Episódios
-
FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop
Ever been in the middle of shredding on your guitar, feeling like a rock god, only to realize your neighbors aren’t quite as pumped about your solo as you are? Yeah, we’ve all been there. And if you’re into heavy metal, rock, or just need to keep your amp cranked, I’ve got the perfect solution.
Introducing… the DIY Guitar Amp Isolation Cabinet! In this week’s video blog, I’ll walk you through exactly how I designed a custom cabinet to keep a client’s amp rocking hard while staying whisper-quiet in the studio. Think of it as the soundproof fortress for your amp—let it scream, without the world knowing!
Whether you’re looking to spare your family, your roommates, or even the neighbors’ pets, this setup will help you crank up the volume without turning up the tension in your home. 🎶
Take a look, and who knows—you might just be the proud owner of a soundproof amp fortress by the end of the day. Because let’s face it, your killer solos deserve to be played loud… even if only you can hear them. 🤘
Catch you on the other side of soundproofing!
-
FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop
If you've ever thought, “I don’t need to fully soundproof my room; maybe I can just soundproof one wall and stop the noise on the other side,” then this article is for you!
In this lesson, I'll explore when you might be able to get away with partial soundproofing without extensive construction and when it’s better to save your money and avoid the project altogether. Let’s dive in!
Why Soundproofing Is Usually All or NothingYou may have heard me or others say, “Soundproofing is an all-or-nothing project,” and I stand by this 90% of the time. Sound expands in all directions in a 360-degree bubble, especially at low frequencies. This means sound doesn’t just travel in a straight line through one wall into your room—it also moves through floors, ceilings, windows, doors, HVAC ducts, and roofs.
For this reason, soundproofing only a shared wall with your neighbor might not stop unwanted noise. Let’s look at why this is the case.
1. A Soundproof Room Requires Mass on All Surfaces
In soundproofing, mass is the primary tool to block sound and reflect it back in the direction it came from. A solid 12-inch concrete wall, for example, will effectively stop most sound. The more mass we add, the less likely high, mid, and even low frequencies will pass through. For louder or lower frequencies, you’ll need substantial mass on all walls, ceilings, and floors, including windows and doors.
2. A Soundproof Room Is Decoupled from the Outside World
After adding mass, the next essential step is decoupling the room from the outside structure. This means isolating the sound so it doesn’t travel through structural elements like joists, studs, and drywall. Mass can block airborne noise, while decoupling prevents sound transmission through these structural pathways.
For example, if you put your ear to a metal railroad rail, you’ll hear a train from miles away. Sound travels faster and more efficiently through solid materials than air, as it would through concrete. A concrete wall might stop airborne noise like traffic but won’t prevent sound from passing through its structure.
Consider a neighbor with a subwoofer on their floor. Even with a heavy wall, sound and bass vibrations will travel through the shared floor, making the wall less effective and wasting your investment in soundproofing.
3. A Soundproof Room Must Be Airtight
Finally, a soundproof room must be airtight. Sound, like water, can seep through even the smallest gaps. Have you ever closed a heavy door but still heard noise coming in around the edges? Or maybe you’ve noticed sounds coming through an older home’s air leaks?
Without airtight sealing around walls, ceilings, floors, windows, doors, and HVAC systems, sound can still enter or exit your room, undermining your soundproofing efforts.
When Can You Soundproof Halfway? Is It Possible?As I mentioned, there’s a small percentage of cases (around 10%) where partial soundproofing might work. Here’s when it might be viable:
You have a heavy concrete floor and ceiling.You don’t have windows or doors near the wall you want to soundproof.There are no shared HVAC ducts with the room you want to block sound from.If you meet these conditions, you might get away with soundproofing a single “party wall” (the shared wall with a neighbor who hosts parties).
Keep in mind that even in these cases, halfway soundproofing offers no guarantees. The results are often unpredictable, so you need to carefully weigh the risks of a partial solution.
What About Light Soundproofing?Some people ask about “light soundproofing,” usually meaning they don’t want to spend a lot of money or time and don’t need full noise blockage. You might consider light soundproofing if:
You don’t need to block low frequencies and only want to reduce mid and high frequencies.You’re not dealing with loud sounds, like a barking dog or a train horn.You don’t make a lot of noise yourself, such as playing drums, using a subwoofer, or cranking up a guitar amp.If these criteria fit, you may be able to get away with lighter soundproofing measures. But if you’re trying to create a truly quiet space, this approach likely won’t be sufficient.
