Rock Bands Loud Rehearsals Not Against The Law

I came across an article written by Andy Cerota of abclocal.go.com as I was combing the web doing my daily audiophile roundup. He writes about Betty Morales and her family who live in Stone Pine subdivision in NW Harris County near Houston, TX. Morales is upset because a loud rock band regularly rehearses at a nearby auto shop. The vibrations can be felt at her home, even though the band put extra soundproof insulation in. Since Morales lives in a rural unincorporated area with no local sound laws, Texas state law prevails. According to the state, any sound lower than 85 decibels is okay.

What’s your take? Fair enough or a clear need for people to a) get better soundproofing technology (like ours hut hum) and b) have a bit more empathy with their neighbours:
Rock band rehearsals upset neighbors – abc13.com

DIY Recording Gear Just Became Simpler

I would like to share this article that Bobby Owsinski posted on his blog for my daily audiophile roundup. He writes on a new form of web site which is much like a Home Improvement style of store, except for electronics and sound components. The site offers tips and guides to create one’s own sound recording equipment, since often times it can be much cheaper, since the builder will get exactly what they want instead of buying a massive package that will have what they want somewhere in it.

Go check it out:
DIY Recording Gear

How To Soundproof An Office On A Budget Part – I

In an office, we have noise that takes many forms. We have the most obvious, which is speech. However, there are numerous other noise producing sources that must be considered. We have machine noise from office equipment and telephones. We also have the noise of air rushing through the HVAC system. We could have projector noise to deal with in the conference room. Can we hear the cars outside our office? All of those systems can produce large levels of ambient noise which is then the benchmark that vocals have to compete with. The only way to compete with this background noise is to increase the gain on the speech in the room or as my associate always says on the telephone, “please speak louder”. Lets approach this one noise level at a time.

We Must Have Numbers

First, and probably the most time consuming step is to figure out what are noise problem actually is. This is critical in all noise evaluation scenarios nor matter what the budget restriction are. If we can quantify the actual noise level that we are dealing with, we can choose the correct amount and type of materials that we need which will avoid trying certain materials by using just guesswork. We can accomplish this by measuring the sound pressure levels throughout the day in our office.

Tools Needed

For illustration purposes, lets view our problem as an energy pressure issue. Lets go to Radio Shack and purchase a SPL meter. Take the meter, place it on the a-weighted scale, and set it on your desk. Adjust the dB dial to 60 and start from that point. Watch the meter as the day goes by and look for two types of numbers to use in our calculations. First, look at the average sound pressure level that is generated during the day when your door is closed and it is just you and your office. Make a note of this number. Make a note of the number when you are talking on the telephone. Do this throughout the day.

Measure This

If the office next door is showing a video presentation and there is audio attached, measure those pressure levels. If the office down the hall is throwing a birthday party, measure how much energy is in your office when the party is going on. Measure the levels when the air conditioning is off and measure the levels when it comes on especially the ones that have large internal fans. Measure the levels when you have one person in it. Measure the levels when you have two or more people in your office at your next meeting.

What Do All These Numbers Mean

Once we have the sound pressure level in your office measurement that shows the quietest moments and then we have the measurement that shows the moments with the most noise, we can look at the lower figure as our “noise floor”. This is the number that we will subtract from the high number to determine what we are dealing with and this number will show us how much sound pressure we need to absorb with our soundproofing materials. This number will tell us what type of material to use and what its density requirements are. Mass cost money and we only want to use what we need to use, no more, no less, to solve the room’s noise issues.

What Do These Numbers Mean?

Normal speech in an office environment is around 65 – 75 dB. If we look at our numbers that we have gathered and look at the number when we had one person in our office speaking, that number should be around 70 dB. That is a typical number for all ambient or background noise coupled with speech. If we have a number of 75 – 80 dB when we have just one other person in the room having a normal business conversation, we probably need to focus on blocking some sound energy from getting into our room.

Sound or noise issues that come from outside our rooms and then enters our room must be dealt with using barrier technology or in simpler terms mass. As we said before, mass costs money and we need to know how much mass we need to solve how large of a noise issue we really have. If our lower number in our office through the day is 65 dB and then raise quickly such as when there is a video/audio presentation in the next room, we know this is a one time or in frequent occurrence that does not warrant using a permanent full time solution for.

