How to Build a Small Budget Recording Studio from Scratch 4E by Mike Shea & F. Alton Everest

Author:Mike Shea & F. Alton Everest
Language: eng
Format: mobi
Publisher: McGraw-Hill Companies,Inc.
Published: 2012-04-28T21:00:00+00:00

TABLE 13.1 Studio Reverberation Time Calculations

FIGURE 13.15 Degree of reverberation time change made possible with reversible wideband wall modules.

The reverberation time can be increased about 30 percent by flipping the eight wideband wall modules from soft to hard side out. Although this must be determined by many listening tests, the best average condition would appear to be Condition A with wall modules soft. This would be essentially a speech condition shifted somewhat in the music direction.

The idea of reversing wall modules for every recording session is too idealistic and just too much work. The type of recording carried out in any studio invariably falls into one, two, or a few categories and usually a single reverberatory condition meets the needs of most of the jobs. It is nice, however, to know that if especially bright conditions are desired for a certain type of music recording, the facilities are available to attain these conditions. The diffusion of sound in the studio is certainly better with soft wall modules than with hard modules. Good diffusion is especially needed for recording of speech.

Even greater flexibility in adjusting studio acoustics is available if the 24 inch × 24 inch pads of 703 in the six ceiling elements are involved. The design represented by Table 13.1 and Fig. 13.15 includes 152 square feet, or only 38 of the 48 possible absorbent sections in the ceiling frames. This would allow adding 10 sections or 40 sabins, or removing 10 sections with only minor sound diffusion effects if a distributed pattern of sections remaining is maintained.

Table 13.1 takes advantage of the fact that the ceiling element pads of 703 are capable of absorbing sound on both the lower and upper faces. As the upper face is somewhat shielded by the framework, an estimated 20 percent absorption is applied to the top surface. Acoustical measurements in the studio could very well demonstrate that the upper surface absorbs more than this.

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