ConclusionAs you can see, in most cases, soundproofing is all or nothing. If you’re committed to doing it right, with the necessary financial and technical resources, then it’s worth the effort. Otherwise, it’s often better to leave the project until you’re ready to commit fully.
If you’re intrigued and want to learn more about soundproofing, check out my free soundproofing workshop (link below). Or, if you’re short on time and prefer to hire a professional, click the Soundproof Your Studio logo above to schedule a clarity call where I can learn more about your project.
Best of luck on your soundproofing journey!
-
Estão a faltar episódios?
-
FREE Acoustic Treatment Guide: https://www.soundproofyourstudio.com/acoustic
If you have ever wondered how to build an acoustic cloud with a built in light or lights than this is your video. I go over the details of how I design acoustic clouds for my clients. Learn:
-how to build an acoustic cloud
-what fabric to use
-how to install a light and wire it to your cloud
-how to hang your acoustic clouds
-
FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop
In this episode I go over the main soundproof wall details most people miss when designing and building their soundproof walls.
-
FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop
In this video I go over the best place to buy soundproof doors in North America, New Zealand/Australia and the UK/Europe.
-
FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop
If you’ve ever felt confused by electrical terms like “grounding” or “isolated ground,” trust me, you’re not alone! When I first started learning about how to properly wire my own home studio, I had no clue what it all meant, and I’m a studio designer! Let’s break it down together in the simplest way possible.
Why Grounding Matters in Your Home StudioImagine you’re plugging in your gear, ready to record, and suddenly you hear a hum or buzz in your monitors. What’s causing that? Chances are, it’s an issue with your studio’s electrical grounding. Grounding is like giving the electrical system in your studio a path to safely return to the earth—this keeps both you and your gear safe from electrical faults, and it helps eliminate noise in your audio.
But here’s where things get tricky—just like I was confused when I first learned about it, you might wonder: Can’t I just plug my gear in and call it a day? Why all this talk about grounding? Well, not all grounding is created equal, and how you set it up can make a big difference in the sound of your recordings.
What the Heck is Star Grounding?When I first learned about star grounding, I didn’t get it. I had one outlet for all my audio gear, and I thought, “Isn’t that enough?” Turns out, not exactly.
In a normal electrical setup, all your equipment shares the same ground as everything else in your house—lights, HVAC, appliances. This can cause ground loops, which are electrical problems that lead to noise and hum in your audio. To avoid this, star grounding is a way to isolate the ground for your audio equipment.
Here’s the basic idea:
• Star grounding creates a dedicated, isolated path for the ground of your audio gear, keeping it separate from other systems like lighting or HVAC. This minimizes electrical noise and interference in your recordings.
Star Grounding Diagram -
Why My Setup Wasn’t EnoughIn my studio, I had a 4-gang outlet where all my audio gear and computer were plugged in, and it was connected directly to its own circuit breaker. That’s not a bad start—everything shared one ground, and I didn’t hear any hum.
But here’s what I learned: if your ground wire goes straight to the same ground that all your lights, air conditioning, and everything else use, there’s still a chance that noise could sneak into your audio signal. So even though I didn’t have any problems, there was still room to improve. And this is where star grounding comes in.
How Star Grounding WorksThink of star grounding like a bicycle wheel. At the center (the hub) is your main ground point, and all the ground wires from your audio equipment are the spokes connecting to it. This central hub (called the ground bus) is isolated from other systems in the house until it all ties back to the main electrical panel. Here’s how you can do it:
1. Use Isolated Ground Outlets: For your studio gear, use special outlets called isolated ground receptacles. These are designed to keep the ground for your audio equipment separate from everything else.
2. Run a Separate Ground Wire: Instead of using the regular ground wire inside the Romex (your standard electrical wire), run a separate jacketed ground wire directly from the isolated ground outlets back to a dedicated ground bus. This ground bus collects all the grounds from your studio gear and then ties back to the main electrical panel’s ground.
3. Connect the Ground Bus to the Main Panel: At some point, everything needs to connect to the main panel’s ground. This is to comply with electrical codes (for safety) and to ensure that the system is properly grounded.
Why You Can’t Skip Connecting to the Main GroundWhen I first learned about star grounding, I thought, “Why can’t I just have a separate earth ground for my studio?” That seemed like the best way to keep the ground isolated, right? But here’s the thing: you can’t have multiple earth grounds because it creates multiple paths for electricity to flow, which can lead to the very hum and noise you’re trying to avoid. This is called a ground loop.
