How to Build a Small Budget Recording Studio from Scratch

593 Pages·2012·17.88 MB·English

by  Mike Shea

About the Authors
Mike Shea has more than 40 years’ experience as an independent contractor
specializing in the construction of rehearsal and recording studios. He has taught
graduate courses at the Institute of Audio Research, served as editor of
Recording World and technical editor of International Musician, and has written
extensively about all aspects of professional audio. Mr. Shea resides in New
York.
F. Alton Everest was a leading acoustics consultant. He was cofounder and
director of the Science Film Production division of the Moody Institute of
Science, and was also section chief of the Subsea Sound Research section of the
University of California.

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ISBN: 978-0-07-178272-2
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Contents
Preface
Preface to the Third Edition
Introduction
Part I Acoustic Huggies
1 Theoretical Acoustics
Wave Theory
Time for Some Reflection!
Molecular Level
2 Practical Acoustics
Sound Absorptive Materials
Foams
Functional Baffles and Shaped Absorbers
Curtains and Fabrics
The Selection of Materials
Mounting Methods
Working with Fiberglass
Here’s Mr. Everest’s Cheapest Wideband Absorber
Fiberglass and Mineral Wool
Spray-Ons
Sound Absorption per Frequency
Combining Materials
Polycylindrical Diffusers
Diaphragmatic Absorbers
A Jig for Designing Resonant Plywood Absorbers
Helmholtz Resonators
Reverberation
Noise Control
Critical Frequency
Coincidence Effect
Sound Isolation and Dual Panel Wall Partitions
TL and STC
Barrier Materials
Standards
Transmission Loss (TL)
Sound Transmission Class (STC)
Noise Reduction Ratings
Mounting
Facings
Measuring Acoustics
Evaluating Audio (A/B Comparisons)
Sequential Frequency Analysis
3 Real Time Analysis
Noise Generators
Measuring Reverberation Time
Acoustilog IMPulser
Equipment Rental
Acoustic Measurement with a Laptop
FFT, TDS, and TEF Measurement
4 Vibration
Resonant Frequency Vibrations
Vibration Isolation
How the Pros Do It
More Help
5 The Control Room Monitor System
Setting the Monitor System Gain
Monitoring Systems Part II
Testing the Control Room/Monitor System
Control Room Speakers
Control Room Acoustics and Monitoring
Live End Dead End (LEDE)/Dead End Live End (DELE)
The Studio Side of the Glass
Want a Look into the Future?
Part II Brick and Mortar (Drywall and Stud) Studios
6 My Studio—How Big and What Shape?
How Big Should a Studio Be?
Distribution of Modes
Deciding on Best Studio Proportions
Studio Size and Low Frequency Response
Room Cutoff Frequency
Summary of Room Mode Effects
7 Elements Common to All Studios
Sound Lock Acoustical Treatment
Acoustical Doors
Weatherstripping Doors
HVAC Noise
Wall Construction
Resilient Mounting
Staggered Stud Construction
Double Walls
Concrete and Masonry Walls
Floor-Ceiling Construction
Electrical Wiring
Lighting
Observation Window
Absorber Mountings
Reverberation Time
Foams
Corner Absorbers
Construction Permit
8 Audiovisual Budget Recording Studio
Studio
Control Room
Sound Lock
Work Table
Studio Contracarpet
Studio Wideband Wall Units
Studio Drywall
Studio Computations
Control Room Treatment
Control Room Ceiling Treatment
Control Room Drywall
Control Room Acoustical Tile
Control Room Wideband Modules
Noise Factors
9 Studio Built in a Residence
Floor Plan
Studio Treatment
Ceiling
Walls
Studio Reverberation Time
Observation Window
Air Conditioning
10 A Small Studio for Instruction and Campus Radio
Studio Plan
Studio Ceiling Treatment
Semicylindrical Unit
Reversible Wall Panels
Studio Calculations
Control Room
Measurements
11 Small Ad Agency Studio for AVs and Radio Jingles
Floor Plan
Room Proportions
Wall Construction
Audiovisual Recording Studio Treatment