Soundproof Your Studio

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When it comes to soundproofing, the materials you choose can make all the difference in achieving your ideal isolation. One such option on the market is Deciboard. In this blog, I'll dive into what Deciboard is, its benefits, and its limitations, helping you decide whether it’s the right choice for your project.

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Are you a voice over artist? Do you want to build a soundproof professional recording studio in your basement? In this video I go over a clients project and describe all of the aspects of their design from sound isolation to acoustic treatment. 

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You may have spent several hours playing with room ratios and left defeated, or maybe you have a smaller space and don't want to give up valuable real estate to a big double wall isolation system. What is the ideal home recording studio size then? In this article I will give you my wisdom from designing over 30 studios on what size is best for your specific studio needs. 

If you have spent any time researching ideal recording studio room sizes you most likely have come across room ratios. The idea behind room ratios is that if you build a room to an acoustically sound room ratio then the modal issues in your room will be less noticeable and manageable.  

Now the problem or "paradox" you encounter is that to get a great room ratio you most likely need a higher ceiling height. Let's say you have a basement studio with 8ft ceilings. If you type in 8ft ceilings into the Sepmeyer room ratio calculator here is what you get: 

Now Type A is considered the best option and type C the least desirable. However, if you look at Type A your room would be 9x11 which is only 99 square feet. How in the world are you supposed to create music in such a tiny room. On top of that small rooms tend to sound worse because you don't have enough space for the bass frequencies to fully form before hitting a wall, ceiling or floor. All of this is to say, that unless you have a very high ceiling height most of these room ratios are likely to drive you mad. 

Rather than focus on the perfect room ratio, instead focus on the absolute room ratios you should avoid. The worst possible room you can have is a cube. So if you had a room that was 10 feet wide, long and tall you would have awful acoustics. I would not build a studio in this room. 

In addition to avoiding cubed rooms (where all dimensions are equal), you should also avoid rooms with dimensions that are even multiples of each other. This is because such dimensions can create standing waves and resonance issues, which negatively affect the acoustics of the room. Here are some general guidelines on room ratios to avoid:

Cubed Rooms: Avoid rooms where the length, width, and height are the same. This creates a perfect cube, which is the worst-case scenario for acoustics.

Even Multiples: Avoid dimensions where one or two dimensions are exact multiples of the other. For example, a room with dimensions of 10 feet x 20 feet x 30 feet will have poor acoustics because the length is twice the width and three times the height.

Simple Ratios: Avoid simple ratios like 1:2, 1:3, 2:3, etc. These ratios can create strong modes and standing waves, which are detrimental to the sound quality.

AMROC is a free room ratio calculator that can help you predict the modal distribution of your room. I have a great video going in depth about room ratios and AMROC here: https://www.soundproofyourstudio.com/blog/why-room-ratios-don-t-work-most-of-the-time

When you plug in your room ratios into AMROC you can play with slight variations that could help you decide to move a wall a few inches one way or another to improve the acoustics. This is a good tool but it doesn't give you the whole picture. 

Philip Newell, in his book Recording Studio Design (4th Edition), discusses his skepticism about the practical benefits of adhering strictly to room ratios. He explains that while theoretically useful, room ratios alone cannot guarantee good acoustics due to the many variables involved in studio design. Newell emphasizes that achieving optimal acoustics requires a more holistic approach, taking into account factors like room shape, construction materials, and treatment, rather than relying solely on specific ratios.

Newell points out that rigid adherence to room ratios can lead to unrealistic expectations and oversimplified solutions to complex acoustic problems. He argues that room ratios are just one of many tools that should be used in conjunction with other design principles to achieve the best acoustic results​ (O'Reilly Media)​​ (Perlego)​.

Don't get obsessed with room ratios. If this is your first studio build than room ratio planning can become a strange form of procrastination or a way to ease the fear of endeavouring on such a big project. Rather than focusing on a specific room ratio I encourage you to focus on the utility of the room and what would make a comfortable space to create music. This will pay back in way bigger dividends rather than sacrificing utility for room ratios. 

However, with this said, make sure to avoid cubes, rooms where one or two dimensions are exact multiples of the other, and rooms with simple ratios of each other like 1:2 or 2:3. 

Lastly, you can use a calculator like AMROC to take you beyond the common room ratios, but recognize it's limitations as Newell states in his book and online articles. 

Work Cited:

Newell, Philip. Recording Studio Design. 4th ed., Routledge, 2017.

Newell, Philip. Recording Studio Design. 4th ed., O'Reilly Media, www.oreilly.com/library/view/recording-studio-design/9781138936072/. Accessed 26 July 2024.