By connecting everything back to the main panel, you make sure that all grounds in your house are at the same electrical potential—meaning, there’s no voltage difference between them that could cause hums, interference, or worse, safety issues.
Simple Steps to Set Up Star Grounding• Step 1: Install isolated ground outlets for all your audio equipment. These outlets help keep the ground for your audio gear separate.
• Step 2: Run a separate ground wire from these outlets to a dedicated ground bus. This bus can either be in the panel or a separate location.
• Step 3: Connect the ground bus back to the main panel’s ground bar. This ensures safety and keeps everything at the same ground potential.
Do You Need Star Grounding?Now, if you’re like me and have a dedicated outlet that’s working fine, you might not need to rush into setting up a star grounding system right away. If you’re not experiencing noise or hum issues, it might be enough. But if you’re building a studio from scratch, upgrading your electrical system, or want to future-proof your setup, star grounding is one of the best ways to eliminate noise and hum before they even have a chance to start.
Conclusion: Keep It Simple, Keep It QuietIf you’re overwhelmed by all this talk about grounding and wiring, don’t worry—you don’t need to be an electrical expert to improve your home studio’s sound quality. Star grounding is just one tool in your arsenal, but it can make a huge difference in keeping your recordings clean and noise-free. Whether you choose to implement it now or later, just remember: the key is keeping your audio equipment’s ground separate from everything else.
And if you’re ever unsure about how to set this up safely, hiring a qualified electrician who understands studio-grade electrical systems is always a good move.
Further Reading and Resources:
Coming from little to no understanding of electricity I had to learn everything about studio electrical from the ground up. The following resources are great for getting different perspectives on this and furthering your own research and understanding of studio electrical systems.
Power and Grounding for Audio and Video Systems A White Paper for the Real World – International Version Jim Brown Audio Systems Group, Inc. http://www.audiosystemsgroup.com/SurgeXPowerGround.pdf
Philip Richard Newell. Recording Studio Design. New York ; London, Routledge, Taylor & Francis Group, 2017. (affiliate link) - https://amzn.to/4b7zyxd
Gervais, Rod. Home Recording Studio: Build It Like The Pros. 2nd Edition, Course Technology Cengage Learning, 2011. (affiliate link) - https://amzn.to/48ONVF6
-
FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop
I’ve been exploring topics beyond soundproofing and room acoustics lately, and this week I’m diving into lighting designs for your home studio. Below, I’ll share a few ways to light your studio like the pros, helping you achieve that dream studio look.
1. A Little Background on Lighting TheoryI’m a big fan of the Pretty Good Home model of home building, and if you haven’t already, I highly recommend checking out their book Pretty Good House: A Guide to Creating Better Homes (affiliate link). It’s been a great resource for my own designs, offering clean, renewable, and efficient strategies that apply to home studios as well.
One key aspect of the Pretty Good House method is following a few specific lighting rules:
Rule 1: Light What You Want to See
You could install lots of downlights to brighten the entire room, but that’s not ideal. In a home recording studio, you want to focus on the essentials—your desk, instruments, and gear. Plan your lighting to effectively illuminate the areas you use the most.
Rule 2: Avoid Glare
This rule is all about ensuring you don’t see the light bulbs directly. Using shades, narrow beam angles, and focusing the light helps guide it away from your eyes. While it can be tricky in practice, it’s a worthy goal to pursue.
Rule 3: Make Change Easier
Flexibility is key. Having just one switch to control all your lights isn’t ideal. In a home studio, you’ll want work lighting and mood lighting. The goal is to create layers of lighting options that give you control over the room’s ambiance.
2. Which Type of Light Should You Use?This one’s easy: LED lights. They’re the best choice today, especially if you value energy efficiency. You can opt for other lighting, but nothing beats LEDs in terms of longevity and control.
My personal favorite is the Philips Hue LED system, which I use in all my designs. Yes, they’re more expensive, but you get what you pay for. I’ve tried cheaper color-changing lights in my studio, and they flickered and died within a year.
Philips Hue also comes with a sleek smartphone app that lets you control multiple lighting setups from your phone. Plus, these lights dim at the bulb level rather than through a switch, which helps reduce interference in your studio—a properly wired studio helps too, but that’s a lesson for another day.
