![sound control room sound control room](https://manifoldrecording.com/wp-content/gallery/control-room/ControlRoom2.jpg)
If anypass under the floor of the studio (pipes in the walls are a definiteno-no) make sure they are on flexible hangers. Water pipes are distressingly efficient at carrying sound. Withconcrete and steel buildings, you usually wind up completely"floating" the studio floor, a very complex and expensive operation. In a wooden housesound tends to be transmitted along the floor joists, so someproblems can be solved by simply moving the offending machines. Walking areasshould be carpeted, and heavy appliances have to be mounted withshock absorbers or placed on thick rubber pads. This kind of noise must be treated at the source. This is usuallynot severe with wood frame construction but can be a nightmare in aconcrete and steel building. Footsteps cancause similar effects to a somewhat lesser extent. The problem is caused by machinerysuch as air conditioners and refrigerators which are mounted onfloors or walls and can actually shake the structure. The peskiest isolation hassle is dealing with sounds transmittedthrough the frame of the building.
#Sound control room crack
(Caulkis soft and will not crack when the building settles.) Do not putholes in sound walls for outlets or pipes- use surface mountelectrical fittings and caulk around any wires that pierce thegypboard. The gypboardmust be well fitted and all potential cracks must be caulked. There must be no loosestuds, and the sill plates must really hug the floor. The effectiveness of these kinds of construction depends a greatdeal on the craftsmanship of the builder. If youwant a window, figure 2 shows what has to be done: The home studio doesn'treally need one, because you can get a decent video camera and alarge monitor for less than what a good window costs to build. The window between control room and studio used to be atraditional feature of a recording facility.
![sound control room sound control room](https://www.allusionstudios.com/wp/wp-content/uploads/2014/12/room-vocal2.jpg)
Aheavy false ceiling hung on springs can match the performance of adouble wall- If there is a room below the studio, it should get adouble ceiling too. These same principles can be applied to floors and ceilings. This is actually better performance than simple cinder blockor poured concrete construction! The most effective trick is to use separatestuds for each face of the wall so there is no direct connection.This eats up a lot of space, but can give a transmission loss of over60 dB. One is to make the gypsum to stud connectionspringy, either by using metal studs or by hanging the gypboard onresiliant metal bars. There are two common strategies for reducing coupling between thetwo sides of the wall.
![sound control room sound control room](https://www.researchgate.net/publication/317826465/figure/fig1/AS:960346575613964@1605975874281/The-ComTET-submarine-control-room-simulator-with-sound-room-on-the-left-and-picture-room.jpg)
Doubling the thickness of gypsum givesanother 3 to 6 dB of overall isolation, but its most important effectis lowering the resonant frequency, hopefully below the audio range. Properlybuilt (no holes!) this will provide about 35 dB of isolation.Fiberglas filler, R-7 or better, will increase this by 5 to 8 dB anddecrease wall resonance. A typical residential wall is made of a frameof 2x4 wood studs covered with 5/8" thick gypsum board. The most effective soundproofing must be designed into a housewhen it is first built. Most isolation techniques are really ways to reducecoupling and prevent resonances. If the sound hits a resonant frequency, the wall will boomlike a drum. Any motion caused by sound striking one side of the wallwill result in sound radiated by the other side, an effect calledcoupling. Unfortunately, all walls are somewhatflexible. The amount of reduction (called the transmission loss) isrelated to the density of the wall- as long as it doesn't move inresponse to the sound. Sound intensity is reduced in thetransition from one material to another, as from the air to a walland back. Sound can travel through any medium- in fact it passes throughsolids better than through air. Given a reasonablyquiet, solidly built house to start with, a decent home studio can becreated with modest expense and effort. The use of microphonesis infrequent enough that it can be scheduled for predictably quiettimes, and close mic techniques, (which are usually appropriate forsampling or vocal lines) don't pick up much noise. Luckily, electronic music does not normally require the extremeisolation needed for recording live ensembles. A studio's sound is its number one asset andmost owners will go to any lengths to get it right. Double and triple walls, isolated concreteslabs, custom steel doors are all standard but high priced items usedin their construction. Commercialrecording studios cost hundreds of thousands of dollars to buildbecause they must allow absolutely no sound to enter from a usuallynoisy urban environment. Silence is golden, or at least pretty expensive. Studio Acoustics ACOUSTIC TREATMENT FOR HOME STUDIOS Part 1: Soundproofing