Newell, Philip. Recording Studio Design. 4th ed., VitalSource, www.vitalsource.com/products/recording-studio-design-philip-newell-v9781317381945. Accessed 26 July 2024.

Newell, Philip. Recording Studio Design. 4th ed., Perlego, www.perlego.com/book/1560575/recording-studio-design-pdf. Accessed 26 July 2024.

FREE Acoustic Treatment Guide: https://www.soundproofyourstudio.com/acoustic

This is part three of my vocal booth series. Today we will be learning all about the proper acoustic treatment for your booth. I will go over the downsides to small room acoustics, how we can make up for those downsides and the best approach I take when designing smaller rooms and vocal booths. Let's dive in! 

The physical properties of acoustics limit how effective a small space can be at attenuating low frequencies. For this reason, a vocal booth will never give you optimum acoustics. However, this should not discourage you as much as help you understand why you are making a vocal booth in the first place. The only reason for a vocal booth is to isolate the vocal from the rest of the environment you are recording in. It should not be to get that crisp perfect sounding vocal. 

Most professional studios may record a scratch vocal in a booth while a band is playing, but the final vocal is usually done in the control room or a dedicated vocal room that is not the size of a small closet. 

With all of this said, we also cannot leave our vocal booth entirely bare with just reflective drywall. So, the best course of action is to add as much absorption with as deep of an air cavity as possible behind those absorptive panels as we can afford space to give up. 

To learn more about why vocal booths make vocals sound bad check out my blog article here - https://www.soundproofyourstudio.com/blog/why-vocal-booths-make-vocals-sound-bad

In our vocal booth the best method we can approach with such a small space is to use acoustic panels or walls that use mineral wool insulation to absorb sound waves. The insulation can be from many different brands, but I usually use Knauf ECOSE, Rockwool Safe N Sound, or Owens Corning Thermafiber. You can also use Owens Corning 703, but I tend not to use it because it is made of fiberglass and contains formaldehyde. 

Now, the basic concept around acoustic absorption panels is important to understand in order to design your vocal booth acoustics correctly. First, all insulation based acoustic panels work by converting sound to heat. The sound waves brush past the miniscule fibers in the insulation and the friction converts the sound energy into heat. This is very effective at absorbing mid to high frequencies, but not so effective at absorbing lower frequencies below 125 Hz. A 4" thick insulation panel with 3 lb/ft3 density has near perfect absorption down to 125 Hz (Everest and Pohlmann, 195).

This leads us to ask just how low does a human voice go down on the frequency spectrum? Michael Miller states in his article "The Voice: The Importance of Vocal Registers" that "The range of the male voice typically extends from about 85 Hz to 180 Hz for fundamental frequencies. However, professional bass singers can reach frequencies as low as 40 Hz" (Miller). This means that we should design our booth with the understanding that a large portion of the male voice will not be fully absorbed by traditional 4" thick insulation and that to gain greater absorption at lower frequencies we need to also understand something called the quarter wavelength rule. Here is a quick rundown of the 1/4" Wavelength Rule. 

The 1/4 wavelength rule in acoustics is a guideline used for the placement of absorptive materials in a room to maximize their effectiveness at reducing sound reflections. Here's how it works:

Definition: The rule states that to effectively absorb a particular frequency, an absorptive material should be placed at a distance from a boundary (such as a wall or ceiling) that is equal to 1/4 of the wavelength of that frequency.

Explanation: When a sound wave hits a boundary, it reflects back into the room. The point where the wave pressure is highest (called the pressure maximum) and the point where the particle velocity is highest (called the velocity maximum) are important in absorption. The velocity maximum for a given frequency occurs at 1/4 of its wavelength away from the boundary. Placing absorptive material at this point allows it to more effectively absorb the sound wave's energy.

Calculation:

Example:

Applications: The 1/4 wavelength rule is commonly used in the design of bass traps and other acoustic treatments to control low-frequency sounds, which have longer wavelengths and are more difficult to absorb.

Understanding and applying the 1/4 wavelength rule helps in creating more effective acoustic treatments and improving the overall sound quality in a room and is another helpful tool in getting our vocal booth to have maximum absorption across the entire frequency spectrum. 

Now that we understand how absorption panels work we can now design our vocal booth to maximize absorption for the human voice. To do this lets think through our tools and constraints. 

1) We know that a 4" thick insulation panel will absorb down to 125Hz with almost perfect absorption and will absorb lower frequencies, but not as effectively. 

2) We know that by moving the panel off the boundary wall and ceiling we can increase absorption based off the quarter wavelength rule. 

