Today I want to talk about drywall and green glue. It’s prevalent throughout the literature, I hear about it every day in my discussions with customers. I really want to define it and talk a little bit about it and also tell you why we don’t use it so you can get some idea on why this whole drywall, green glue thing became so accepted. We have to remember that everything we put in our room contributes to the sound quality.

Some materials in our rooms have more impact on our highs. Glass for one thing is a big one. So we have to be very careful with the materials that we put in our room because sound does take on some of those characteristic. And if we remember that good quality sound is a combination of doing a lot of little things in the right order correctly.

So why drywall?

It’s cheap, it’s economical. All the literature is full of it, people just use it without question and I think that gets us in trouble. It’s a compound of natural materials but it has a particular tonal quality especially in the vocal ranges. It’s cheap, it’s economical and it’s prevalent in most regions of the country but there’s a reason we don’t use it in any of our builds and we’ll talk about that later.

Green glue, what is green glue?

It’s just a product name, manufacturer’s name for what’s called viscoelastic damping compound. It’s just a compound of materials that isolates without hardening. It stays pretty flexible in its composition over time. So it is able to isolate the two layers of drywall that its usually between. That’s good because that’s part of a process called constrained layer mass damping. So constrained layer mass damping is when you take a series of materials, layered materials, you separate them with dampening compounds between them. That further attributes to the vibrational isolation of the structure.

What materials to use? What densities to use? How thick to make those materials? Depends on frequency and amplitude. So it’s complicated. You can’t just use drywall and green glue for everything and a lot of people think that. It’s just not the way to go. It’s very frequency-dependent, it’s very cost-effective but it only works in certain situations and it has a particular sound quality that we don’t care for especially in the vocal range.

So it’s a process. Green glue is a compound used in a process. The process is constrained layer mass damping. You can use different materials to achieve different goals and green glue is just one of those. Our goal with this structure is vibration isolation. We’re taking airborne energy striking a surface, a wall, a barrier and then we’re dealing with vibrational techniques after that.

There are better materials available

So constrained layer mass damping, dry wall and green glue are just products and combinations that we use. The reason why we don’t use drywall in our builds is that we found better materials. Now we still use constrained layer mass damping as a technique but we found better materials that work for tonal qualities in our vocals. So I hope that helps a little bit with the explanation. And remember that this is all about vibration. Not necessarily airborne sound energy, it’s the result of that airborne sound energy striking a surface.

So in the following graphic you see the difference. We’re taking airborne energy striking a surface and then getting a smaller signature, sonic signature, airborne signature on the other side.

Air borne energy vibration acoustics

In Summary

To learn more about room acoustics please sign up to download our free ebooks and video series on room acoustics here. And please let me know if you have any questions at any time.

Thanks
Dennis Foley

Dennis Foley

Author Dennis Foley

I am an acoustic engineer with over 30 years’ experience in the business. My technology has been used in Electric Lady Land Studios, Sony Music of New York, Cello Music and Films founded by Mark Levinson, and Saltmines Studios in Mesa, Arizona, along with hundreds of others.

More posts by Dennis Foley

Join the discussion 49 Comments

  • Brian Froebel says:

    Hi Dennis,
    You mentioned you have found better materials for tonal qualities in our voice. Could you please elaborate more on what those materials are. What do you use instead of drywall? Thank you.

    • Hi Brian,

      Use natural materials in any room associated with music or voice. Woods, cotton fabrics, and stone are good starts. Remember that everything you put into your room contributes to the quality of sound. It is also the successful marriage of all of those materials that separates a good room from a great room.

      • Javier Hermosa says:

        I cannot agree with you in this one, Dennis. Using those materials just improves the overall sounding of the room because of porosity, irregularity of the surface and consequently due the absorpting/diffusing qualities of the reflective surfaces. All of them things that can be treated by using the right panels after the room has been properly acoustically insulated. Compare the sound of a sauna (all wood) and a plasterboard room. Why they sound different has to do with the absorption coefficients of those materials and the amount of surface they present. Don’t you agree?

        • J, Yes, different materials sound differently as a result of the variables you mentioned. Achieving sound quality in a small room is the result of using a lot of materials in certain ways to achieve the desired results. We do not like the “sound” produced by drywall. We have build many rooms and find that wood offers the smoothest tonal qualities for middle range frequencies. Yes, you still have to treat for absorption and diffusion but covering large surface areas with drywall even though it is covered with treatments still has an impact on middle range frequencies.

