By Azuni Voice
It’s advisable to start by removing whatever we don’t need from the room before we start adding new stuff. You may not be able to entirely clean the area if it serves as a bedroom, living room, or other function. Anything that can be taken out should be taken out.
Good recordings are nearly impossible without acoustic treatment, and many beginners skip this step out of ignorance or a lack of funds, only to regret it later. Your bass traps should be your initial buy. There are two types of absorbers to choose from: porous and resonant absorbers.
When it comes to general acoustic issues, porous absorbers are like the first line of defense. They are highly successful at taming typical problems like as room modes, standing waves, flutter echo, and speaker-boundary interference response, and can be built from acoustic foam, fiberglass, or Rockwool. They’re effective because they have good broadband absorption, which means they act across the full frequency spectrum. Porous absorbers, despite their adaptability, have one major disadvantage.
Unless they’re made super-thick or spaced far away from the wall, they won’t be able to absorb the lowest bass frequencies. The reason for this is that they can only work when a sound wave is at its maximum velocity, which is 1/4-wavelength from the wall in your room. Because a 100 Hz wave is 11.3′ long, its maximum velocity is 2.8′ away from the wall.
Resonant absorbers work in the opposite way of tuned traps, focusing on specific problems with bass frequencies while disregarding everything else in the mid/upper range. Because the pressure is most up against the wall where the sound waves meet, resonant absorbers operate best there. This is advantageous because they take up significantly less space in the room. Helmholtz resonators, which absorb bass frequencies through a small port in an airtight cavity, and Diaphragmatic absorbers, which neutralize bass frequencies with a vibrating panel or membrane, are the two types you should be familiar with.
In most professional studios, porous and diaphragmatic absorbers operate together and simply alter the ratio to achieve the desired acoustics. With more porous absorption and more diaphragmatic absorbers, a drier “studio sound” can be created, whereas with less porous absorption and more diaphragmatic absorbers, an ambient “live sound” can be achieved.
Next, you’ll need to get some acoustic panels and diffusers. Several manufacturers also sell complete bundles that include everything you’ll need. Bass traps are typically placed in the room’s corners, as this is where the long-bass waves tend to congregate. Acoustic panels and diffusers can also be purchased to help balance surface reflections. Sound waves are frequently broken up by diffusers so that they don’t reflect off a flat wall surface.