Schedule as of Oct 11, 2022 - subject to change

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Thursday, October 20 • 11:30am - 12:30pm
Make your room sound right – basics, tips & tricks

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When you want to establish a room for recording or trustworthy listening, it is common sense to optimize acoustics. This tutorial presents some basics, guidelines, and tips and tricks. It addresses DIY people and others that do not want to spend more money than necessary.
Sometimes you start searching for a decent room, and then you should know what to look for. Sometimes you already have a room available for the purpose. Then you want to know what to do to make it sound right for the purpose. Sometimes you already have a room installed but are not entirely satisfied with what you hear. What to do then?
Here are some of the topics:
First, we discuss rules for good acoustics: Proper reverberation time, proper sound distribution, (no echoes/-flutter echoes), low background noise, and some kind of symmetry (listening rooms).
When looking for a room, what to look for then? This topic concerns room size, shape, optimum dimensions (concern: standing waves), room surroundings (any neighbors? noisy devices?), and estimated requirements for sound insulation.
What would be a suitable reverberation time? Can we get any help from standards or common practice? (Yes, we can).
We ensure that we understand the difference between sound insulation and control of reverberation.
Shortly we look into some sound insulation basics, like room-in-a-room for max insulation.
Acoustic treatment, what is the plan? How do we reach the goal?
We’ll walk through the three main groups of absorbers, their applications, and their frequency characteristics: The porous absorber, the resonance absorber, and the membrane absorber. How do they work (physically and frequency-wise), and do they work together on top of each other? It is essential to know that there are more absorbers than those named as acoustic treatment in catalogs. All building materials will influence acoustics. Sometimes a simple material has the same effect as an extraordinary-super-fantastic and expensive material designed solely for acoustic treatment. If money is an issue, don’t spend more than necessary! (If not: go ahead)
The next issue is the sound field(s): Is there only one position available, or do we have an area?
Where is the best listening position, and where do we place the speakers (and most important: where do we not place the speakers!).
What is a proper physical position for recording (sometimes microphone-dependant)? Do we have room for far-field recording? What kind of nearfield do we talk about: Musician-perceived sound or microphones extremely close to the instruments? Why do musicians not always find the wanted sound in the studio??
Can we improve the listening- or recording areas? Controlling particular reflections is usually a good idea. Applying diffusion is always good. Schroeder or not.

avatar for Eddy B. Brixen

Eddy B. Brixen

consultant, EBB-consult
Eddy B. Brixenreceived his education in electronic engineering from the Danish Broadcasting Corporation, the Copenhagen Engineering College, and the Technical University of Denmark. Major activities include room acoustics, electro-acoustic design, and audio forensics. He is a consultant... Read More →

Thursday October 20, 2022 11:30am - 12:30pm EDT