  • Rose says:

    Hi Dennis,
    I’d like to create a soundproof booth made out of all soft or flexible materials. I am considering layering closed cell foam, mineral wool, and mlv or soundproof drapes. Can green glue be applied between any of these layers? Is there a specific order I should layer these materials in?
    Thank you.

  • Steven Petersen says:

    Hello and thank you for your time.
    I share a bathroom cinder block wall with my neighbor and we have the counter top on opposing sides of this wall. I am replacing the cabinets and counter top. What can be done to stop the sound transfer from their counter top through this wall to mine. I can also hear their voices pretty clearly. The acoustics are of little concern just desire to stop hearing the sounds from the the cinder block wall into my small bathroom.
    Please and thank you very much,
    Steven M Petersen

    • S, You must measure the frequency and amplitude of the noise you intend to build a barrier for. Without knowing how much and what frequency of energy you are trying to block, you are just guessing. If you guess with noise issues, you will usually guess wrong. The danger in guessing wrong is two fold. First, you will still have the problem and secondly, what you have done may have to be torn out and you will be starting over.

  • Cesare Barsini says:

    Dear Dennis,

    I live by a very busy street, the noise from which keeps me up or wakes me up. There are three walls that face that street. I want to take out the drywall on those walls and do the following:
    – Install Ruxol Safe and Sound insulation, made of natural stone
    – Cover the walls with MLV
    – put one layer of drywall
    – Seal the seems and openings with w/ Green Glue Sealant
    – Then apply Green Glue to back of the 2nd layer of drywall
    – install 2nd layer and seal
    Will this reduce the noise? What do I need to do before I take on this expensive project?

    Kind regards,
    Cesare

    • C, You must measure the noise you are trying to reduce before you design the proper barrier material. You can not guess with noise. We have a seven day noise time study we can assist you with the measurements and barrier design.

      • Cesare Barsini says:

        Explain what you mean by your study? Do you mean that you come out here, install a device that measures the noise, etc? Or Do I have to buy a device n do that myself? I am in LA, 90049.

  • AJ says:

    I have used green glue successfully and not-so-successfully for the past few years on home theatres and general soundproofing. I believe that most people make the mistake of applying too widely-spaced beads when applying the green glue thinking that the sandwiching between drywall sheets will compress most of the green glue fully and evenly. I have done some decibel testing and found that it is much better to try and get good coverage when applying green glue. The best results I have gotten was applying green glue (a lot of it) and using a flat cement or drywall trowel to spread it out mostly evenly and uniformly to the drywall prio to installing. The big downside of this method is it is time-consuming and messy.

    With all that said, I have stopped using Green glue for most soundproofing applications due to its cost. I just don’t feel like the return on investment is very good with green glue. If I am doing a home theatre and the homeowner insists on using it, I’m happy to do so because I am familiar with the product and feel that my method of application is better than any of the quicker squirt-some-random-beads-everywhere method. Green glue dampens sound, but the effect is not as significant as all the people on these forums say about it. And, I’ve also just used plain old GE silicone caulk instead of green glue, and the results are about the same as green glue at a fraction of the cost. However, I don’t bother with silicone either due to it being time-consuming and messy, but at least silicone caulk is cheap. And using my trowel method, though time-consuming, does yield acceptable results similar to green glue.

    • AJ, Green glue is just another adhesive that has time and a good marketing program behind it. It is marketing that drives the price, not performance. All one has to do is look at the compound it is made of and compare them to standard construction adhesives to see that there is little or no difference in composition. I don’t know why people can’t look past the marketing and look at the processes involved in barrier technology. Using an adhesive to bond two material types together can be an effective methodology at certain frequencies. Using an air space, materials of different densities, and we use a host of others barrier technologies depending on frequency and amplitude of the noise we are trying to reduce the transmission of. All of these techniques have merit but are frequency and amplitude dependent. This is the hardest thing to get across to people. I get calls from people every day who use the technique you describe but are unhappy with the results especially with frequencies below 100 Hz. Thank you for sharing your experiences.

      • John says:

        I’m not defending GG here, but just picking up on what you’ve said. First off, it isn’t an adhesive. It’s not sold as such nor should be used for that purpose. Yes it has adhesive properties, but so does raw scrambled egg. And yes, it may have the same materials as many other products, but that’s being very reductive. GG contains latex polymer… nothing unique in that. But if understand chemistry you will know that you can engineer a latex to have a wide range of mechanical properties. So saying ‘latex’ is tantamount to saying ‘wood’ or ‘metal’… broadly meaningless without proper analysis of its specific properties.

