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Old 06-09-2014, 01:39 AM   #21
MatrixClaw
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Originally Posted by Afroboy267



Update: The MDF frame is now built. Measures 3ft x 4ft x 7ft. Next is the acoustic mat then plasterboard

Looks cool... but where's the door?
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Old 06-10-2014, 08:16 AM   #22
Afroboy267
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Looks cool... but where's the door?

We're waiting on the hinges and catches to arrive, then we're gonna fit that spare bit of wood on as a door

I was gonna make an entire side into a door but my Dad said it'll be too heavy. Luckily he's a carpenter haha, I don't have a clue about wood work.
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Old 06-10-2014, 01:54 PM   #23
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The acoustic mat arrived today. Turns out I'm not actually allowed to use it though as the whole thing would come through the ceiling :/.

Change of plan then. Does anyone have any recommendations as to what to use? It has to be light as the MDF weighs a ton. I'm thinking Foam and Plasterboard. Or would it be better to scrap the MDF, build it out of something lighter and use the acoustic mat?

Kind of a bummer :/
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Old 06-10-2014, 02:45 PM   #24
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I can't return it without paying half of what I paid to get it returned.

Idea: Use Foam + Plasterboard this time but keep the acoustic mat for when I move out?
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Old 06-10-2014, 08:38 PM   #25
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So, from the picture and the descriptions, I see a few things:

1. Your 4x3x7.5 seems to be an exterior dimension. Keep in mind that anything you add to the interior will take away from that space. Even six inches of stuff all the way around reduces the size of your booth to 3x2x6.5. Getting kinda tiny in there. It's really hard to predict what this will sound like.

2. Sound travels through the air. Anything you do towards soundproofing will be mitigated by how effective your door is and how well it seals.

3. Assuming you get a door set up that seals *really* well, and you have six inches all around of sound-deadening material, that leaves you with 39 cubic feet of air in the empty booth. Take an average person and put him/her in there, and you're down to about 36 cubic feet of air. Whoever is singing in there is going to be adding a fair bit of carbon dioxide to that space as they sing. I'm not sure how long anyone would be comfortable in there.

4. You seem to be on the main floor of a house. Most bedrooms on a main floor can hold up a waterbed. Your booth shouldn't be too big a deal. Might be best to consult with someone who knows more about engineering, though, just to be sure.

5. In soundproofing, mass always wins. Whenever you reduce mass, you reduce soundproofing. As a general rule, the equation looks like this:

mass + insulation (an air space counts as insulation) + mass = soundproofing, where the efficacy of soundproofing is directly proportional to the amount of mass and the quality of the insulation.

A caveat, though, is that the insulating layer needs to entirely "decouple" the two masses from each other. Let me describe what that looks like.

You know the tin cans and string "telephone" experiment, where sound travels from one can to the other along the string? This proves that sound travels through a solid by way of vibrations.

So, let's say you have one massive wall, with super-duper-insulator in the middle, and finished on the other side with another massive wall. Imagine the two massive walls as the tin cans, and the super-duper-insulator as the string. Do you see how sound travels through it, depending on what it is? This is why air is actually not a bad insulator.

Now imagine playing a drum set in your room. You've filled in the window with brick, double-dry-walled the whole shebang, etc. Your neighbours will still hear it. Why? Sound will travel along your floor joists, which will go underneath your double-dry-walled walls (just like sound travels along the string from one can to the other) and escape through to the outside of the house. The inner surface of your drywall will be touching drywall screws that will be screwed into studs, and those studs will be attached to drywall on the other side. There's your string again.

Decoupling is the process of cutting the string to stop sound from travelling from one heavy mass to the other.

I'm guessing that this sound-proofing mat stuff is intended to act as a decoupler. It's manufactured in a way that reduces vibrations and will not pass them from, say, your plaster board on the inside of your booth to the outside layer of MDF. This explains, too, why two layers is better than one. However, as soon as that plasterboard makes contact anywhere with the MDF - including the floor or ceiling, I'm guessing your efforts (and money) are wasted. You've reconnected the string.

This kind of thing really requires careful consideration, planning, and implementation.

So, what to do....

Find out how much mass that corner of your room should realistically be able to support. You might be surprised. Pleasantly.

Sit your booth up on top of a few hockey pucks or something to decouple the booth from your floor. (hockey pucks do not transfer vibration well)

Maybe try putting two layers of that sound-proofing mat inside and see what you get from there. You might get lucky and find that the mat will absorb a lot of the sound vibration inside the booth and not transfer much to the outer MDF shell. That will give you more room and more air inside the booth so you won't feel like the bass player from Spinal Tap trapped inside the cocoon.