3. Studio Lighting TechniquesA) Use Philips Hue Slim Downlights in Your Acoustic Clouds
These are perfect for easy installation in an acoustic panel hanging from the ceiling. I like to use them in clouds to avoid cutting large holes in the ceiling. Instead, I run a small wire down to the acoustic panel, leaving only a tiny hole for the wire.
B) Use Philips Hue Light Strips for Backlighting
Philips Hue light strips are great for adding backlighting to the edges of your acoustic clouds, desks, computer monitors, or acoustic wall treatments. The possibilities are endless, and it’s a fantastic way to enhance the vibe and ambiance of your studio.
C) Opt for Track Lighting Over Downlighting
Track lighting helps with Rule 1: Light What You Want to See. Two carefully placed track lights can focus light exactly where it’s needed, illuminating key areas of your studio.
D) Keep Each Set of Lights on Its Own Switch
While dimmers aren’t ideal, having separate switches for different lighting systems is a must. I usually place downlights on one switch, strip lights on another, and track lighting on a third. This way, you can easily control each type of lighting and fine-tune everything through your smartphone app.
ConclusionThe biggest takeaway for studio lighting is to stay creative and trust your artistic instincts to set the vibe and mood for your workspace. Don’t skimp on lighting—stick to LED systems and embrace color-changing lights. While I’m partial to Philips Hue, there are other great high-end brands out there as well.
Works Cited:
Kolbert, Dan, et al. Pretty Good House: A Guide to Creating Better Homes. Newtown, CT, The Taunton Press, 2022. -
FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop
When it comes to running a studio, one area that often gets overlooked is power. But clean, reliable power is essential for avoiding ground loops, electrical noise, and keeping your gear safe from surges or voltage fluctuations. In this article, we’re going to break down the various power protection options available for studios and help you understand how to set up a system that keeps your equipment and your sound clean. This topic came up in a recent conversation with a client of mine who was wondering about star grounding, transformers, power conditioners, UPS units, and balanced power systems. Before we break down all your options I want to first mention the importance of wiring your studio correctly to begin with before even considering power conditioners or UPS units.
Practical Tips for Studio Power SetupBefore choosing the right power equipment, following best practices for studio wiring is crucial for avoiding noise and ground loops. Here are some key tips:
Dedicated Circuits for Audio: Wire all audio equipment on its own 15 or 20-amp breaker, depending on power needs. While computers can introduce noise, it’s often best to keep them on the same circuit to avoid ground loops.Separate Circuit for Non-Audio: Lights and non-audio electrical outlets should be on a separate circuit to minimize interference.Panel Management: Try to place the audio circuits on the same leg of your panel if possible, though this can be tricky to balance with other loads.EMI Reduction: Keep electrical and audio lines at least 1 foot apart at all times to reduce the risk of electromagnetic interference (this includes ethernet lines used for audio transmission).
Understanding Your Power OptionsStar Grounding: Do You Need It?
Star grounding is a method where all the ground connections for your studio are routed to a single point, or "star." This helps avoid ground loops, which can cause hum and other interference in audio systems. While star grounding is a good practice for reducing noise, it’s not always practical in smaller home studios—especially if you are not wiring your studio from scratch with an electrician involved.
Best Practice Tip: If you're building a studio where you can easily run wiring through the walls and have a talented electrician who understands the concept of star grounding then it is a great solution. However, if you do not want to spend the extra money for star grounding or don't have the ability to rewire your entire studio than star grounding is not a good option.
There are several ways to protect your studio’s power, each with its own pros and cons. Let’s walk through the most common options.
Transformers: Voltage Regulation and Power ConditioningThe SolaHD 23-23-210-8 provides voltage regulation, surge protection, and power conditioning, which helps protect your equipment from unstable power and electrical noise like electromagnetic interference (EMI) or radio-frequency interference (RFI). While it improves overall power quality and can reduce noise, it doesn’t specifically address ground loops unless you’re using an isolation transformer designed for that purpose. This system is great if you are wiring your studio from the ground up because it will protect multiple outlets in different rooms without the need to buy multiple individual power conditioners.
Recommendation: The SolaHD is great if you want to regulate voltage and protect against surges and noise, but if your primary concern is ground loops, you might need to look into grounding solutions or use an isolation transformer.
Power Conditioners: Clean Power for Audio GearPower conditioners, such as the Furman M-8x2, are a more familiar solution for many studio owners. These units filter the power coming into your gear, smoothing out surges and spikes while also providing noise filtering. While not nearly as robust as the other models on my list, the Furman M-8x2 ensures that your gear receives consistent voltage and power surge protection, which can help protect your home studio gear and provide some cleaning up of the power at the same time.