        GG claims to have unique properties enabling it to act as a damping material to dissipate vibrations. You are the expert Dennis, so no doubt you can speak to that with far more knowledge than most, but more importantly, I am quite sure you are in a position to conduct actual tests on GG against your own solutions and prove definitively, once and for all, that it doesn’t claim to do what it says. I’d love to see that.

        • J, I am not disputing the advertised claims but there are degrees to everything. I receive calls every day from individuals who believe GG to be a barrier technology. I do not where they acquired this lack of knowledge, but if you look at the marketing claims of GG, you can see how the uninitiated would be deceived.

  • Jesse says:

    These are very interesting perspectives on the topics at hand.. I really enjoyed reading all of this. I have engineered music for over twenty five years now and just so happen to work construction and engineering for development at Texas A&M. I have seen all kinds of materials and methods for sound isolation and acoustical treatment for structures ranging from movie theaters, parking garages, and hotels, to office spaces, conference rooms, and live and not live music venues, studios, and etc.. I owned a recording studio that I engineered, designed, and built on my own that took my 17 yrs to bring to its full potential. You learn and adjust to everything from invested music engineering equipment to acoustical design and treatment to accommodating space for people and
    comfort and on and on and on. For the hundreds of steps you take to get somewhere you will learn something, invest in something or simply desire something that creates more steps..If you dont take the next steps then all the previous steps no longer add up to their intentions. Every room/building has different circumstances and applications and its a never ending concept to apply methods for sound isolation or acoustical treatment. The ideas Ive seen people come up with have been both brilliant and disaster all depending on their goals, intentions, circumstances and etc.. no two rooms are the same and once youve learned the audible features, qualities, and drawbacks of a room, it can sure be “hell” to work in an unfamiliar room. I really enjoyed the comments and posts and your page. I hope to see much more here. Thanks for all the advise and imagination you display for people here.
    -jesse

    • J, Learning in any discipline takes time and effort. You must know the objective before you spend the time and effort. You must know what you are trying to achieve and the methodology is secondary to the noise management or acoustic treatment goals. The issues I see with clients is that they are hung up on the methodology green glue, double wall, etc. without stepping back and looking at the total objective. These techniques are just tactics towards a strategy. After 40 years, I have both tactic and strategy but as you point out, you must be creative in your approaches and every project has its own personality. This is why one must be flexible and be able to work through every issue the project faces with a toolbox full of noise and treatment tactics. I am continually amazed that people build this or that without knowing why they are doing this or that. They have no noise numbers when building a barrier technology. They have no frequency response of their room to know what type, amount, and placement of absorption technology. When I ask people why they built this or that, most respond with I read it somewhere or heard it from someone. When I tell them that the tactic they used won’t work for their acoustic objective, they are lost. The acoustic products companies have used half-truths and outright lies to convince people that this or that will work everywhere for all strategies. They have taken tactics and elevated them to one size fits all and people are confused and do not see the total picture. People like to tell me all the time and effort they have put into their projects and how much they cost. When I say to them OK why are you calling me? They tell me what they did doesn’t work.

  • Olly says:

    Could you comment on the effectiveness of Tecsound 50 as a membrane between 2 layers of acoustic plasterboard? Would that be more effective than using Green Glue or an equivalent?

    In addition to this, I have been doing some research and it has been suggested to me that a double stud wall with air gaps in between would be more effective at sound proofing a room than a single stud wall with Genie Clips + Furring bars. Can you comment on this? Just to be clear, the two solutions would be:

    Party wall > gap > 50mm stud wall with acoustic insulation > gap > 50mm stud wall with acoustic insulation > x2 layers of acoustic plasterboard (with Green Glue or Tecsound 50 or something else inbetween)

    or

    Party wall > gap > 50mm stud wall with acoustic insulation > Genie Clips + Furring bars > x2 layers of acoustic plasterboard (with Green Glue or Tecsound 50 or something else inbetween)

    Your thoughts on the above would be most welcome. Many thanks. :)

    • O, Tecsound is a limp mass vinyl compound used as a vibration damping material. I would need to see the amplitude and frequency of the noise you are considering using it to reduce transmission of to see the proper application. Double wall noise technology is not effective above 125 Hz. and takes up too much space.There are better ways. Without noise numbers to work with you are just guessing and guessing is gambling. If you gamble with noise, you will usually lose.

