svenn
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- Lid sinds
- 17 mei 2002
- Berichten
- 93
enkele nuttige passages uit sound on sound...let er bij constructiewerken op dat je vloer/plafond het extra gewicht aankan.
Het komt er inderdaad op neer een kamer binnen je kamer te bouwen met zo weinig mogelijk contact tussen de 2 ruimtes (nagels/schroeven geven namelijk een hele hoop trillingen door). De beste isolatie is nog steeds stilstaande lucht.
Een geluidsdichte kamer is dus een luchtdichte kamer.
Vermijd ook contact tussen je zwevende vloer en de muren (plaats dikke schuim of rubber tussen de aansluiting).
Dit is ook zo voor je speakers..hoe minder contact tussen de speakers en de vloer/muur hoe beter.
Plaats dus je standaarden op dikke schuimrubber of gebruik speciale pootjes in de vorm van scherpe punten (zoals quicklok dat bv doet)
Professionele studio's hebben dikwijls 3 tot 4 lagen gipsplaat en rockwool. Mij lijkt deze aanpak voor je huis een beetje overdreven (en je kamer wordt wel erg smal op die manier).
Gebruik je speakers ook zoals het hoort...nearfields gebruik je van dichtbij. Op deze manier heb je minder geluidsvolume nodig om een juist referentiesignaal te horen (hoe dichter je bij een speaker zit, hoe lager het niveau moet zijn).
Gevolg is dat je buren ook al minder "last" zullen hebben.
En nu we het over buren hebben, het is al gezegd dat een praatje maken met de buren over je hobby zal uitwijzen dat ze eigenlijk helemaal geen last van je hebben (overdag dan toch). Dit kan je al een hele hoop isolatiewerken besparen.
geluidsisolatie is trouwens niet hetzelfde als je ruimte voorzien van een goede ackoustiek (is dat wel de juiste schrijfwijze???)
Soit, lees onderstaande eens rustig en je hebt alle info die je nodig hebt (in't engels dan toch).
VLOEREN
If you have a concrete floor, you're probably starting from a reasonably good position, but if the studio is in a bedroom with a wooden floor, you're going to have problems. Not only is a typical domestic floor a relatively poor sound isolator, most of the noisy gear, not to mention tapping feet, will be in contact with the floor, which only makes things worse. Because of this latter consideration, structurally-borne sound needs to be tackled, and the cheapest first step is to fit heavy felt underlay beneath the studio carpet.
Once you've done that, try to get noisy gear off the floor by using speaker stands for your monitors (placing the speakers on blobs of Blu Tack on top of the stands), and try putting things like guitar amps on blocks of thick foam rubber. Drum kits are more problematic, and it's unrealistic to expect a DIY approach to provide anything like complete isolation. The most effective way to reduce drum kit noise is to make a shallow plinth or raft, on which to set up the drum kit, and isolate this from the floor by standing it on thick foam rubber. If this doesn't provide isolation, the next step is to consider a complete floating floor
Professional floating floors can be massive and complex affairs, but for the smaller studio you can build your own quite simply. A floating floor is just a false floor mounted on acoustic isolators above your existing floor, with resilient material around the edge so that it doesn't come into direct contact with the walls. A commercial floating floor may be cast from reinforced concrete, several inches thick, and may be supported over a void several feet deep, the weight being borne by springs or machine-rubber mountings, but clearly this is impractical for most bedrooms!
There are less massive floor designs based on studding and chipboard, or you can even buy a specially made floating floor material comprising chipboard with Rockwool bonded to the underside. This type of structure won't be too heavy for a typical domestic floor to support, and though it won't work as well as six inches of concrete on springs, it will make a very noticeable difference. One commercial material, known as Lamella, is flooring-grade chipboard backed with a tightly packed Rockwool material where all the fibres are perpendicular to the board, rather like the bristles on a scrubbing brush. Fitting the floor would involve fixing a felt strip around the room, somewhat like a felt skirting board, and then laying the Lamella boards atop the existing floor. Once the floor is down, a second layer of flooring chipboard is glued and screwed to the top, with the joints staggered. This adds strength and rigidity to the floor, as well as preventing the individual panels from drifting apart.
