a layer of Owens Corning in place of the holes would become a bass trap. A layer of OC703 with an entire house worth of airspace behind it?
I’ve been hearing/feeling this humming noise at home and I can feel vibrations. I’ve had trouble sleeping and worsened anxiety ever since this started. I recently downloaded this app that measures infrared sound and I took some screenshots of what I recorded at home with everything off. Can anyone tell me what would be causing that steady frequency around 15Hz? And what would be causing those bright vertical lines that go all the way down to 0? No cars were going by or any other noise that I could hear when those would come up but it’s like I could feel it in my body.
can anyone testify for the effectiveness of secondary glazing (in my case it would go over regular double glazing) for speaking noise close to the outside of the window e.g. from the outside space below a 1st floor window. i only hear people talking about its effectiveness for traffic noise so im curious if theres a difference. thanks!
I did a measurement in Sonarworks and this is what I got for vertical and horizontal. 1 being vertical with the woofer on top. Horizontal with the tweeter on the outside. This is without EQ added.
I have done as much research as I can. Now, I just need some professional opinions
I have a room I will use as a studio (and a bedroom). It is carpeted, 11ft x 13ft and 9 feet tall. my studio will be in one corner. I have about $300-350 to sound treat it. Nothing can be permanent as I am renting. I record a lot of vocals, guitar, mandolin, bass, dobro, banjo etc. Essentially acoustic stuff. My goal is to maybe prohibit some noise from other people in the apartment complex (no idea how loud people are) but mostly to get a better recording sound. I have some decent mics and I heard this was the best upgrade you could do. I just have no experience and can't break the bank.
Current plan:
about 24-30 something of moving blankets. I will install a grommet kit on each and hang them with heavy duty command strips. 2 Pairs per wall, with anywhere from 1-3 layers of each depending on the proximity to the recording side of the room
https://www.harborfreight.com/72-in-x-80-in-moving-blanket-58324.html
6 pairs of blackout curatins. enough to have three per wall, many folds and creases, and completely cover the room. i have no specific brand in mind, but it would look good and hopefully add to the heavy lifting done by the moving blankets. They would be hung on custom emt conduit curtain rods.
I get that DIYing your own rockwool panels is better, but I don't have the tools and I don't want to transport that later or at least not have the wrong sizes before I get a permanent place. Should I reconsider this?
I also have no plan for the ceiling.
Any help would be appreciated. Are curtains effective? Is this brand good? Am I thinking about sound treatment completely wrong?
Finally got a measurement mic and REW software. Rather than spend weeks mastering REW i used Claude and CLAUDE MCP interface for REW. Basically that makes it really easy to measure and process without becoming a ninja master in REW. Then i got Claude to make me a report of the whole mornings measurement session. Ace. Thank you kolton and lobehub for the great MCP. Made the whole process much more focussed on solving the problem rather than the tool. It also helped me understand how to use REW more quickly.
We have an IKEA Songesand bed that sits on a typical head and foot board with four points of contact. I already moved the bed away from the wall, but now the in-iaws have moved in downstairs for a few months. I want to avoid awkward gazes in the morning. I was hoping rubber furniture pads would help. Any suggestions beyond that?
I live in an apartment on the first of many floors and for the past year I have been hearing this very bass sound. Everyone can hear it but due to a health issue, to me it vibrates causing me so much distress. I already use ear protection and noise canceling, I can still feel the vibrations. So I am looking to soften the way it sounds inside my apartment.
I have absolutely no idea what is causing it, and it starts and stops whenever within the day. I have tried but cannot find any patterns to it. It could be some fan inside the ventilation system. I rent and there is no way to get anyone from the company to identify the issue and fix it, so I have to forget about that.
Is there any way to reduce this noise even a little? Would a bass trap help? The noise comes from within the building, it is very low-pitched, same pitch with small variations, continuous with slight reverberations that affect its loudness. What can I do? I am willing to try anything.
Hey Everyone,
I've moved into a new studio room; 32ft by 22.5 feet by 7 foot 10inches approximately. I'm wondering if anyone has experience treating sub bass decay in a large-ish room
Overall I've been able to get the acoustics pretty balanced and under control, but decay times (T30) in the sub-bass region are a little too strong. 53hz is a particularly rough mode (~3x length and ~2x width), but pretty much everything below 80hz isn't decaying fast enough.
I'm torn between 2 potential solutions.
Solution 1 is 9 17inch thick, 17 inch wide, 45 inch tall super chunk traps out of 2x2 pine, faced with 16 inch rockwool and stuffed with lighter fiberglass insulation inside. This is no small build and would take up a lot of floor space. But porous absorption always does something.
Alternative is to try creating tuned membrane traps targeting 53hz. Info on this is harder to find but it seems like it would take less depth and less insulation material in exchange for more rigid wood construction. I would value the potential cost and space savings immensely, but I worry I'd build them and then not have them be effective.
To summarize, how would you treat sub bass decay in a mix room? Any tips?
I have a Gibson J45 and I am wanting to try tuning down a full step. I tried it with 11's on it and it wont work with 11's. I know I will at least have to move up to 12's and maybe possibly 13's. The issue with 13's is I have read things from Google that say the nut slots will need to be cut deeper. Does anyone have any experience with this issue? I am no expert but I think the nut slots will be find. Thanks for any advice.