      • Olly says:

        What better ways do you mean in regards to the walls? I am planning a home cinema build (garage conversion), so I am not sure how to best calculate the amplitude and frequency of the noise. Is there a guideline for doing so? I am working in a somewhat limited space, approx 2.75m wide by 5m long, and that’s bare brickwork. The floor is concrete but is sloping so will need to be leveled. Thanks.

        • O, This is all part of our design services.

          Our room design services are broken down into two parts: noise and treatment. Each has an associated fee of 1,500 USD. If you require both noise and treatment services, the fee is 2,500.00.

          TREATMENT

          The treatment design includes room size and volume, source (speaker)/listening positions within room size and volume for 2 – 40 channels, all low, middle, and high frequency absorption management, including proper rates and levels of absorption to match usage, type/amount/position. All middle and high frequency diffusion specified as to type/amount/position to include proper diffusion frequency response/usage. All DIY drawings are provided for all specified treatments and types. Telephone consultation is available to assist you with any build or product implementation.

          NOISE

          Noise analysis includes all internal/ external noise frequency and amplitude measurements taken by client under my assistance. Noise measurements are taken inside and outside of the subject room twice a day over 7 days. Barrier design based upon these seven day noise study showing frequency, amplitude, and SPL. DIY drawings provided for barrier design are based upon these measurement numbers. Material list provided to build specified barrier. Telephone consultation is available to assist you with any build or product implementation.

  • Jesse says:

    My man I love how you take the time to read and reply to this page. I can’t tell you how much I respect and admire that. You really are here to talk sound and help people. I’m so impressed and just want you to know the time you take is much appreciated. For ever every one who never says thank you, thank you brother.. I have learned so many tricks and tactics over time and I have an interesting one. I personally think that from what I’ve seen and Learned tile or carpet glue works as well as green glue at a huge fraction of the cost. I understand the four methods that work best for isolation but I’m curious what you to think. I have a huge metal peer and beam building. Only framing and metal walls. I want to make it a personal home rec studio. “For me at home” lol. So since it only has metal to the outside of the frame and is on peer and beam I’m curious what approach and methods you’d use. My amplitude and frequency will have such wide ranges for I play drums and aggressive ” loud” guitar. I love feedback control and sustain and can flip to a melodic gentle music class apon my mood. I will have a large Sonic spectrum and of course will have to accousticly treat my rooms both engineering and live room differently. that’s no problem and I understand the time it takes to learn a room for sweet spots, mic placement, dead spots and solutions and etc.. but for true sound isolation I’d love to hear your approach. I was going to float floor, mechanically decouple by two separate walls open to each other on inside of the two walls, roxul insulation and good fiberglass insulation, and floor would ride rubber heals “uboat” style with sheet rock, fiberglass in the air gap then asphalt impregnated fiber board, sheetrock, tile glue, sheetrock, carpet pad and carpet. The walls I wanted to place fiber board against the metal on the inside through studs, insulation, air gap, second wall, insulation and the fiber board, sheetrock, tile glue, sheetrock… Then I’ll acoustic treat the basics and as I learn my room move forward with it. My engineering room sorta the same but both rooms will be lined with acoustic wool and fiber sheeting and then absorption panels made from materials like Corning 703 or quiet R insulation rigid panels. Noted that as I learn the rooms both adjustments will be made and I am aware that shapes and object placed or patterns with design when using panels helps alot. I don’t know my complete Sonic specs but do know they will range from lighter melodic genres to very sonically powerful drumming and etc. Your opinions are very respected and I’d love to hear your input. Specially about the peer and beam and metal only exterior walls. I know this will be a challenge but I dig it… I understand most people have an idea of their Sonic specs but i truthfully can only say they will range with high pressure and high spl’s to moderate and low spl’s.. I know my stc is important here and am going to apply all I get learned over the years with methods I assume are appropriate. I had a heart attack five months ago so lifting 9layers of sheetrock doesn’t seem to be logical and was looking at productive applications and methods that won’t kill me or my budget. Thanks so much for your time and attention. Once again that’s too cool you take the time you do spending it here with these people. Too cool man.. really..
    Huge fan
    – jesse

  • Rick says:

    I’m trying to contain keyboard and guitar (acoustic and electric) sound within a music room in the basement of a townhouse. When I play the noise makes it difficult for my wife to read or watch TV elsewhere in the house. I’ve got carpet and padding on the floor, drywall on the walls and ceiling. Challenges – there are 3 doors into the room and sprinkler heads in the ceiling. The exterior facing wall is half below grade and the above grade half is mainly windows. Two contractors have both come back with recommendations that rely on mass loaded vinyl. Thoughts? Recommendations? Thanks so much for the great content you’ve created. I learned a ton from your site.

