The document discusses key factors to consider when designing music studio acoustics, including acoustic isolation, frequency balance, and reverberation. It emphasizes building walls, floors, and ceilings that are decoupled from one another using materials like gypsum boards, floating floors, dropped ceilings, and insulation to minimize sound transmission. Windows and doors should be solid core and well-sealed. Isolation rooms, booths, and movable partitions can further isolate instruments and vocals.

1. DESIGNING OF
MUSIC STUDIO
ACOUSTICS..
SUBMITTED BY:
AYAN BARANIYA
B.ARCH V SEM

2. ACOUSTICS
 A science dealing with the production, effects and transmission of
sound waves; the transmission of sound waves through various
mediums, including reflection, refraction, diffraction, absorption and
interference.
 When designing or redesigning an acoustic space, the following basic
requirements should be considered:
- Acoustic Isolation
- Frequency Balance
- Acoustic Separation
- Reverberation
- Cost Factors

3. ACOUSTICAL REQUIREMENS FOR A STUDIO..

4. PRIMARY FACTORS GOVERNING STUDIO
AND ACOUSTICS
Important and relevant aspects of acoustics as:
 Acoustic isolation
 Symmetry in control
room and
monitoring design
 Frequency balance
 Absorption
 Reflection
 Reverberation.

5. WALLS
The primary goal is to reduce leakage (increase the transmission loss) through
a wall as much as possible over the audible frequency range. This is
generally done by :
• Building a wall structure that is as massive as is practically possible.
• Eliminating open joints that can easily transmit sound.
GUIDELINES:
• the inner and outer wallboards should not be directly attached to the same
wall studs. The best way to avoid this is to alternately stagger the studs
along the floor and ceiling frame, so that the front/back facing walls aren’ t
in physical contact with each other .
• Increase transmission loss by mounting the additional layers with adhesive
caulking rather than using screws or nails.

6. WALLS
• To reduce leakage that might make it through the cracks, apply a bead
of nonhardening caulk sealant to the inner gypsum wallboard layer at
the wall-to-floor, wall-to-ceiling and corner junctions.
Typical wall construction materials include:
CONCRETE: Solid And Expensive
HOLLOW BRICKS: often easier than Concrete
 GYPSUM PLASTERBOARDS : multiple layers of plasterboard onto a
double-walled stud frame is often the most cost- and design-effi cient
approach to reducing resonances and maximizing transmission loss. It ’
s often a good idea to reduce these resonances by filling the wall cavities
with rock-wool or fiberglass.

7. WALLS

8. FLOORS
 “ Floating ” floor that is structurally decoupled from its subfloor
foundation.
 Uses either neoprene “ hockey puck ” isolation mounts, U-Boat floor
floaters or a continuous underlay, such as a rubberized floor mat.
 The underlay is spread over the existing floor foundation and then
covered with an overlaid plywood floor structure.
 In more extreme situations, this superstructure could be covered with
reinforcing wire mesh and finally topped with a 4-inch layer of concrete
In either case, the isolated floor is then ready for carpeting, wood
finishing, painting or any other desired surface.
 Failing to isolate these allows floor-borne sounds to be transmitted
through the walls to the subfloor — and vice versa
 gaps can be sealed with pliable decoupling materials such as widths of
soft mineral fiberboard, neoprene, silicone or other pliable materials.

9. FLOORS

10. FLOORS

11. CEILINGS
 Reduce this noise by simply carpeting the overhead hallway or by
floating the upper floor.
 hang a false structure from the existing ceiling or from the overhead
joists This technique can be fairly cost effective when “ Z ” suspension
channels are used.
 Z channels are often screwed to the ceiling joists to provide a flexible,
yet strong support to which a hanging wallboard ceiling can be
attached.
 If necessary, fiberglass or other sound-deadening materials can be
placed into the cavities between the overhead structures.
 Other more expensive methods use spring support systems to hang
false ceilings from an existing structure.

12. CEILINGS

13. WINDOWS AND DOORS
 Visibility in a studio is extremely important to communicate.
 Designs vary with studio needs and budget.
 Can range from being deep, double-plate cavities that are built into
double-wall constructions to more modest prefab designs that are built
into a single wall.
 Glass walls
 Access doors to and from the studio, control room, and exterior areas
should be constructed of solid wood or high-quality acoustical
materials.
 The appropriate seals, weather-stripping, and doorjambs should be
used throughout so as to reduce leakage through the cracks.
 acoustical sound lock .This construction technique dramatically
reduces leakage because the air trapped between the two solid barriers

14. WINDOWS AND DOORS

15. WINDOWS AND DOORS

16. ISO ROOMS AND ISO BOOTHS
 Isolation rooms are acoustically isolated or sealed areas that are built
into a music studio or just off of a control room. These recording areas
can be used to separate louder instruments from softer ones (and vice
versa in order to reduce leakage and to separate instrument types by
volume to maintain control over the overall ensemble balance.
 To eliminate leakage when recording scratch vocals
 Designed as totally separate areas that can be accessed from the main
studio or control room, or they might be directly tied to the main studio
by way of sliding walls or glass sliding doors.
 Isolation booths provide the same type of isolation as an iso-room, but
are often much smaller

17. ISO ROOMS

18. ISO BOOTH

19. ACOUSTICAL PARTITION
 Movable acoustic partitions (also known as flats or gobos) are
commonly used in studios to provide on-the-spot barriers to sound
leakage.
 By partitioning a musician and/or instrument on one or more sides and
then placing the mic inside the temporary enclosure, isolation can be
greatly improved in a flexible way that can be easily changed as new
situations arise.
 based around wood frames, fibreglass or other acoustically absorptive
materials with your favourite coloured fabric coverings.

20. ACOUSTICAL PARTITION

21. SYMMETRY