This type of flooring may also be used as a base on which to build a small studding/plasterboard room-within-a-room type of studio, as long as the weight of the inner room isn't so great as to cause the floor to bow. I'd be inclined to consider adding a third layer of chipboard to the floor if you're thinking of going for the full room-within-a-room treatment.
An alternative to using Lamella is building a wooden 2x2-inch or 2x4-inch frame and covering it with two layers of flooring chipboard. This may be separated from the original floor by blocks of Neoprene, though the most usual approach is simply to cover the existing floor with Rockwool loft insulation, then lay the studding raft on top of that. Observe the rules of isolation by not allowing the floor to touch the existing walls at any point, and fill any gaps with mastic to ensure the floor is airtight.
RAMEN EN DEUREN
If you don't have double-glazed windows and you have a problem either with sound getting in or sound getting out, then secondary double-glazing is highly recommended. DIY kits are available for a sensible price these days, and because the space between the original window and the secondary glazing is quite large, you'll often find that the amount of sound reduction is better than you'd get from conventional double-glazing alone. If you have a choice of fitting different thicknesses of glass, use the thickest you can, because more mass equates to better low frequency isolation. A cheaper alternative, if daylight isn't a major consideration, is to build a heavy wooden shutter and screw it over the window. If you want to take it down between sessions, then use sash window fasteners to hold it in place.
Doors are rather less simple to deal with, because their mass is much lower than that of the surrounding walls. Fitting good quality draftproof seals will prevent sound leaking around the edge of the door, but a typical lightweight domestic internal door only provides something like 15dB of sound attenuation, even when it fits properly. Fitting heavy curtains over the door helps a little -- but don't expect miracles.
Replacing the door with a heavy fire door will yield some improvement, but it's not until you start fitting double doors that you make any real headway against serious sound leakage. Providing the room adjoining your studio isn't inhabited while you're working, just fitting door seals should be fine -- but don't expect to be able to monitor at full volume without upsetting someone, if the next room is occupied.
Het komt er inderdaad op neer een kamer binnen je kamer te bouwen met zo weinig mogelijk contact tussen de 2 ruimtes (nagels/schroeven geven namelijk een hele hoop trillingen door). De beste isolatie is nog steeds stilstaande lucht.
Een geluidsdichte kamer is dus een luchtdichte kamer.
Vermijd ook contact tussen je zwevende vloer en de muren (plaats dikke schuim of rubber tussen de aansluiting).
Dit is ook zo voor je speakers..hoe minder contact tussen de speakers en de vloer/muur hoe beter.
Plaats dus je standaarden op dikke schuimrubber of gebruik speciale pootjes in de vorm van scherpe punten (zoals quicklok dat bv doet)
Professionele studio's hebben dikwijls 3 tot 4 lagen gipsplaat en rockwool. Mij lijkt deze aanpak voor je huis een beetje overdreven (en je kamer wordt wel erg smal op die manier).
Gebruik je speakers ook zoals het hoort...nearfields gebruik je van dichtbij. Op deze manier heb je minder geluidsvolume nodig om een juist referentiesignaal te horen (hoe dichter je bij een speaker zit, hoe lager het niveau moet zijn).
Gevolg is dat je buren ook al minder "last" zullen hebben.
En nu we het over buren hebben, het is al gezegd dat een praatje maken met de buren over je hobby zal uitwijzen dat ze eigenlijk helemaal geen last van je hebben (overdag dan toch). Dit kan je al een hele hoop isolatiewerken besparen.
geluidsisolatie is trouwens niet hetzelfde als je ruimte voorzien van een goede ackoustiek (is dat wel de juiste schrijfwijze???)
Soit, lees onderstaande eens rustig en je hebt alle info die je nodig hebt (in't engels dan toch).