Recommendation: If you notice your power fluctuating or you live in an area prone to brownouts or surges, a voltage regulator/power conditioner combo is a great solution. Keep in mind, though, that these protect only what’s plugged into them directly, not the entire room.
UPS (Uninterruptible Power Supply): Protecting Against OutagesThe Furman F1500 UPS is a great example of a unit that combines power conditioning with a UPS. A UPS (Uninterruptible Power Supply) ensures that your sensitive gear—like computers, DAWs, and audio interfaces—stay powered during short-term outages, giving you time to save work and shut down safely. This unit also provides surge protection and power conditioning.
Recommendation: This unit might be one of the best options for home studios where you notice the power going out frequently. For example, my studio has many outages per year. This unit would be a great addition so that I don't lose work or suffer any damages to my gear due to surges when the power comes back on.
Balanced Power Conditioners: The Top Of The Line SolutionBalanced power systems, like the EquiTech Model 1.5R and the Furman P-2400 AR, offer a high end solution for reducing noise and interference. Balanced power delivers equal voltage on both the hot and neutral wires, which dramatically reduces electrical noise and hum. The EquiTech Model unit can power up to 12 outlets, while the Furman offers 14. These are both high end and expensive units. The EquiTech Model 1.5R costs $2,990 while the Furman P-2400 AR costs $993.43.
Recommendation: If you want a top of the line solution that gives you peace of mind, these two options are your best bet. Some people swear by balanced power, but you are paying for higher quality gear. These units are geared toward high-end, professional environments where electrical interference and power purity are crucial, such as high-end recording studios, broadcast facilities, or other mission-critical applications requiring the best possible power conditioning.
Answering My Client's Questions: What Should You Choose?He was wondering how these various options compare. Here’s what I told him:
For clean, isolated power, a transformer is the way to go, though it’s usually a bigger investment and best for commercial setups.For regulating voltage and conditioning power, the Furman P-2400 AR is excellent. It ensures stable power and clean filtering for critical gear.For backup power during outages, the Furman F1500 UPS is a great option to keep your most important gear (like your DAW or computer) safe.For comprehensive, clean power that is top of the line, a balanced power system like the EquiTech 1.5R or the Furman P-2400 AR offers the best long-term solutions for high end studios. They will power multiple outlets and significantly reduce noise and interference across your studio. Final Thoughts: What’s Best for Your Studio?Every studio has different needs, but in general, asking your electrician about installing a star grounded set up if you are building a new studio is the best option. If you can't do a star grounded system still follow my basic electrical install tips. Then use the SolaHD 23-23-210-8 for extra conditioning and surge protection on your audio circuit. This will be a more cost effective way to ensure protection if you have multiple rooms or multiple outlets that you want to protect. If you do all those things you probably won't need an expensive power conditioner for your studio. I like the term don't fix a problem you don't have. In this case power conditioners may not be needed and are quite costly.
If you don't have the luxury of wiring your studio then a power conditioner is a great option. Honestly, the Furman 8x2 is a tried and true piece of gear that will work for all home studios. The UPS is great as well, but you don't have to buy a UPS built into your power conditioner, but it is a nice streamlined approach. If you opt for the higher end balanced conditioners they are a great option if you have the budget, but might not be necessary for your average home studio.
If you're working on designing a studio and want professional help reach out! I’m always happy to help.
Links to Products:Furman M-8x2 (affiliate link)Furman P-2400 AR (affiliate link)Furman F1500 UPSEquiTech 1.5R Balanced PowerSolaHD Transformer -
FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop
IntroductionIn today’s home recording studio world, high-quality audio transmission over Cat5/Cat6 has become a game changer. From real-time audio processing to networked systems that allow for future scalability, audio over IP (AoIP) solutions offer a flexible, affordable way to streamline your workflow. In this guide, we’ll explore the best systems for home studios, what hardware and software you’ll need, and a price breakdown for each option.
***I am using affiliate links below***
1. Dante by AudinateWhy It’s Great for Home Studios:
Scalability: Easily expand your setup as your studio grows.Compatibility: Works with popular audio brands like Focusrite, PreSonus, and Yamaha.Low Latency: Perfect for real-time recording and monitoring.Software Flexibility: Dante Virtual Soundcard runs on your computer without extra hardware.Hardware Needed:
Dante-Enabled Audio Interfaces: Focusrite RedNet X2P ($1,300) or Yamaha Tio1608 ($1,550).Dante Switch: Netgear ProSAFE GS724T ($300).Optional Dante PCIe Card: Audinate Dante PCIe-R ($750).Software Needed:
Dante Virtual Soundcard: ($50).Dante Controller: Free software for managing your Dante network.Estimated Price: $1,680 - $3,000 for a basic setup.