3) We know that our vocal booth is mall and space is limited, so we cannot build panels that come off the wall too far or are too thick. 

With this information now we have to make sacrifices. This is up to you the designer to understand where to sacrifice acoustic performance for the sake of more space. My goal is to usually get 3-4" of insulation installed on all the walls and ceiling within a 2x4 frame. I then cover the insulation with acoustic fabric for a clean look. 

Now, if the client is willing to lose some space in the corners I straddle the acoustic treatment across the corner increasing the air gap behind the insulation. This will increase our low frequency absoprtion based on the 1/4 wavelength rule. 

Next, if the client is willing to give up some space on the ceiling I will lower the insulation off the ceiling drywall boundary to increase low frequency isolation. 

As you can see, a vocal booth has limitations because of its size with how well you can acoustically treat the space. This said, if you understand why you are building a vocal booth and that you can only do the best you can with respect to the acoustics, you now have a tool set with which to build your acoustic design for your vocal booth. 

As a side note, some people may be wondering about pressure based absorbers for lower frequencies. While these absorbers are effective at absorbing lower frequencies they are ineffective in smaller rooms because they require a lot of space to function. For this reason, in smaller rooms and most rooms for that matter, I stick to velocity based absorbers like fiberglass or mineral wool insulation. 

Works Cited:

"1/4 Wavelength Rule in Acoustics." ChatGPT by OpenAI, 15 July 2024, https://www.openai.com/chatgpt.

Everest, F. Alton, and Ken C. Pohlmann. Master Handbook of Acoustics. 6th ed., McGraw-Hill Education, 2015.

Miller, Michael. "The Voice: The Importance of Vocal Registers." National Center for Voice and Speech. National Center for Voice and Speech, n.d. Web. 15 July 2024. http://www.ncvs.org/ncvs/tutorials/voiceprod/tutorial/quality.html.

FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop

In Part 1 of this vocal booth series I talked about different design options for your floor, walls and ceiling. In part two I will go over the best design options for your door, ventilation, and electrical/audio cabling designs. 

When designing an soundproof room we have two options at our disposale. The first is to design a communicating door system where you have a door on each side of the wall with an air gap in the middle. 

This is by far the best way to create a soundproof doorway. The basic principle is to design two heavy doors that are airtight. Now the details of building doors deserves it's own article and I have already taught extensively on how to build your doors here: https://www.soundproofyourstudio.com/blog/how-to-build-a-soundproof-door-part-2. 

The main thing to consider when designing any doors is how heavy do they need to be. The best rule of thumb is to add up the mass of both of your walls and divide that between your two doors. For example, if you have two layers of drywall on each of your walls in a double wall system then your total wall weight is 8.8 Lb/sf. If you divide that in havle you get 4.4 LB/sf per door. Now if you have a 36x80" door you would multiply the 4.4 Lb/sf x 20 sf and get 88 Lb. That means each door needs to weight a minimum of 88 Lb and heavier is always better, although more expensive. 

Now, vocal booths are inherently small spaces and having a communicating door may not be an option. In this case we need to design our single door to weigh as much as our two walls. In this case we would have to have a door that weighs a minimum of 176 Lb. Again, heavier is always better especially when we are dealing with one door and don't have the benefit of the sealed air gap between the doors. 

So, you can see that designing your vocal booth will need to take into account the total mass of your walls and the amount of space you have for doors swings in deciding which door design you will use. 

The best way to ventilate your vocal booth is using an inline fan, ducting and a baffle box system. The idea with a vocal booth is that it is far to small to need its own heating and cooling system, so instead we can run an air exchange system the the adjacent room that will transfer the conditioned air in that room into our vocal booth. Then we will have another fan and baffle box pulling the stale air out of the vocal booth. 

Designing a ventilation system in such a small space is no small feat. My approach is to use quiet ventilation fans in combination with small baffle boxes that I can hide in the ceiling or outside the booth. 

Here is the general system guidelines for your ventilation system. 

A) figure out how much air you need. As a general rule each person in a room needs 15 CFM of air flow. CFM stands for cubic feet per minute and it is a very important number when designing HVAC systems. 

For a vocal booth 15 CFM may be all you need so a small fan will work well. I personally, use the AC Finity A4 fans for all of my air exchange systems. This fan can go down to 15 CFM on the lowest setting and up to 165 CFM on the highest setting. This gives you a huge range of options when it comes to designing your baffle boxes. 

B) Now that you know how much CFM of air flow you need, next we need to design our baffle boxes. 

The baffle box is a system I build from plywood, duct board, and 5/8" drywall. It is simple in materials, but complex in design in the sense that you need to think carefully about how big to make your ducting in the box. 