In Part-II, we will examine how we take our numbers we have gathered and translate those numbers to an acoustical material list that will deal directly with the numbers. No guessing on how much and how thick. The only decision will be what color.

Online Music Sales Model About To Change Again

I would love to share this article I came across while I was doing my daily audiophile roundup written by the always entertaining. It is all about the effects of music online. He gives some specific numbers on how many countries various music streaming and music selling websites offer. The main point of the article is that online music purchasing is at or about its peak. Soon, the online music providers will be renting out music instead of just selling it.

Even more interesting times ahead. Check out the article here and let me know what you think:
The World Of Online Music

Mic Placement Around Drum Kits – The Big Mystery Revealed

For today’s daily audiophile roundup I would like to share this excellent article written by Graham of therecordingrevolution.com on how professional audio engineers place microphones. Often times they do have a general procedure for the microphone placement for drum sets. But beyond that the general idea behind where they place them tends to be a combination of half guessing and checking. As he points out, since every drum is different, no specific place will work for every specific drum.

A good read if you have a chance this morning:
The Big Secret About Mic Placement

Soundproofing A Control Room Part III

In part I, we discussed room resonances, parallel walls, room size and volume, and the room’s resonant frequency. Part II say discussions of a sound lock, acoustical doors, weatherstripping, and air conditioning with heater fan and duct work noise thrown in. In Part III, we will discuss wall construction. Wall construction has many variables and the construction techniques used must be done carefully, so as not to negate the isolation properties of said wall.

No Standard Interior Walls Need Apply

A common, interior, 2 x 4 frame construction is a bad example of a wall for almost any room. It has a STC or sound transmission class rating of 34. A 34 means it can only attenuate 34% of the sound from either side. We need walls in our control room that are STC rated 55 or higher. We could use a standard 2 x 4 frame wall for our sound lock discussed in part II. We could if we added the correct amounts of low middle and high frequency absorption to the existing 2 x 4 frame wall but that would be the extent of this wall usage with a low STC of 34. As a general rule this standard 2′x 4′ framed wall is only a poor start point.

High STC Rating

Building a high STC rated wall is more about vibration control than anything else. It is vibration control between the materials one is using to make the wall “sandwich”. It is a sandwich because it contains different material types with different thicknesses, similar to a sandwich where you have slices of different meats and cheeses. Each layer should be a different density to slow and confuse the vibrations that will go through it from both outside the room and inside the room acoustic energy. If we use gypsum board over a soft sound deadening board, we will glue the two surfaces together creating three layers of defense against vibrations. We will have the gypsum board, the glue, and the sound deadening board. If we screw the surfaces together, we create a mechanical coupling between the screws, vibrations, and the wall causing the wall to act as one diaphragmatic unit moving and producing sound energy of its own. The goal of any wall construction is to mechanically isolate every layer of material used from each other and mechanically isolate the whole wall when built from the other walls and the floor and ceiling connecting points.

Staggered Studs

Staggered studs is a way to reduce vibrational energy transmission and provide high STC ratings. Staggered studs are studs that do not touch each other and are offset so each wall side has its own stud line to attach to. If we take a 2″ x 8″ piece and lay it flat on the floor on top of a viseo-elastic compound to isolate it from the concrete slab and build our staggered studs on top of that plate and use that same arrangement of gypsum board and soft fiberboard for both inside and outside wall treatment, we will have the start of a good wall with an air space. If we then take this 8″ air space and fill it with building insulation material, we can achieve a wall with a STC rating of 47-50. If we take that same wall interior air space and fill it with activated carbon, we can reach an STC of over 60.

Our Friend – Mass

Mass is always our friend and concrete masonry brick walls and solid or poured concrete walls have very high STC ratings. A solid, poured, concrete wall that is 4″ thick will have a STC rating of 48 compared to a 34 STC of our 2′x 4′ interior framed wall. A solid concrete wall that is 8″ thick will have a beginning STC rating of 52 and can go higher with multiple layers of different materials attached to it. One can also use masonry block either with or without center fill material. If we use standard block with no fill, we can achieve STC ratings from 46-48. With standard concrete fill placed inside our masonry block and walls plastered on both sides, one can achieve a STC of 56. Take that same masonry block and fill it with activated carbon, one can achieve an STC rating of 62-64.