Best For: Small to large home studios that require real-time recording and monitoring with the ability to expand over time.
2. AVB (Audio Video Bridging)Why It’s Great for Home Studios:
Cost-Effective: Affordable and reliable for home studio budgets.Synchronization: Ensures perfect sync between audio and video.Simple Setup: Works with AVB-compliant switches for easy network creation.Hardware Needed:
AVB Interfaces: MOTU 828es ($995) PreSonus StudioLive 32R ($1,700).AVB-Compliant Switch: Extreme Networks X440-G2 (~$750).Software Needed:
PreSonus UC Surface (free) for StudioLive or MOTU AVB Control (free).Estimated Price: $1,745 - $2,450 for a basic setup.
Best For: Small to medium-sized home studio setups that are budget-conscious but need reliable audio performance.
3. SoundGrid by WavesWhy It’s Great for Home Studios:
Real-Time Processing: Great for integrating Waves plugins into live recording and mixing.High Channel Count: Supports multiple devices and high channel counts for large setups.Waves Ecosystem: Seamless integration with Waves plugins.Hardware Needed:
SoundGrid Audio Interface: DiGiGrid MGB ($3,000) or any Soundgrid Compatible Interface ($1,050+)Optional: Waves SoundGrid Proton Server ($849) Switch: Netgear ProSAFE GS716T ($230).Software Needed:
SoundGrid Studio: Free with SoundGrid hardware.Optional Plugins: Waves Plugin Bundles (~$200 - $600 depending on the bundle).Estimated Price: $1,280 - $4,079+ for a basic setup, depending on the hardware and plugins used.
Best For: Home studios that already use Waves plugins and need real-time processing for recording and mixing.
For home studio setups using Waves SoundGrid, a DiGiGrid MGB or another SoundGrid-compatible interface is essential to convert your audio into the network. However, the Waves Proton Server is optional. While not required for the system to function, it provides the power needed for real-time Waves plugin processing, making it a great addition for those working in live sound or heavy plugin environments.
4. Q-SYS by QSC (AES67 Support)Why It’s Great for Home Studios:
All-in-One Solution: Integrates audio, video, and control into one system.Highly Customizable: Perfect for flexible home studio setups that may expand into video or streaming.AES67 Support: Provides compatibility with other AoIP systems like Dante.Hardware Needed:
Q-SYS Core 110f (~$2,300): Integrates audio, video, and control in one system.DB25 to Phoenix Connector Cable ($100-200) - Allows you to patch from your audio interface into the Core 110f and convert that audio to ethernet.Software Needed:
Q-SYS Designer Software: Free with the Q-SYS system.Estimated Price: $3,000 - $4,000 for a basic setup.
Best For: Advanced home studios or content creators who want to integrate audio, video, and control into a single networked solution.
ConclusionWhen deciding which system to use in your home recording studio, it's important to consider both your current needs and future scalability.
Best All-Around Choice: Dante is the most flexible and future-proof option, perfect for growing studios.Best Budget Option: AVB offers a reliable, cost-effective solution for small to mid-sized studios.Best for Real-Time Processing: SoundGrid is ideal if you need real-time plugin processing with high channel counts.Best for Advanced Needs: Q-SYS is a powerful, all-in-one system for studios incorporating both audio and video production.No matter your choice, investing in audio over Cat5/Cat6 systems will ensure that your home recording studio is equipped for today’s demands while staying flexible for future expansions.
-
FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop
Since building my home recording studio, I’ve learned a lot—especially about what really matters in the long run. One thing I often see first-time studio builders overlook is focusing solely on soundproofing and acoustics, while missing the bigger picture: how you’ll use the room and how to set up your audio lines for the best workflow.
The truth is, you’ll eventually care more about how efficiently your studio runs and how comfortable it feels than about perfect acoustics or obsessing over specific soundproofing materials.
Yes, soundproofing and acoustics are important. But the point of this article is to encourage you to think bigger and design like a pro. Consider how you want to use your studio and what audio setup best supports your needs.