To do this I use a fancy calculator called a ductulator. Luckily, if you search google it is readily available for anyone to use. The basic idea with the ductulator is you want to input the air flow rate from your duct fans and the max air flow rate you want in the ducting. For our vocal booth I will have an air flow rate of 30CFM or less, but I am going to design my ducting with a max of 30 CFM. It's always good to overdesign so the air speed is even slower than needed. 

Next, we need to decide our max air speed. The slower the max air speed the better. When air is moving slow we don't hear it. I shoot for 100 FPM (feet per minute) in my designs, but you can technically go up to 500 FPM and still fall in the range of acceptable air speeds for recording studio design. 

Below is a screen shot of the ductulator and our example CPM and FPM numbers we talked about above. 

Notice that we can have several options. We could use an 8" round duct or any of the rectangular ducts or even adjust the rectangular ducts to match a size that fits our design. To keep things simple, let's say we like the 8"x6" design. This means we want our duct size in side the baffle box to be 8x6". 

So, how do you build the baffle box. Basically, I like to have at least one baffle, meaning a right angle turn in my baffle box designs. Below is an example of a baffle box from one of my clients studios. 

Notice how I have two baffles in this design and the air flows around the baffles. The yellow stuff you see is what is known as duct board. Duct board is a just a fancy term for insulation board that is designed to be placed inside ventilation ducts. It helps with moisture control, sound absorption and won't irritate your lungs like typical fiberglass would. I like to use 2" of duct board, but I have used 1 1/2" as well and had success doing so. 

To learn more about ventilation design I have a great youtube video here: https://youtu.be/slv9J_v1Gc8

We have talked a lot about isolation building techniques, but what about power, lighting, and audio cables in your vocal booth. The best option I use is to buy a custom Redco wall plate and install in in the acoustic treatment of the vocal booth. I also would install one overhead light in the vocal booth in the acoustic ceiling treatment. 

The key with any cabling through our soundproof system is to always keep our pentrations as small as possible. This means a single cable is always preferable to a full electrical box cut into the drywall. To do this I recommend installing all electrical boxes in the acoustic system of your vocal booth, not the isolation system. 

When you penetrate your drywall cut a small hole for the wire or audio cable and use acoustic caulk to seal around it to ensure the penetration is air tight. Then you can install your j boxes for electrical outlets in the 2x4 acoustic wall, which I will talk about in Part 3 of this series. 

The REDCO custom panels are great because you can put your power, audio cabling, HDMI, internet and many more connections all in one beautiful panel. This makes it easy to connect a single snake to the panel for your audio needs, a power outlet or two and an HDMI and internet cable to connect a spare computer, router or extra screen. 

As you can see properly building a vocal booth is no small task, but if you think through your door, ventilation and cabling designs carefully you will save yourself a lot of headaches in the future. Lastly, if you want some help and are not feeling the DIY method, reach out to me for a soundproof clarity call and I can help you design the perfect vocal booth the first time around. 

Soundproof Clarity Call Application: 

https://www.soundproofyourstudio.com/Step1

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If you have looked into buying a vocal booth or iso-room you know they cost a fortune. What about building your own? Is it cheaper? In this lesson I will go over how to build your own vocal booth or iso-room and yes, it will be cheaper than buying one premade and it will isolate better. This is part one of a multi-part series. We will go over the floor, wall and ceiling design. 

First, lets talk about what you should do for the floor. There are two main options. Let's start with best. 

The Best Option:

To stop low frequencies down below 20hz you have two options. First, build your vocal booth on a concrete slab such as your existing basement, garage or backyard new build. If you don't have the luxury of building on an existing slab then you will need to float a piece of concrete. Yes, this is costly and not the easiest, but it is the best option. 

To do this, you need to float 4" of concrete on 4 PCF of mineral wool. (10cm Concrete on 70kg/m3 mineral wool. Below is a diagram of how to do this.

 You can only use this option if you have a structural engineer confirm your floor can handle the extra weight of the slab. If it can then you will not hear much if any transfer of noise from the room above down to the room below. This method is best for drummers, bass players and full bands. 

The Good Option:

Another option is to use a layered sandwich of materials. You can see in the diagram below how to construct a floating floor using this method. The weight of this floor is much less than the slab and should be able to handle more common building settings, however it is always best to consult with a structural engineer when you plan to add weight to an existing floor system. 

Like the floor there are two main options I use for my walls. 

The Best Option:

The best option will be a double wall system where you can achieve and STC Rating of 63. This will be a great solution for any vocal booth if you have the space. The diagram below shows how to build a proper double wall. 

