Tools For Fixing Your Home Studio Acoustics – We All Make Music

Tools For Fixing Your Home Studio Acoustics

As stated in the previous articles in this series, soundproofing your home studio can be an expensive, time-consuming proposition. Luckily, treating the acoustics of your home studio is quite the opposite. Believe it or not, it’s not that expensive and can be done in a matter of hours if you have the building blocks on hand.

Acoustic treatment of your room consists of three main components: acoustic panels, bass traps and diffusers. Let’s look at each.

Acoustic Panels
Acoustic panels are the major way that reflections are kept from bouncing around the room. If your walls are hard (meaning there’s no absorption), these reflections are going to cause certain frequencies to cancel themselves out as they bounce around, causing those unwelcome dips and peaks in the room response as well as an uneven reverb decay time.

You can think of an acoustic panel as a very large picture frame that has sound-absorbing material inside instead of a picture. Although you could permanently attach the sound absorbing material to the wall (like most commercial studios do), using sound panels allows you to move them as needed, and even take them with you if you move.

Acoustic panels are easy and inexpensive to make, and we’ll cover just how to do that in a future installment of this series, but they’re also available pre-made from a variety of companies like Ready Acoustics, GIK Acoustics, Real Traps, ATS Acoustics, MSR and many more.

Bass Traps
Most control rooms use what’s known as a “bass trap” to control at least some of the low frequency energy in the room. In most rooms, the main problem at low frequencies is due to one or more deep nulls or peaks in the range, anywhere from 40 to 200Hz. Bass traps reduce the depth of the nulls and attenuate the boomy sounding peaks, and the overall response of the room is flatter as a result. Even though your brain intuitively thinks that you lose low end by attenuating it, the room will actually sound tighter and more predictable, with less change in the response when you move away from the sweet spot.

Bass traps work best in corners because bass tends to collect there, but they can also work well spaced off the front and rear walls. Since bass is omnidirectional, the traps don’t have to be paired or symmetrically placed. The most effective ones extend from floor to ceiling. If that can’t happen, the next most effective method is to just treat the 8 individual corners of the room. Believe it or not, the smaller the room, the more bass traps you will need.

As with acoustic panels, pre-made bass traps are made by a number of manufacturers like the ones mentioned above.

A diffusor scatters sound to reduce the direct reflections from the speakers back to the listener. There are two types of diffusors: 2D and 3D. A 2D diffusor scatters the reflections in the same single plane that they were received, while a 3D diffusor scatters it in random directions at random times. If made well, the 3D diffusor is better at scattering the reflections, but more difficult to build so it’s more expensive.

Diffusors can be used anywhere in the room that doesn’t have acoustic panels. Many large commercial studios use a diffusor on the rear wall, but this is controversial; there are as many designers who believe that the rear wall should be non-reflective as there are those who believe it should be diffuse.

In small rooms where the rear wall is less than six feet from the listening position, you’re likely to have more success trying to absorb the sound with deep traps than you are diffusing it. A bookshelf filled with books is a great natural diffuser (and adds some absorption as well), but shelves randomly filled with objects, or small angle wood blocks can work too. Companies like RPG, Real Traps and MSR also make both off-the-shelf and custom diffusors as well.

With any of these acoustic components, you don’t need to spend a fortune to achieve tangible results. That said, it isn’t easy to predict in advance just how much of an improvement there will be for any given approach (even for the pros studio designers), so some experimentation is required.

In Part 4, we’ll discover the single most important concept that ultimately governs the sound of your room and how your acoustic treatment will be used.

You can find out a lot more about how to build a home studio effectively and inexpensively by consulting The Studio Builder’s Handbook. You can read some excerpts from the book on my website.