You're not going to block out all the noise without getting into a fairly expensive and decidedly involved reconstruction of that corner of your room. Mitigation, at this point, seems to be your best-case scenario. At that point, how much is enough? You might find that that will be acceptable.

Failing that, you'll need to add another layer of mass (say, MDF) to the inside. The problem, of course, is you can't just put screws through it, through the mat, and then into the other layer of MDF. That would be like adding another string between the cans. Sound will travel from the MDF through the screw and to the outer layer of MDF.

You can see how you might just have to make due here, right?

A few resources to check out are as follows:
http://www.amazon.ca/Home-Recording...e/dp/143545717X

This is a GREAT book. I have a copy, and most of what I know is from it. It is written in very user-friendly language and has lots of great pictures, examples, etc. The principles and ideas can be applied to a vocal booth in your bedroom up to a full-scale pro room in your converted main floor of your house.

Also check out the John L Sayers forum.
http://www.johnlsayers.com/phpBB2/i...1debb296bb397d2

John L Sayers designs pro studios. You can see some of his work at his website. Wow. The forum is populated by a few people who are real-life professional acoustic engineers, etc. John Sayers himself posts on there. So does Rod Gervais. Who is Rod Gervais? He's the guy who wrote the book I linked to just above.

Another great forum:
http://forums.musicplayer.com/ubbth...php/forums/24/1

Ethan Winer is a go-to guy in the industry for advice on acoustics. If you've ever heard of RealTraps, that's his company. They are easily among the world's leading manufacturers of pre-fab acoustic panels, etc. He's a good guy and willing to help out.

Chris
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Old 06-12-2014, 03:41 PM   #26
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That's awesome. Thanks for the info Chris . Turns out I can use the acoustic mat. I'll try your hockey puck advice (not sure what they'd be called here in the UK) and see how that works out. That book looks awesome. I want to read further into this so I'll check it out on Amazon UK.

Cheers
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Old 06-13-2014, 05:10 AM   #27
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Also, just out of interest. How would you advise I go about feeding an XLR and 1/4" Jack cable into this?
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Old 06-13-2014, 09:45 AM   #28
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You can make a small hole to pass a cable through with plenty of length and then seal around it, to be ultra cheap, or for a more professional result you'd fit a small male XLR jack (or even a stage box, for multiple mics) on the outside, with some space for the wiring to go through, and then attach the relevant wires to their counterparts on a female XLR jack (or stagebox) attached to the inside of the booth.
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Old 06-13-2014, 12:49 PM   #29
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You can make a small hole to pass a cable through with plenty of length and then seal around it, to be ultra cheap, or for a more professional result you'd fit a small male XLR jack (or even a stage box, for multiple mics) on the outside, with some space for the wiring to go through, and then attach the relevant wires to their counterparts on a female XLR jack (or stagebox) attached to the inside of the booth.

Awesome. What would you advise I use to seal the hole?
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Old 06-13-2014, 01:43 PM   #30
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You can buy specialist stuff from studiospares.com, but tbh any builder's merchant/DIY store will sell stuff up for the job. Just look for any airtight spray-on sealant (is it called epoxy sealant? Someone with DIY know-how please correct me), the kind that come with the pump/spray gun handle to pipe out a stream of it.
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Old 06-25-2014, 04:54 PM   #31
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IT IS COMPLETE

The sound reduction on this is actually pretty good. Trying out with my band's vocalist tomorrow (loud furker).




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Old 06-25-2014, 05:02 PM   #32
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Nice job! Looks very neat. Have you tested it out actually standing in there with the door shut, yet? Because my only real concern is still how long someone can stay in there before they run out of air and get too hot As long as you open the door between takes, it shouldn't be so bad though.

Relevant question: is there a way of opening the door again from the inside? I presume so, but it does look kinda claustrophobia-inducing and I'd probably worry about being trapped inside the thing!
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Old 06-25-2014, 05:27 PM   #33
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Nice job! Looks very neat. Have you tested it out actually standing in there with the door shut, yet? Because my only real concern is still how long someone can stay in there before they run out of air and get too hot As long as you open the door between takes, it shouldn't be so bad though.

Relevant question: is there a way of opening the door again from the inside? I presume so, but it does look kinda claustrophobia-inducing and I'd probably worry about being trapped inside the thing!

Thanks . It's alright in there actually. Like you said, as long as you come out between takes then it's all good. I need to get some sort of ventilation system for it, although I have literally no idea where to start!

I'll be adding handles to the inside so I can practice and record by myself. Hopefully the claustrophobia will add another characteristic in the vocals
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