The Good Option:

If you don't have the space for a double wall system then I would suggest a hat channel system. This is where you decouple your walls using acoustic clips and furring channel. This system works well and can get you close to the same STC as a double wall system. Below is an example of how to install a hat channel system on your walls. 

The ceiling also has two different options.

The Best Option: 

The best option for your ceiling is an independently framed ceiling off your inner walls of your double wall system. To do this you will frame a typical ceiling joist system off the top plate of your inner stud wall. The downside to this system is that you need a lot of ceiling height. Below is a diagram of how an independently framed ceiling works. 

The Good Option:

The good option is to use acoustic clips and furring channels on your ceiling just like you did on your walls. This will save you a lot of money in materials and ceiling height, but it will not give you the best results. 

Stay tuned for next week's article on how to design the door and your ventilation system. Remember, there are numerous options when it comes to sound isolation, but I like to simplify an already daunting project by giving you two options. If you stick to this plan then you will end up with a great iso-booth and save thousands of dollars by not buying a pre-made booth.

Works Cited

Philip Richard Newell. Recording Studio Design. New York ; London, Routledge, Taylor & Francis Group, 2017.

FREE Acoustic Treatment Guide: https://www.soundproofyourstudio.com/acoustic

When setting up a recording studio or any sound-sensitive environment, the focus often falls on traditional acoustic treatments like foam panels and bass traps. However, one powerful and versatile tool tends to be overlooked: the acoustic gobo. If you haven't incorporated gobos into your acoustic strategy, you're missing out on an essential element that can drastically improve your sound quality and flexibility. Let's explore what gobos are, their benefits, and how to effectively use them in your space.

Acoustic gobos, also known as go-betweens or sound baffles, are portable panels used to control sound reflections and reduce noise. Typically, they consist of a wooden frame filled with sound-absorbing materials like fiberglass or mineral wool, covered with a fabric exterior. Unlike fixed acoustic panels, gobos can be moved and positioned as needed, offering unparalleled flexibility in managing sound within a space.

The Benefits of Acoustic Gobos

Versatility in Sound Control: Gobos can be strategically placed around a room to create custom sound environments. Whether you need to isolate a vocal recording or reduce reflections in a drum room, gobos can be moved and adjusted to suit the specific needs of the session.

Improved Sound Isolation: In a busy recording environment, gobos help isolate sound sources, preventing bleed between microphones. This is particularly useful in live recording settings where multiple instruments are recorded simultaneously.

Enhanced Acoustic Quality: By reducing unwanted reflections and controlling room acoustics, gobos help achieve a cleaner, more professional sound. They can also be used to create a more intimate recording space, enhancing the warmth and clarity of vocals and instruments.

Cost-Effective Solution: Compared to permanent acoustic treatments, gobos are a cost-effective option for improving sound quality. They provide significant acoustic benefits without the need for extensive construction or installation.

Portability and Flexibility: One of the most significant advantages of gobos is their portability. They can be easily moved around the studio or taken to different recording locations, making them a valuable asset for any mobile recording setup.

Isolating Instruments and Vocals: Place gobos around microphones to create isolated recording zones. This technique is particularly effective for isolating vocals, drums, or amplifiers from other sound sources in the room.

Controlling Room Reflections: Position gobos at key reflection points to absorb sound and reduce echoes. This can help create a more controlled acoustic environment, ideal for critical listening and recording.

Creating Custom Acoustic Spaces**: Use gobos to define different acoustic zones within a larger room. For example, you can create a dry, controlled space for vocals and a more live, reflective area for drums, all within the same studio.

Reducing Noise Spill: In multi-use spaces or shared environments, gobos can help reduce noise spill between different areas. This is especially useful in home studios where space is limited and multiple activities occur simultaneously.

Enhancing Live Performances: Gobos aren't just for the studio. They can also be used in live performance settings to manage stage acoustics, reduce feedback, and improve the overall sound quality for both performers and the audience.

Another fantastic use for gobos is as bass traps in corners, leveraging the quarter wavelength rule to effectively manage low-frequency buildup. The quarter wavelength rule states that to effectively absorb a particular frequency, an acoustic panel should be placed at a distance from the wall that is one-quarter of the wavelength of that frequency. By placing gobos in the corners of your room, you can target and reduce problematic bass frequencies that often accumulate in these areas. This dual functionality makes gobos a highly efficient choice for comprehensive sound control. Additionally, many gobos come equipped with wheels, adding a layer of convenience. Not only does this mobility allow for easy repositioning to adapt to different recording scenarios, but it also offers practical storage solutions. You can store cables, mic stands, or other equipment behind them, keeping your studio organized without compromising on acoustic quality. This versatility and practicality make gobos an indispensable tool for any recording environment.

