Initially a frequency- & impulse response were scheduled to determine the problem area’s and which acoustic trouble (room modes? early reflections? etc) had to be dealt with.

The software that was used and I can highly recommend for this task is RPlusD from ETF Acoustic (go see their webpage for details).

After the initial measurement it appeared that low frequency room modes and lots of reflections, especially at the mixing/mastering desk, were the key problems.

The following solutions have been applied:

• room modes are handled by moving the monitors & listening position across the long way of the room and installing bass traps (Auralex SonoColumns) in the corners
• reflections are handled by installing absorption panels (Auralex SonoFlat Panels) on the side walls (about 40% coverage)  and Studiofoam Wedgies on the rear wall.
• to prevent the room from being too dead, several diffusion panels (Auralex Q’Fusors) have been applied to the rear wall and the ceiling at the RFZ.

The bass traps, absorption- and diffusion panels are part of Auralex’ SFS 184 room kit.

A second measurement was done, the acoustic treatment appeared to be effective to keep the room modes and reflections within acceptable boundaries.

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• Elimination of transmissions through the building structure are accomplished by using floating walls and floor.
• The floating walls are made up from a framed wood construction containing 12,5 cm Rockwool insulation layer on the inside and a double layer of 12,5 mm gypsum board on the outside.
• The floor is made up from Fermacell Estrich floor elements (insulation layer + double gypsum layer) on top of a new floor construction with transmission isolation (Auralex U-Boat construction) at the underlying floor & the adjacent neighbour walls.

• First of all start with the requirements and intended use of the room: this will be a typical mixing/mastering room, no live instrument/vocal recording intended so isolation requirements are to minimize transmission to the neighbours as much as possible . This is explicitly not a complete airtight construction.
• The room should be as neutral as possible, therefore a low reverberation time (RT60) is required. Acoustics will be measured & handled once all the furniture & gear is in place.
• Because the studio is a new floor on top of the current building I am able to design the construction from scratch, this is an advantage (at least it is to me).

For all of you who are planning a similar project, or are just interested I can recommend the following sources:

• John Sayers’ Recording Studio Design forum
• Homerecording.be forum
• Rod Gervais’ book Home Recording Studio (buy it online for instance @ amazon)

If these sources are talking rocket science from your point of view, hire an experienced professional!!!

Otherwise you might want to follow the DIY approach:

• Read all (and possibly other/more) of these sources carefully and get an impression of what you might need.
• Read them again, and again (yes it’s a lot) and decide on what you really need.
• Make your construction-, electrical- & acoustic plan.
• If possible, ask for 3rd party reviews (for instance Peek-A-Boo Music ) and adjust your plans accordingly.
• Start the construction phase
• Adjust your electrical- & acoustic plan according to the changes (yes, you will face changes) that were introduced during construction phase.
• Start the electrical phase
• Install all the furniture & gear
• Do an initial acoustic (frequency- & impulse response) measurement to determine your problem categories & area’s
• Add acoustic treatment to your room, (re)move furniture and gear.
• Do the extended acoustic (frequency-, impulse- & psychoacoustic response, RT60, etc) measurement to verify the effects of your acoustic treatment
• Adjust the acoustic treatment, move your stuff and repeat measurements until you’re satisfied
• Start making music