Acoustics is the branch of physics that deals with the study of all mechanical waves in gases, liquids, and solids including sounds, speech, and music. This is a broad topic, so this blog post will only deal with one specific aspect of acoustics. If you are interested in the topic, you can find more information on the resources tab, where you can also contact your tutor if you have any questions you want answered.
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Basics of Acoustics
We will start by talking about coverage with acoustics.
Coverage is basically how much you treat the room with your acoustic treatment, how much of the room is covered. So usually, when we’re talking about this coverage, we’ll say that to get in a room, you have to do at least 50 to 75 per cent coverage. That means that 50 to 75 per cent of the walls, ceiling, and floor will be covered with acoustic treatment. So, for example, vocal isolation booths tend to be dead. They don’t have a ton of natural reverb. And so that’s because vocal isolation booths tend to have about 75 per cent or more sometimes of coverage with acoustic treatment. And sometimes it’s a little less, and sometimes it’s a little more. It just depends on how you want the sound to be for your space. So just on the side note, whenever I’m talking about a room sounding more dead or more alive, that’s just talking about how much natural reverb the room has. So in our room has more of that natural reverb. So when you make noise in a room, you hear more of that sound bouncing back towards you. That’s going to sound more live. That’s what we call a more live room.
A good example of a room that would be more dead is an isolation booth or something that has a ton of treatment. And when you make a noise, and you don’t hear a ton of that noise bouncing back at you. So I guess like an example of a room that would be completely dead is an anechoic chamber. And so part of how you treat a room and acoustic space will depend on the type of application you want to use it for. Because if we’re doing something like instructional videos, spoken word recordings, podcasts, audiobooks, those things all tend to require, or we tend to want a room that’s dead sounding. Whereas if we’re setting up a drum set and doing a recording, we might want a little more of the room. We might want it to sound more live. So it depends on what type of thing you’re going to be doing in that room.
I break it down to clients who want me to help them with their acoustics because there are three main components to acoustic treatment. And so this is within an existing room. So if you’re building a room from scratch, then there will be other things to consider from the ground up. So this is within an existing room where you can’t change the actual room, the actual structure, the existing architecture.
The first thing is absorption. And this is the thing that’s usually not forgotten about. It’s usually the thing that’s treated first. It’s what I would say like a layman on the street would notice first about a space. And so basically what absorption does is it helps us avoid flutter echo in a room, and it helps us absorb those mostly high frequencies that will bounce around in a room. So when you clap, and you hear all those high frequencies bouncing around in a room, absorption is one of the things that’s going to help that the most. So another way of wording is that absorption helps us tame the room’s natural reverb.
The way we treat a space with absorption is we’ll take absorbent materials, and we’ll put them usually on the walls, but sometimes on the ceilings to just anywhere that you can play some material. And so, a lot of times, what we’re choosing for that absorptive material is something like an acoustic foam. So if you ever see these;
These are pretty common in sound studios, something that looks like that. It’s just a frame that has some foam in the middle. And that’s what’s counting as our absorption. Sometimes people will see, sometimes we’ll see something with little foam squares that have bumps in them, kind of like an egg carton, but it’s not egg cartons. It’s made out of foam. And so there’s a lot of acoustic foam out there that looks like that. But basically, we’re taking something absorbent, and we’re putting it on the walls, on the ceiling, wherever you want to put it. And you don’t have to use acoustic foam, acoustic foams, kind of like the higher end for this type of thing. You can also use insulation. People have had good results building their frames and then putting insulation in the frames instead of the foam inside the frame. And people have also used things like thick blankets or thick rugs and hung them on their walls around their ceiling. So that’s also something you can use for absorption.
Absorption is one of the things to keep in mind for acoustics. And just in general, what we want to do with absorption is a lot of times, our focus will be on putting that absorption on parallel walls. So walls that are parallel to each other. And we do that because it can help reduce flutter, echo, and when walls are parallel to each other. There are certain frequencies, if their wavelengths are matching and the length of the room, the distance between the two parallel walls, then certain frequencies, those frequencies are going to either augment themselves or cancel themselves out to some capacity. So we end up losing or augmenting, basically not getting a balanced frequency spectrum in that room. So that’s why we tend to focus on parallel walls a lot of times with acoustic treatment.
The second thing out of three that I tend to tell clients to focus on is diffusion. These are good examples visually to get the idea of what we’re talking about.
But basically, with diffusion, we’ll hang something like the image above on the wall a lot of times. And a lot of times, what we’ll do is we’ll put it on the wall that’s behind where the engineer is sitting. It’s in something like the mixing room or the control room. So on the most basic level, the diffusers make it so that it’s breaking up those parallel walls. So these are all different lengths, these little chunks of wood. And so it’s making it so that the distance from the parallel wall to the parallel wall will vary slightly as you go across the room. So that helps prevent those frequencies from either augmenting themselves or cancelling themselves out. So it’s, in a way, it’s breaking up that parallel wall pattern a little bit. So it helps us even out that frequency spectrum a little bit in that sense. And it also helps us do that without getting rid of our acoustic energy. Because we have the absorption panels made of something like foam and those kinds of dead in that acoustic energy because they’re absorbing those higher frequencies, this kind of thing is bouncing frequencies around. It’s just controlling how you’re bouncing them around.
If you’re struggling to keep your space sounding live and not sounding as dead, you can use something like a diffuser to help control and even out your frequency spectrum, control the room a little bit without deadening the room. But then, if you’re doing something like a podcast or spoken word thing where you want the room to be totally dead, I would probably skip this and treat it with nothing but absorption. And that’s just because we want it totally dead. So we want to absorb all the sound. That’s why a lot of smaller vocal boosts since they tend to be used for that kind of purpose. They tend to be treated with a ton of absorption instead of something like this.
Now we get to our final thing, which is bass traps. So bass traps are the type of thing for acoustics that beginners when they’re building their studio at home, maybe, or someone who’s less experienced and is trying to create a space acoustically, people will tend to skip bass traps. But it’s so, so, so important. And that’s because lower frequencies are hard to control. So, for example, with our absorption panels, they’re usually made out of something like foam, and those typically are not dense enough to capture lower frequencies. So they’re not done enough to capture or control in any way the lower end of the frequency spectrum. So low frequencies tend to go through things, but sometimes they’ll get caught up in denser materials. So, for example, if you’re looking at an existing room, you’re not sure what’s in the walls there.
And so sometimes there are materials in your actual walls that are dense enough to capture the low frequencies then and send them back into your room. So one of the issues that people tend to get a lot is low frequencies building up within the corners of their room. And so sometimes we call that base build up in a room. And if you have that, it can make your recording sound booming and gross. So it’s just something that we want to avoid. It’s not something that we want to forget about or ignore if we’re trying to build a nicely treated acoustic space. So bass traps are really important.
So, you know, on a really basic level, we have our absorption panels, and those treat the higher frequencies by capturing them and keeping the room from sounding to live. And then, we have our bass traps, which control the low end of the frequency spectrum. So one’s getting the higher end of the frequency spectrum and reaching the lower end of the frequency spectrum. And then we have diffusion there to keep the sound bouncing around in a controlled way. Sometimes, when I have a client that’s looking to save money. Perhaps I’ll also do something where it doesn’t have to be like a recording studio level of acoustic treatment. If they’re recording podcasts or something like that, then I’ll have them try out the absorptive materials first and then we’ll see how it sounds and go from there. But I always make sure that they understand that bass traps will improve their sound. Even if it’s something, they then decide that it’s okay to skip.