Conclusion

Acoustic gobos are an underrated yet incredibly powerful tool for anyone serious about sound quality. Their versatility, cost-effectiveness, and portability make them an essential addition to any soundproofing strategy. By incorporating gobos into your setup, you can unlock superior sound and take your recordings to the next level. Whether you're a seasoned professional or just starting, don't overlook the impact that these unassuming panels can have on your acoustic environment.

FREE Acoustic Treatment Guide: https://www.soundproofyourstudio.com/acoustic

Dolby ATMOS has been the new rage here in Nashville and in many parts of the world. I see a lot of people designing ATMOS systems, but I don't see a lot of conversations around the acoustics of how to make them sound good in your room. This article will go over the fundamental acoustic requirements of an ATMOS set up. 

Dolby Atmos is an object-based audio format that allows sound designers to place and move audio objects anywhere within a 3D space. Unlike traditional surround sound, which assigns sounds to specific channels, Dolby Atmos frees sounds from channels, providing a more dynamic and immersive listening experience. This technology necessitates a sophisticated acoustic environment to ensure accurate sound reproduction.

Symmetry: One of the fundamental principles in designing a Dolby Atmos studio is maintaining symmetry. Symmetrical room geometry helps in achieving a balanced sound field, preventing any distortions that might arise from asymmetrical reflections. This also leads to a cleaner phantom image, meaning when you place a sound in ATMOS 3D it actually emanates from where you placed it. 

Room Shape: Ideally, the room should be rectangular, as this shape is easier to control acoustically. Non-parallel walls can help reduce flutter echo, but must be used carefully to avoid other acoustic issues. Plus you lose a lot of space angling walls. If you want to angle any walls it should be an acoustic wall that is breathable to absorb high, mid and low frequencies. 

Room Ratios: 

Starting with room ratios that reduce the modal issues in your room is always be a good starting point, although much more is accomplished with acoustic treatment rather than the room ratio alone. Nonetheless, watching my video on Room Modes and using a calculator like AMROC will get you closer to a good starting point if you have that luxury. 

When looking at the acoustics of a Dolby ATMOS setup we should borrow many design ideas from stereo mixing rooms (control rooms). The two main design concepts are the LIve End Dead End room and the Non-Environment room. 

LIve End Dead End:

In an LEDE room, the front half (the "dead end") where the speakers and listening position are located is heavily treated with sound-absorbing materials to minimize early reflections and reverberations, providing a clear and precise sound image. The back half (the "live end") of the room is treated with diffusive materials to maintain some natural reverberation and prevent the space from sounding too dead or unnatural. This combination helps in achieving an acoustically neutral space where sound can be accurately monitored and mixed, ensuring that the audio translates well across different playback systems.

Non- Environment:

The Non-Environment (NE) room design is an acoustic treatment approach aimed at creating an extremely controlled and neutral listening environment, primarily for critical audio mixing and mastering. In an NE room, the entire space is treated with extensive sound-absorbing materials to eliminate all reflections and reverberations, resulting in a completely "dead" acoustic environment. This design ensures that the sound heard at the listening position is solely from the speakers, free from any coloration caused by the room itself. The goal is to provide the most accurate and unaltered sound reproduction possible, allowing audio engineers to make precise mixing and mastering decisions that will translate reliably across various playback systems.

Before I continue I have to mention that surround sound inherently will have less fidelity and accuracy than stereo sound. As Philip Newell states in his book, Recording Studio Design, "To compromise high quality stereo for amore enveloping sound is to trade quality for quantity..." (Philip Richard Newell, 575). 

My recommendation for an ATMOS room would be to shoot for the Non-Environment approach. With so many speakers the amount of reflection off the walls or diffusion panels would create a phase nightmare. These means what you hear will be colored, distorted and inaccurate. 

For this reason, I would lean on absorption over diffusion and I would shoot for covering the left, right, back and ceiling with as much absorption as possible. 

Leave the front and floor uncovered to bring enough life in the room so it doesn't become anechoic. Once you have finished with absorption included bass traps in the four corners and where the walls and ceiling meet then you can test the room with the ATMOS system and decide if it is accurate using ATMOS reference tracks. Remember, testing and adjusting will be key to dial in your system. This includes finding a spot in the room where your subwoofer is not in a modal peak or null. 

