These are like the practice rooms in some community colleges. They come in a variety of sizes and can be quicky put together inside your room and are totally soundproof for recording. and they can be knocked down and put back together again within an hour if you chance to move.
They are relatively inexpensive. And I know there is a manufacturer in england that supplies. You will have to search the web as I dont remember where...
Thanks for the response,
i will look at that link....(Marty)
Composer, im sure ive seen them rooms before...looks like a great idea...
im looking at various ideas at the moment.
i have a feeling im going to to be taking an extended visit to a wood warehouse......had bad experiances from MFI (Aggggghhhhhhh, some one else recomended using wood panels and foam. Im having the house re wired to give the room plenty of power so until thats done im zooming round looking at idea....its funny how many people advise egg cartons [img]images/icons/smile.gif[/img]
An equal part of making a recording environment is the sound of the room. It should have no extra-live or dead spots (nodes or modes, depending on who\'s talking) and the reverb time should be appropriate for the size.
I would up using Auralex for almost all of my treatment, but only after verifying that the proper amount of absorption in all the frequencies (octaves from about 30 to 500 Hz) could be reached with their product. I wrote an Excel spreadsheet for calculationg the nodes and Sabins (absorption factor.) The spreadsheet is on my web site at The Soundsmith , but I don\'t believe it translates to the newer Excel versions well. If you have Excel 4 for the Mac and perhaps 5 on the PC it should be fine, but it\'s more work than I was willing to undertake to get it to format correctly in Excel 2K (the lower section has figures for common building and room treatment materials with 2-cell high graphs, but they graphs seem to have gone south...
But you\'re welcome to download it, FWIW.
I should also mention-it worked really well for my current room, the room is small but plays pretty flat and does great voice-over and overdubs.
Ive just grabbed the xls sheet i will look at it very soon... I like the idea of room in a room...although the floor may be a bit of a problem.... im thinking of filling in the cavitys under the floor then raising the level as well to sort of double the thickness.
Sorry if my explanation was a little poor...im uncertain if i should split the room for a studio and a recording area....or have just one main room....(All soundproofed) most of my query was to find out about a good way of making the room/rooms soundproof... (My biggest problem is that the room is above another one) so it has to leak as little as poss.
My studio started life as a 19x21\' garage with tall roof (10\' at the edge with 15\' center ridge). As most of my production is electronic, I used half the space for my equipment, and half doe the players. With no floor isolation (money and it\'s a concrete slab on what appeared to be a quiet cul-de-sac) I built double wall, double ceiling (1/2\" and 5/8\" sheet rock so they had different resonance fqs) and with CAREFUL construction (NOT your standard slap-em-up contractor, this was my bass player, who\'s a professional building contractor in the day, he DID understand what was needed, and it made a HUGE difference!) even the line-of-sight airport seldom is audible. BUT:
My next door neighbor dies, and the house was purchased by a very nice Fijian family. Lovely folks, except the head of household is some kind or religious or cultural personage. One morning, I woke up to a series of dull, thudding sounds, as if a piledriver were at work. I went into the studio, and to my horror, it was MUCH louder. At this point my daughter awoke complaining about a headache, and went off to search out the problem. She went to the house next doo, and there was this gentleman sitting in his garge with the door open, and a large mortar and pestle between his legs, slamming the pestle into the mortar over and over. She asked what he was doing, and he replied with a big smile in his beautiful Indian/Fijian accent, \"Oh, I am pounding my ROOT!\"
He takes fresh kava root and crushes it to make a mildly intoxicating beverage, it takes hours to get the roots pulverized, and meanwhile, recording is out of the question. So we discussed the problem, and happily came to an agreeable solution. But \"ponding one\'s root\" has become a stock phrase in the family dirty joke collection.
Examine your space carefully, there may be no reason to isolate the floor-but if you suspect there is, definitely do it. Look into a magazine called Tape Op. It\'s a free publication for at-home studio weenies, and a recent issue had a great tip on how to float the floor cheaply-sorry, it\'s too late for me, so I didn\'t pay much attention, but they had a substitute for the $5 apiece floor blocks.
To get to what I was STARTING to say, if you\'re mostly recording electronically and system noise isn\'t too big a problem, keep the space in one piece and give yourself bigger, better, cleaner bass response.
Forgot to add-if you use a local builder, be 100% SURE he understands that \"normal\" construction tolerances are NOT acceptable (pay a premium, but get a \"no gaps, no sheetrock repair\" clause.) 1 square inch of air gap loses 3dB of soundproofing.