1. Clearly Establish Your Main GoalsA single room can’t be perfect for everything. If your primary goal is mixing, your design approach will be vastly different from someone using their room for band rehearsals. Sure, your room can have multiple purposes, but it should be optimized for what you’ll use it for 80% of the time.
With this focus, everything else—soundproofing, acoustics, lighting, audio wall boxes, cable runs, electrical, and HVAC—will fall into place more easily. Trying to build a room for mixing, rehearsing, live recording, and Dolby Atmos all at once is overcomplicating things.
If you’re lucky enough to build multiple rooms, you can dive into the more complex world of designing spaces for specific purposes, much like traditional studios where the live room and control room serve very different functions.
2. Think Through Your Cable RunsIt’s easy to get so wrapped up in designing soundproof walls that you overlook how you’ll actually wire your studio. From my experience, there are three main ways to manage your cabling:
A) Using a Snake or Individual XLR Cables
This is often the simplest and most cost-effective solution. Running a snake or individual XLR cables to the back of your room lets you easily connect instruments like drums and guitars to your interface by your desk.
While this is my current setup, it does have drawbacks—namely, the constant challenge of tripping over cables. Careful cable management is required to keep things organized, but the upside is easy access for repairs and re-routing.
B) Snake in the Wall with Custom Wall Boxes
If you want a cleaner, more professional look or are working with multiple rooms, consider running a snake through the walls to a custom wall plate. Companies like Redco make it easy to connect your XLR cables directly into the wall near your instruments, making for a clean and efficient setup.
This approach is more complex and expensive but ideal for higher-end studios or anyone prioritizing a polished aesthetic. You can even add a patch bay to easily route different audio signals to your interface—a great option if you want to reconfigure your channels depending on the session.
For more advanced setups, check out Redco or ProAudioLA, and take a look at SoundTools’ audio-over-Cat5 system for an innovative option.
C) Ethernet System with Specialty Interfaces
The most advanced and versatile option is to run audio over ethernet using shielded cables and specialty interfaces. This system allows for flexibility, especially in larger homes or studios with multiple rooms.
For instance, I’m working with a client who will run ethernet from his studio to different rooms in his house, allowing him to record from any room while controlling everything from his main mixing desk in the garage. It’s a powerful, but highly technical, solution.
Popular Ethernet-Based Audio Systems:Dante by Audinate – Scalable and compatible with major audio brands like Focusrite and PreSonus, Dante is perfect for growing home studios.AVB (Audio Video Bridging) – An affordable and straightforward option, especially with MOTU and PreSonus gear.SoundGrid by Waves – Designed for real-time processing with plugins, great for studios already using Waves.AES67 – Ideal for studios with equipment from different manufacturers, providing universal interoperability.Q-SYS by QSC – More than just audio, Q-SYS integrates control and video for advanced studio setups. Conclusion: Think HolisticallyThe most important takeaway here is to think holistically about your studio design. Don’t leave critical infrastructure like audio cabling until the last minute—it should be integrated with your electrical system from the start. Plus, you’ll need to consider electromagnetic interference (EMI) between audio and electrical lines.
I recommend beginning your research on audio networks alongside your soundproofing and acoustic plans. This way, you’ll end up with a home recording studio that truly meets your needs.
-
FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop
When I first soundproofed my own studio, I chose the I-B1 clips from the Soundproofing Company. They were affordable, easy to install, and provided decent sound isolation. However, after years of working with various soundproofing products and testing different methods, I've changed my perspective. Today, I want to share why I've come to prefer Hush Frame Rafts, and why I believe they're a superior choice for home studio soundproofing.
1. The Decoupling Advantage: Rubber or Silicone vs. MetalThe primary reason I now favor Hush Frame Rafts is the improved sound isolation they offer due to their silicone decoupling feature. Unlike the I-B1 clips, which are entirely metal, Hush Frame Rafts and their competitors, like RISC-1 clips, use rubber or silicone to decouple the clip from the studs or joists. This added layer of decoupling significantly reduces sound transmission, making these products more effective for serious soundproofing needs.
That said, I-B1 clips are still a viable option if you're working within a tighter budget. They do provide good sound isolation and are certainly better than nothing, but if you're aiming for the highest level of soundproofing, I now recommend opting for clips with rubber or silicone components.
2. Low Profile Design: Maximizing Ceiling HeightAnother key reason I've switched to Hush Frame Rafts is their low-profile design. In home studios, every inch of ceiling height counts, and even gaining a fraction of an inch can make a big difference in the feel of the room. Hush Frame Rafts, paired with 1x3 furring, only add about 1" of extra space to your wall or ceiling system. This is a significant advantage over other options like the RISC-1 clips, which, while offering similar isolation benefits, don’t provide the same low-profile benefit.