Designing the acoustics of a Dolby Atmos studio is a meticulous process that requires a deep understanding of acoustics, precise planning, and careful implementation. By focusing on room geometry, acoustic treatment, speaker placement, and continuous calibration, you can create a studio environment that fully harnesses the power of Dolby Atmos. This will enable you to produce immersive, high-quality audio experiences that captivate listeners. If you need help designing your ATMOS room sign up for a Soundproof Clarity Call to learn more about how I can help you. 

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Works Cited: 

Philip Richard Newell. Recording Studio Design. New York ; London, Routledge, Taylor & Francis Group, 2017.

FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop

Building a soundproof studio is a dream for many musicians, podcasters, and home recording enthusiasts. The prospect of creating a space where you can unleash your creativity without worrying about noise bleeding in or out is incredibly exciting. However, communicating your soundproofing needs to a contractor can often be met with skepticism or, worse, outright ghosting. This can be a frustrating roadblock in your journey to building the perfect studio. So, how do you teach your contractor how to build a soundproof studio?

Soundproofing a studio is not your average construction project. It involves specialized techniques and materials that many contractors may not be familiar with. This unfamiliarity can lead to resistance, skepticism, or even a flat-out refusal to take on the project. Many contractors are used to more conventional building projects and may balk at the added complexity of soundproofing.

The ideal solution is to find a contractor who is willing to learn and partner with you throughout the entire project. This partnership is crucial because even the most willing contractors may have knowledge gaps when it comes to soundproofing. Here’s how you can find and work with the right contractor:

Research and Interview: Start by researching contractors in your area who have experience with building houses. Look for reviews and ask for references from past clients. When you interview potential contractors, ask specific questions about their experience. However, and this is important, I recommend not hiring soundproofing specific contractors because more often than not they will have gaps in their knowledge. It is common for contractors to know just enough about soundproofing to get them in trouble. 

Provide Educational Resources: Once you’ve found a contractor who is open to the idea, provide them with resources to help bridge their knowledge gaps. There are many excellent books, online courses, and videos available that explain the principles of soundproofing. Share these with your contractor and encourage them to take the time to learn.

Clear Communication: Be clear and specific about your soundproofing goals. Use diagrams, sketches, and detailed descriptions to convey your vision. The more precise you are, the better your contractor will understand your needs.

Even the most dedicated contractor may not fully grasp the intricacies of soundproofing. This is where a partnership approach becomes invaluable. Work closely with your contractor, providing guidance and feedback throughout the project. Here are some tips for effective collaboration:

Regular Check-Ins: Schedule regular meetings to discuss progress, address any concerns, and make adjustments as needed. These check-ins will help ensure that everyone is on the same page and that the project stays on track.

Hands-On Involvement: Don’t be afraid to get your hands dirty. Being involved in the process not only helps you learn more about the construction but also allows you to spot potential issues before they become major problems.

Flexibility and Patience: Understand that learning and implementing soundproofing techniques can be challenging for someone new to the field. Be patient and flexible, and be prepared to make compromises where necessary.

If finding a suitable contractor proves too difficult, you might consider taking on some of the work yourself. While this requires a significant investment of time and effort, it can be a rewarding way to ensure that your studio meets your soundproofing standards. Here’s how to get started with DIY soundproofing:

Educate Yourself: Spend time researching soundproofing techniques and materials. There are countless online resources, forums, and communities dedicated to soundproofing. Dive deep into these resources to gain a thorough understanding of the concepts and practices involved.

Plan Thoroughly: Before you begin any physical work, create a detailed plan. Sketch out your studio, note where soundproofing materials will be installed, and list the tools and materials you’ll need.

Start Small: If you’re new to construction, start with smaller projects to build your skills and confidence. This could be something as simple as installing a soundproof door or window before moving on to more complex tasks.

Seek Help When Needed: Even if you’re doing most of the work yourself, don’t hesitate to seek professional help for specific tasks. For instance, you might want to hire an electrician to ensure that any wiring is done safely and up to code.

Building a soundproof studio is a complex but incredibly rewarding endeavor. By finding a willing and teachable contractor or taking the DIY route, you can overcome the challenges and create a space where your creativity can thrive. Remember, clear communication, patience, and a willingness to learn are key to successfully teaching your contractor how to build a soundproof studio. Happy building!

FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop

If you go online and look at pictures of recording studios chances are you will see a lot of sliding glass doors. Glass doors are great because they allow bands to see one another when live tracking, however, sliding glass doors are expensive when they need to be soundproof. In this article I will go over the best soundproof sliding glass doors in the United States, Canada, Europe, Australia and New Zealand.