VLOEREN
If you have a concrete floor, you're probably starting from a reasonably good position, but if the studio is in a bedroom with a wooden floor, you're going to have problems. Not only is a typical domestic floor a relatively poor sound isolator, most of the noisy gear, not to mention tapping feet, will be in contact with the floor, which only makes things worse. Because of this latter consideration, structurally-borne sound needs to be tackled, and the cheapest first step is to fit heavy felt underlay beneath the studio carpet.
Once you've done that, try to get noisy gear off the floor by using speaker stands for your monitors (placing the speakers on blobs of Blu Tack on top of the stands), and try putting things like guitar amps on blocks of thick foam rubber. Drum kits are more problematic, and it's unrealistic to expect a DIY approach to provide anything like complete isolation. The most effective way to reduce drum kit noise is to make a shallow plinth or raft, on which to set up the drum kit, and isolate this from the floor by standing it on thick foam rubber. If this doesn't provide isolation, the next step is to consider a complete floating floor
Professional floating floors can be massive and complex affairs, but for the smaller studio you can build your own quite simply. A floating floor is just a false floor mounted on acoustic isolators above your existing floor, with resilient material around the edge so that it doesn't come into direct contact with the walls. A commercial floating floor may be cast from reinforced concrete, several inches thick, and may be supported over a void several feet deep, the weight being borne by springs or machine-rubber mountings, but clearly this is impractical for most bedrooms!
There are less massive floor designs based on studding and chipboard, or you can even buy a specially made floating floor material comprising chipboard with Rockwool bonded to the underside. This type of structure won't be too heavy for a typical domestic floor to support, and though it won't work as well as six inches of concrete on springs, it will make a very noticeable difference. One commercial material, known as Lamella, is flooring-grade chipboard backed with a tightly packed Rockwool material where all the fibres are perpendicular to the board, rather like the bristles on a scrubbing brush. Fitting the floor would involve fixing a felt strip around the room, somewhat like a felt skirting board, and then laying the Lamella boards atop the existing floor. Once the floor is down, a second layer of flooring chipboard is glued and screwed to the top, with the joints staggered. This adds strength and rigidity to the floor, as well as preventing the individual panels from drifting apart.
This type of flooring may also be used as a base on which to build a small studding/plasterboard room-within-a-room type of studio, as long as the weight of the inner room isn't so great as to cause the floor to bow. I'd be inclined to consider adding a third layer of chipboard to the floor if you're thinking of going for the full room-within-a-room treatment.
An alternative to using Lamella is building a wooden 2x2-inch or 2x4-inch frame and covering it with two layers of flooring chipboard. This may be separated from the original floor by blocks of Neoprene, though the most usual approach is simply to cover the existing floor with Rockwool loft insulation, then lay the studding raft on top of that. Observe the rules of isolation by not allowing the floor to touch the existing walls at any point, and fill any gaps with mastic to ensure the floor is airtight.
RAMEN EN DEUREN
If you don't have double-glazed windows and you have a problem either with sound getting in or sound getting out, then secondary double-glazing is highly recommended. DIY kits are available for a sensible price these days, and because the space between the original window and the secondary glazing is quite large, you'll often find that the amount of sound reduction is better than you'd get from conventional double-glazing alone. If you have a choice of fitting different thicknesses of glass, use the thickest you can, because more mass equates to better low frequency isolation. A cheaper alternative, if daylight isn't a major consideration, is to build a heavy wooden shutter and screw it over the window. If you want to take it down between sessions, then use sash window fasteners to hold it in place.
Doors are rather less simple to deal with, because their mass is much lower than that of the surrounding walls. Fitting good quality draftproof seals will prevent sound leaking around the edge of the door, but a typical lightweight domestic internal door only provides something like 15dB of sound attenuation, even when it fits properly. Fitting heavy curtains over the door helps a little -- but don't expect miracles.
Replacing the door with a heavy fire door will yield some improvement, but it's not until you start fitting double doors that you make any real headway against serious sound leakage. Providing the room adjoining your studio isn't inhabited while you're working, just fitting door seals should be fine -- but don't expect to be able to monitor at full volume without upsetting someone, if the next room is occupied.
