dapost
Rehdeko & Harbeth lover
- Μηνύματα
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Σε περίπτωση που κάποιος ενδιαφέρεται να φτιάξει κάτι τέτοιο, μερικές χρήσιμες συμβουλές από έναν ειδικό:
"There aren't many ways you can properly "float" a Studio's main shell. You see a lot of things on the Internuts, often some very bizarre techniques that don't make any sense. Decoupling is a very simple task though, as long as you understand how to do it, what products to use (there are very few candidates) and how to calculate it all properly and precisely.
Some of the oddest things I see are:
1. floating the floor only, not the walls (the floor is poured inside the shell walls). That makes absolutely no sense as it bypasses most of the shell - congratulations you wasted a ton of money.
2. Floors and walls floating separately: it brings nothing to the table but complications, a high risk of structural instability (especially in seismic areas) uneven loading (you can't control the loading quite as well and as you build the inner shell, both will get connected anyway) which adds long term structural issues as compression of the decoupling interface will not be the same between the walls and the floor once under final load.
3. Lightweight floors (usually wooden). This can never work due to the physics involved in such systems. Don't be fooled by the acoustics scammers and self appointed designers selling you such design. In doubt, ask them for the detailed calculations sheet and be surprised if there are any. If you do the maths and work the structural aspects of it all, it's plain clear it can't work.
Rockwool, foam, rubber etc aren't designed for decoupling. Don't use them, it will fail.
So how do you do it efficiently and safely?
You create a floating structural concrete platform on which the specific room (control room, live room or booth) will rest as a whole. You use purpose designed products like Sylomer (as on photos) or springs, etc. and carefully estimate the load per area and vary the products surface so it is evenly loaded when the room is finished, with a natural frequency target under 8Hz, if possible under 5Hz. Estimating torsion (structural modes) in the concrete floor is very important."
Northward Acoustics
"There aren't many ways you can properly "float" a Studio's main shell. You see a lot of things on the Internuts, often some very bizarre techniques that don't make any sense. Decoupling is a very simple task though, as long as you understand how to do it, what products to use (there are very few candidates) and how to calculate it all properly and precisely.
Some of the oddest things I see are:
1. floating the floor only, not the walls (the floor is poured inside the shell walls). That makes absolutely no sense as it bypasses most of the shell - congratulations you wasted a ton of money.
2. Floors and walls floating separately: it brings nothing to the table but complications, a high risk of structural instability (especially in seismic areas) uneven loading (you can't control the loading quite as well and as you build the inner shell, both will get connected anyway) which adds long term structural issues as compression of the decoupling interface will not be the same between the walls and the floor once under final load.
3. Lightweight floors (usually wooden). This can never work due to the physics involved in such systems. Don't be fooled by the acoustics scammers and self appointed designers selling you such design. In doubt, ask them for the detailed calculations sheet and be surprised if there are any. If you do the maths and work the structural aspects of it all, it's plain clear it can't work.
Rockwool, foam, rubber etc aren't designed for decoupling. Don't use them, it will fail.
So how do you do it efficiently and safely?
You create a floating structural concrete platform on which the specific room (control room, live room or booth) will rest as a whole. You use purpose designed products like Sylomer (as on photos) or springs, etc. and carefully estimate the load per area and vary the products surface so it is evenly loaded when the room is finished, with a natural frequency target under 8Hz, if possible under 5Hz. Estimating torsion (structural modes) in the concrete floor is very important."
Northward Acoustics