Before I explain which doors I recommend, first, we must look at how a sliding glass door keeps sound from passing through it. Like all things soundproofing, a glass door must accomplish three things. First, it must have enough mass in the glass to reflect sound back into the room. Second, it must have an air gap that will act as a spring in a mass/spring/mass system. Third, it must be air tight. Any pinhole leaks in a door can ruin an otherwise soundproof room. 

Let's now look at each component individually. The mass of the glass and the type of glass used are the key components in a soundproof glass door system. The mass of the glass should equal or exceed the mass of your two layers of drywall. In this case that is 4.4lb/sq ft for two layers of 5/8" drywall. 

Now, you can have glass that weighs less if you use tempered or laminate glass. These two types of glass are superior sound isolators compared to normal float glass. In my studio windows I recommend 1/2" and 3/8" panes of laminate or tempered glass (or a combo of both). 

Notice, how I said the two panes of glass should be different thicknesses. This is due to the fact that isolation improves when you do not use the same thickness of glass due to a phenomenon known as the coincidence effect. 

The space between our two paned of glass is also very important. The bigger the space between your two panes of glass the better the isolation. It is not uncommon to have 4-8" between two panes of glass in a soundproofing system. So, our sliding glass door is no exception. It must have two panes of glass and a large air gap to get a high enough STC rating. 

Lastly, our door must be air tight, so every seam or crack and crevice must be sealed with acoustic sealant, or gasketing to ensure the door doesn't transmit any sound. This is not easy to do with a cheap sliding glass door that was poorly made. 

***This diagram shows the soundproof windows in my studio. A sliding glass door must follow many of the same principles. 

The short answer is no. I have not developed a system for building sliding glass doors and it honestly is probably most efficient to buy them pre made. However, if you follow the principles above you could potentially find two sliding glass doors made of super thick glass and install them with a large air gap between a double wall system. However, you still may have issues if the door is not completely airtight. For these reasons I only recommend buying sliding glass doors from reputable suppliers. 

I have found the Soundproof Window Inc. has affordable sliding glass doors that can either be bought as a pair or go over an existing sliding glass door to improve isolation. You can check out there doors at this link: https://www.soundproofwindows.com/soundproof-sliding-glass-doors/

In Canda there is a company called Arc Acoustics, which sells as sliding glass door that can achieve an STC rating of 50. You could buy two of these or one with another sliding glass door. https://arcacoustics.com/product/soundproof-sliding-glass-doors/

UK/Europe:

I have found over the years that the only soundproof suppliers in europe are mostly located in the UK. The best soundproof sliding glass door supplier I found was Hugo Carter. They do custom doors for clients, so I am sure this is not the cheapest option, but it would be a good one. 

https://www.silentwindows.co.uk/soundproof-windows/soundproof-doors/

Australia: 

Lotus Doors is a supplier based out of australia and provides sliding glass doors with acoustic capabilites. If I used them I would buy two of there acoustic doors to get a higher Rw rating. I would also request differing thicknesses of glass in each door. 

https://lotusdoors.com.au/product/acoustic-sliding-doors/

Another option is Sydney's Prestige Plus, who have a lift and slide door. Remember to request a quote for a high STC or Rw door that would meet the needs of your studio. Two doors will always be better than one. 

https://prestigeplus.sydney/lift-and-slide-doors/

A company based out of Melbourne called Soundproof Windows also offers soundproof sliding glass doors: 

https://www.soundproofglazing.com.au/soundproofing-products/double-glazed-doors/double-glazed-patio-doors/

New Zealand: 

New Zealanders can also buy Lotus sliding glass doors - https://lotusdoors.co.nz/product/acoustic-sliding-doors/

A more commercial approach would be to look at GLYDE Acoustic Sliders. As per usual the highest Rw value they offer is 39, which is not enough for a recording studio. We are looking for Rw or STC ratings in the 50-60 range at least. For this reason you would want to look at two sliding glass doors. 

https://glydearchitectural.com.au/products/operable-sliding-doors/

Sliding glass doors by nature are not good at sound isolation. Glass in general will not isolate as well as a solid door. However, if you want to see into a drum booth or vocal booth you will likely want a sliding glass door. 

As you can see from this list, they are also not easy to find all over the world. Your best bet is to know that you are looking for a door system that can achieve an Rw or STC value of 55+. The best way to accomplish this is to have two doors on each side of a double wall system. The glass must be laminate or tempered and ideally in the 3/8" to 1/2" thickness range. Lastly, the gap between your two doors should be as large as possible and both doors need to be airtight. 

When you talk to the sales reps on the phone ask these questions and ensure they know what they are talking about. If they seem to guess or try to sell you something you don't want then move on to another supplier.