    • R, Have you taken noise measurements so you know the frequency and amplitude of the noise you are fighting against? If you don’t have measurements then you are guessing and guessing with noise is a fools game. Limp mass vinyl is an adequate barrier technology if your noise issues are above 125 Hz. Keyboard and guitar are full range instruments so limp mass vinyl will have little impact below 125 Hz.

  • Raymond Bradley says:

    We have a home with a walk out basement. It has three bedrooms which are under the upper floor living room and dining room. There is no insulation in that floor/ceiling space. We want to limit the sound between them. Will green glue be sufficient to do that?

    • R, Green glue is just an adhesive material. It is not a barrier technology. To limit noise transmission, you need a barrier that is designed to minimize the frequency and amplitude of your noise issues

      • Dennis Foley's smart brother says:

        Incorrect. Green Glue (despite it’s name) is not an adhesive material. Third party acoustical tests demonstrated a STC rating of 56 using green glue in a standard single stud wall with common drywall. It very much is designed to limit noise transmission. How can the title of this post be “why you should not use green glue” when you don’t even know what it is?

        • J, Green glue started out a carpet adhesive. It is advertised as a damping compound with adhesive properties. It is also viewed as a barrier technology by the public as is evidenced in your comments. An STC rating of 56 is nothing when it comes to actual noise transmission in a studio or any other build type. Especially when the minimum level of 56 starts at a frequency of 125 Hz. Its like holding up a feather to stop a tornado in vibrational acoustics. You have fallen into the same trap as everyone else.

  • Penny says:

    I have a double storey – with two offices one above the other. They weren’t built with the intention of renting them out – hence my present problem.
    The flooring of the upper office is straight shutter-board screwed down onto wooden beams – set 300mm apart – which forms the ceiling of the lower office. The shutter-board in the top office was covered with two layers of dense closed cell foam, underlay then wall-to-wall carpeting. The space is approx 18msq. The overall sound effect is like a speaker box. The impact noise isn’t very noticeable below but the vocal tones are – especially the lower tones (male voices) which I believe are more difficult to mask.
    Having read your advice on what not to use – especially with vocal tones – can you suggest 1) whether I should tackle the problem from the upper floor – take all the floor covering off and apply something in addition or 2) whether to apply various materials to the ceiling of the lower office – more difficult as I’d have to work between the wooden beams.
    I have tried ‘white noise’ – which works to some extent but not enough for the incumbent tenants. I have also investigated various materials as to their particular frequency absorption but the various people I have consulted cannot agree on what application will work.
    I’m in Cape Town, South Africa so some of the materials you suggest may not be obtainable here.

    • P, Noise must be quantified and qualified. You must measure the frequency and amplitude of the noise transmission and then design an appropriate barrier to reduce the transmission of those frequencies and amplitudes (strength). Guessing with noise is never a good idea as your and countless others I get every day illustrates. We can assist you with the noise measurements and the barrier design. The fee for this service is 1,000.00 USD.

    • Susanne Brooks says:

      My ex husband was the stage manager for a studio here in San Diego, and he took me on a tour throughout the place, I recall him saying something that I remembered because I’m very sensitive to bass-heavy noise. There was a room filled with audio machines, tapes, etc., and I was fascinated how one couldn’t hear any noise inside. He said it was pretty simple, the means they employed for soundproofing that room, and it was extremely effective. They just applied cork tiles to the walls! I don’t know how thick they were, but he said that cork outperformed many other materials in this regard, an easy and cost effective way to soundproof a room. I figure if it works for a sound studio, it would suffice for the home.

      • S, Machinery noise such as audio machines, tapes, etc. are not typically not low frequency producing devices. Their noise levels focus mainly on the middle and high frequencies. Cork, used correctly, can be a barrier material for those middle and high frequencies.

  • George says:

    Hi there, I found this article very interesting and informative. Thanks to everyone as well for their comments.
    I have a ground level bedroom that is below another bedroom. You can hear the footsteps from the bedroom above as well as faint conversations.
    I was planning to take down the ceiling to install new Roxul Safe N Sound insulation, and then was thinking of either installing resilient channels before adding the new drywall OR installing two layers of drywall with a sealant in between. What is your experience with the resilient channels on the ceiling?

    • G, Without the frequency and amplitude of the noise you are trying to reduce the transmission of, you will be guessing and guessing with noise is never a good idea. Have you measured the actual noise?