3. The Ease of Working with Wood FurringOne of the underrated advantages of Hush Frame Rafts is their compatibility with wood furring strips. Most contractors are more comfortable working with wood, especially when attaching wood to wood, and this makes the installation process smoother. Since soundproofing can be overwhelming for many builders, anything that simplifies the job is a huge plus. Using wood furring instead of metal also makes sourcing materials easier, which is another win for both the builder and the client.
4. Positive Feedback from ContractorsFeedback from experienced contractors is invaluable, and my contractor in Nashville, Henry Thompson, had nothing but praise for Hush Frame Rafts. He noted how much more elastic and decoupled the system felt compared to the I-B1 clips, which he believes contributes to better sound isolation. When a seasoned professional like Henry gives a product the thumbs up, it reinforces my confidence in recommending it.
5. Comprehensive Instruction ManualsAnother aspect of Hush Frame that I appreciate is the quality of their instruction manuals. Designing complex home studio builds requires precise information, and Hush Frame provides detailed manuals that cover multiple options and diagrams for different load capacities. This level of detail allows me to easily design varying wall and ceiling types for my clients, ensuring that each build meets the specific needs of the space. Other manufacturers simply don’t offer the same depth of information, which is another reason Hush Frame stands out.
Conclusion: Why I Now Recommend Hush Frame RaftsIn the past, I’ve written about my preference for I-B1 clips, but my experience over time has led me to change my mind. Hush Frame Rafts offer better sound isolation through rubber or silicone decoupling, a low-profile design that maximizes ceiling height, and ease of use with wood furring. Combined with positive feedback from contractors and comprehensive instruction manuals, these factors make Hush Frame Rafts my top recommendation for home recording studio design. If you’re serious about soundproofing, I believe they’re worth the investment.
-
FREE Acoustic Treatment Guide: https://www.soundproofyourstudio.com/acoustic
When designing a home studio, many people focus on the height of the room, thinking that higher ceilings will automatically lead to better acoustics. However, recent research highlights that the length-to-width ratio (l/w) is actually more critical for achieving balanced sound, especially in small rectangular rooms.
-
FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop
It is simple enough to say okay let's build a double wall and decouple our ceiling with hat channels and acoustic clips, but what about soundproofing around pipes, ductwork or beams? They make what seems like a simple design, suddenly become difficult to visualize.
In this video lesson I will be showing three of my client's studio designs where we had beams, existing ductwork and structural posts to work around. I will go over my solutions for each situation and teach you what you can do if you are in a similar situation.
-
FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop
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.
-
FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop
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.
-
FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop
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.
1) The Room Ratio ParadoxIf 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.
2) Focus On Which Room Ratios To AvoidRather 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.
3) Double Check Your Design In AMROCAMROC 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.
4) Don't Rely Heavily On Room Ratios AlonePhilip 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).
Conclusion: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!
1) A Vocal Booth Will Not Have Perfect Acoustics - EverThe 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
2) How Absorptive Acoustic Panels WorkIn 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:
Wavelength (λ): The wavelength of a sound wave is determined by the formula λ = v/f, where v is the speed of sound (approximately 343 meters per second or 1125 ft/s in air) and f is the frequency.1/4 Wavelength: Once you have the wavelength, divide it by 4 to find the optimal distance for placing the absorptive material.Example:
For a frequency of 100 Hz:Wavelength (λ) = 343 m/s / 100 Hz = 3.43 meters1/4 Wavelength = 3.43 meters / 4 ≈ 0.86 metersTherefore, to absorb 100 Hz effectively, place the absorptive material about 0.86 meters (or approximately 2.8 feet) from the boundary.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.
3) Designing Our Vocal Booth (Putting It All Together)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.
Conclusion: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.
1) Vocal Booth Door OptionsWhen 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.
2) VentilationThe 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
3) Electrical and Audio CablingWe 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.
Conclusion: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
-
FREE Soundproofing Workshop: https://www.soundproofyourstudio.com/workshop
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.
1) The FloorFirst, 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.
2) The WallsLike 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.
3) Ceiling OptionsThe 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.
Conclusion: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.
What are Acoustic Gobos?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.
How to Use Acoustic Gobos EffectivelyIsolating 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.
- Mostrar mais