Mass and weight are our friends when it comes to control room wall construction. Different layers of materials with different densities confuse structurally transmitted vibrations and attenuate them so less wall vibrations occur. Less vibrations means less sound transmission from each side of the wall. Acoustic and mechanical decoupling installation methodologies must be applied. One can take all the care and attention in the world building a great wall, but if it isn’t installed correctly with the proper weight controlled decoupling technologies a lot of time, effort, and money will be wasted.

Sound Proofing Materials Explained

Sound proofing a room has to do with two types of energy and the direction that energy is headed. The first is the energy generated from within the room to other adjacent rooms. The second is the energy generated from outside of the room. We do not want all of that outside energy to come in our room. It should stay outside where it belongs. We also want the energy generated inside the room to stay in the room.

Noise Stay Outside

To keep the energy that is generated outside the room such as car and truck noise, one uses a certain material type and a certain construction methodology to reduce the energy entering the room and energy reduction is our goal. We will never eliminate all noise issues. We must reduce noise levels below certain audible ranges depending on the room’s use. If it is a control room where recording and playback monitoring is critical to the product they are creating then there is a “quiet” number we can use for determining how much material we will need to accomplish our acoustic isolation goals. If it an office or conference room, there is another”quiet number” we can use that is a ratio of outside produced noise levels to inside produced noise levels.

Inside Our Rooms

Inside our rooms, we must use the same techniques we would use to keep noise from outside sources outside where it belongs. We would apply sound barrier technology and we would also employ another technique that of damping or absorption. Absorbing the energy inside of a room with sound absorption products contributes to room sound quality improvements for both vocals and instruments. Using barrier or sound isolation technology in the walls or inside the room would reduce the amount of energy from entering adjacent rooms and keep other external noises out.

Build The Wall

To keep outside noise energy from coming in to our rooms, we will have to use barrier technology. We must construct a barrier between our room and the source of the noise. If the noise is street noise, we must construct a barrier between our room and the street noise. We do this with mass. We use high density materials arranged and assembled in a manner that reduces structural vibrations from sound energy. Wall thickness and density depends on noise levels desired at what times within the room. Materials for barrier technology include poured concrete, lead sheeting, and even plywood. Remember mass is our friend and also layering of materials. Plywood has multiple layers of materials “sandwiched together”. Multiple layers of materials with different densities helps reduce vibrations which can translate into sound later.

Room Within A Room

One well used barrier technology method is to build a room within a room. One builds a new room inside the existing room that will be constructed of multiple density, materials arranged together to form a sound barrier to outside noise coming in. The existing room structure will also help us with keeping noise from the outside from coming in. In essence, we will have two walls of isolation. Just make sure both of those walls are mechanically and physically isolated from each other.

Sound Absorption

Damping or sound absorption technologies are used inside our rooms along with the barrier technology described above to keep the sound created in our room from “bleeding” into adjacent rooms. Our first focus inside the room is on low frequency or bass energy. We will want to use bass absorbers inside the room at specific locations to minimize the low frequency sound pressure levels due to the physical size of the room. Remember from past discussions, that room length, width, and height ratios produce low frequency and other frequency range resonances that are definitely unwanted. Foams or mineral wool type filled sound absorption technologies can be used to absorb unwanted reflections from our room boundary surfaces such as our walls and ceilings. Draperies can be installed with thicker carpeting. Pillows on couches and even thicker chairs will assist us. One company even uses activated carbon or charcoal inside its low frequency absorbers to generate large amounts of absorption in a small amount of real estate.

Soundproofing materials are selected based on their mass and density when it comes to sound isolation or barrier technologies. We need mass arranged in certain vibrationally reducing ways to contribute to high sound isolation numbers. Concrete, lead, and even plywood can be used in barrier technology. Sound absorption materials are designed to absorb energy and not reflect it as in barrier technologies. Bass traps and acoustical foams are examples of sound absorption technologies.