The speakers wound up eight feet apart. This placed the "sweet spot" eight feet from the wall along the center line of the room. This in turn dictated the location of the mixing board and other equipment. Once the equipment was set in place, we checked for reflective phase interference from the console or cabinet tops.
As an example of how to apply these principles, let us look at an ordinary room in a typical house. (All right, it's my wife's studio in my house!) This room is rectangular, about 11' by 13' with an eight foot ceiling.
You can buy prefrabricated isolation rooms (at a hefty cost), or you can build one using construction techniques similar to that of the house. Something like this should really be designed by an architect to fit your situation, but here is a typical plan to give you the idea.
mento de tais elementos, tais como predizer seus efeitos no ruÃdo do motor. O estudo foi conduzido
These facts suggest a fairly simple recipe for tuning a room: Add absorption until you reach the point where the new material balances the original curve of the room, yielding a reverberation with a nice flat frequency response. Place the first panels near the speakers where they will eliminate interference paths, then spread the rest through the room to cut out any standing waves.
The curved lines, designed with perfection nod to the architecture of Brasilia by Niemeyer; furthermore, the concrete modules descend from the Cobogós, which lends its name to the house, created in Recife and diffused by Lucio Costa in delicate references to colonial architecture.
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The effect is multiplied throughout the ambient, making a construction from the light itself. Throughout the days, throughout the months, the hollowed-out elements take on different forms with the incidence of the sun; at night, this effect once again is transformed; in a continuous process of metamorphosis, its form changes from the light.
Reflections can cause a further problem when the principal activity in a room is listening to loudspeakers.
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The space between the walls should be at least one inch (wider if practical) and lined with fiberglas. The air duct should be very long and lined with sound absorptant material. Get the heaviest solid door and frame you can find, and add gaskets as described above.
TriSoft's triangular faceted pyramid faces are composed of SoftSound® acoustical material with a metal substructure. SoftSound® is made up of cem% PET plastic with up to 60% recycled content. Arktura materials cobogó have a high proportion of recycled content and check here can be recycled.
with such treatments; and on the analytical side, semi models that predict the behavior of liners have been