  • David Deaton says:

    What about a train at 1/4 mi? lol. I am building a small project recording studio in the only area available to me which is near a train crossing. I would get not only the rumble, but also the horn. To make matters worse, the room is not on a slab, it is pier and beam. I have figured out a way to pretty much seal up the bottom perimeter using cinder blocks, and earth, and I have two layers of subfloor and underlayment. I have decoupled the framing from the floor and ceiling using compressed studio foam, and am planning on building a triple layer isolation with my own wall designs that I have used in 2 previous studios with good luck. I have built many studios over the years but the one thing I haven’t had to combat is the ultra low frequencies created by a train. One idea is to build bass traps into the inside of the outside middle wall structure to absorb the energy before it can dissipate into the next chamber, possibly also in the next… Would this be effective in your opinion?

    • D, You need to find another location for your room. None of the methods you described will work for that frequency and amplitude of train noise. Bass “traps” are sound absorption technology that deals with the low-frequency energy inside the room. It has nothing to do with noise leaving or entering the room.

  • Kevyn Llewellyn says:

    Last fall, I had a company blow in dense packed mineral wool into the entire ceiling of my first floor condo trying to eliminate the noise coming from the upstairs neighbor. I paid $1,700 and the result is not much noise reduction at all. Any advice on what else I could do? I have popcorn ceiling texture throughout my condo. Thank you for your help.

  • Ricky Hawaii says:

    CLD does not increase structural isolation by decoupling panels–typically gypsum panels are still fastened together with screws (direct structural attachment). CLD damps out modes in the panels. Gypsum is fine for use in acoustically sensitive rooms as long as it is sufficiently stiff (enough layers) and other finish materials are considered.

  • Stephen Mash says:

    My neighbor and I share a wall and apparently our beds are back to back. She uses a high flow oxygen machine that vibrates through my entire (adjoined) house.
    I was thinking of converting half of my 2 car garage for a vibration isolated room. Is this feasible?

  • Nan Ma says:

    Hello, you’ve mentioned measuring frequency and amplitude of noise from neighbors above or below. How does one go about doing that?
    We are converting our house to rent out top and bottom floors and the basement is currently being remodelled. What are the usual or range of frequencies and amplitudes of every day living like footsteps, dining room chairs moved against hardwood or LVP floors and voices? There is no one living above the basement right now so there is no noise to measure really. It seems measurements wouldn’t be entirely accurate as we don’t have any ceilings installed in the basement right now. Suggestions? – Thank you!

    • N, We have a measurement process that you can use to quantify and qualify the frequency and amplitude of the noise issues. Once you have that data, we can then design the barrier technology to use based upon your noise numbers. The design fee for this service is 1,500.00 USD.

  • Had lived in my townhouse for five years and never heard a peep from my neighbors. I share master bedroom party wall. Then two years ago a new couple moved in and I can hear EVERYTHING that is low decibel, from loud snoring and vibrations all night every night and other sounds permeating the wall that I DO NOT want to hear, and can only hear him talking since he has a very deep voice. My life and sleep have been totally disrupted for 2 years.
    I asked them to move their bed to the other wall but they will not. I moved my bed to far wall but still can hear EVERYTHING. There is a wall of sheetrock, yellow insulation, and sheetrock, a four inch uninsulated airspace and then a wall of sheetrock, insulation and sheetrock on their side of the wall. I am chemically sensitive so have to be careful of use of glues, woods, formaldehyde, polymers, new sheetrock. I have recorded them and what I can hear is ALL low frequency sound like his very deep voice and very loud snoring and the vibrations of it, among other disturbing sounds. Cannot hear much sound above 60 db for the most part. It seems to be very low sound and vibrations coming through the wall, so problem is only when I go to bed and all night.
    I am beside myself. Tried noise machines, earplugs, and still can feel the vibrations through the earplugs. I am going to record them the entire night and see what it shows the dbs to be, but it is primarily low vibrational sound. The snoring is like the guy is in bed with me. The sound permeates my pillow. Is there anything “green” I can do to stop this? It’s a terrible situation. Thank you.

  • Thank you for your answer. Can you please recommend a recording device for low frequency noise that would record for 10 hours at a time, so that I can record the noise so that I may try to get these people to either move their bed or put up some type of sound barrier. Thank you for your help. It is desperately needed.

  • Douglas says:

    ..i.e. what’s the best way to make a window plug to block out sounds,, including rumble?

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