ricky-lee anderson - acoustics ug3 - studio design

7/31/2019 Ricky-Lee Anderson - Acoustics UG3 - Studio Design

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Ricky-Lee Anderson

Acoustics and Musical Instruments UG3

CWK2.2 Studio Design


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Contents:

1. Introduction

2. Use Criteria

3. Proposed Plan

4. Room Dimensions, Modes and Reverb Time (Pre-Treatment)5. Final Room Plans

6. HVAC and Power Considerations

7. Conclusion

8. References


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1. IntroductionThe following studio design is based upon an existing

studio space in BCUs TEE Studios.

Exact structural information is not available at present,

so placeholder data will be used in order to propose an

idea that can be used within a limited space.

The current plan presents a large TV Studio space and a

small Mix 1 space for recording purposes. Two small

listening/control/mixing rooms called Mix 2 and 3 are

also present, partially framed by a corridor which is in

use by other teaching departments (albeit not very

often).

The proposed idea is to create a smaller version of the

TV studio, optimised for a music recording space, utilize

the shape of Mix 1 for a voice recording space and tocreate a good control room to utilize both recording

spaces.

A fresh build was assumed for this project, so structural

components can be suitably chosen.

[Figure One: Present TEE Studio Layout]

2. Use CriteriaThe studios need to be designed for the use of BCUs Sound Engineering students. The students will be using

these studios for a range of applications such as recording musical instruments, speech, singing, related

measurements, Foley, ADR and lessons.The range of musical tastes and preferred subjects (and their associated studio usage) will mean the studio will

need to accommodate a broad range of use and frequency/reverberation content.

The aspect of lessons in the studios also mean that visual orientation of the studios will be beneficial, i.e. being

able to see what is going on in each space from each room. This does mean that large monitors will also be

utilized for visual aid in DAW training which may lead to some acoustical issues.


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3. Proposed PlanWith the view in same orientation to Fig.1 we can see the

proposed floor plan. The TV studio has been shortened into a

Sepmeyer Room Ration (more to follow) and will be used as a

control room for the upper room top half of TV Studio, Mix3 and most of Mix 2 joined...this will be the main recording

space.

The old position of Mix 1 has been moved up to border with

the main recording space, the remainder of the original Mix 1

will be used to store equipment to facilitate the studios

instead of being stored one story down.

The outer shell of the whole structure has been constructed

of 8x16 concrete blocks, which have been plastered on

both sides. This gives a good Sound Transmission Class (STC)of 56dB

[1][2].

These have been lined with another layer of 2x 5/8 gypsium

board with 9 thick of rockwool. The studs are staggered or

given a 1 gap (so there is no contact between inner and and

outer shell).

This single layer of internal wall has a rating of between STC

46-52dB by itself[1]

giving extra STC on top of the concrete,

but also creating a more uniform absorption of the walls. [Figure Two: Proposed Changes to TEE Studio Space]

[Figure Three: STC63 rated studio wall]

The internal room-separating is illustrated in Fig.3

which is almost identical to the inner wall paired

with the outer shell, except it has its own outer

layer of another 2 x 5/8 gypsium.

This wall has STC 63dB rating according to Berger

and Roses Partitions article (1985)[3][1]

. Which

gives a generous amount of isolation from room-

to-room before any diffusion and absorption is put

in place.


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For the purposes of visual communication between musicians and

producer/engineer, as well as practical purposes for lessons within

the studio, internal windows have been proposed between all

rooms within the studio.

The trade-off is obviously changes in the uniformity of the wall

absorption coefficient area, wall STC rating, reflections and

different coincident effects.

Some of these issues have been considered by using alternate

thickness laminated glass panels (1/4 and 3/8) which will

bend/vibrate at different wavelengths of incident sounds (1372Hz

and 914.7Hz respectively). The resonance inside the airtight cavity

between the two glass panels has been considered by adding

absorptive material - with a cover for aesthetics. The glass panels

are also angled facing down, so early reflections will be deflected

downwards towards what is expected to be a fairly absorptivecarpet; this also creates a non-uniform cavity which decreases

isolation at its narrowest point. But the visual and light reflection

issues for artists and lessons have equal priority.

[Figure Four: Window Construction]

The window panes are bedded on 7 2/8 x 2 blocks, with thick 1x 1 (at least on bottom) securing trim. The

panes will rest in neoprene stops and be glazing taped around the edges to further enhance the seal, whilst

consideration has been kept to keep both sides of the wall from coupling to each other. Finally, silica gel could be

placed inside the cavity to prevent moisture/fogging issues.

The doors within the studio will need to prevent

noise from entering or exiting the rooms to

maintain integrity of recording and so as to not

interfere with other lessons.

[Figure Six: Frequency Attenuation of 50mm MDF door with

bitumen insert, Rw value is EU version of STC] [4]

[Figure Five: Studio Door Construction]

Fig.6 shows the performance of 2 x 25mm MDF layers with a

bitumen layer in the middle. This has been chosen for

performance and weight reasons so the frame does not need

to be specially adapted.

A double-door soundlock system, with 2 x weatherstrip seals

and a PVC Magnetic seal was chosen, this system has less wear

and tear than clipping or lifting and is easier to use for students

going in and out of the rooms. Also, a cavity absorber, similar to

the windows has been utilized to absorb stray cavity resonance.


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[Figure Seven: Frequency attenuation for differing door frames and bracing][4]

Fig.7 illustrates the differences in frequency

response for MDF versus Soft Wood door

frame. The MDF displays a more prominent

dip in 500-1kHz region coincidence effect,

so a soft wood frame has been chosen.

There is negligible differences between

diagonal cross bracing and not. However in

the interest of safety due the door in this

studio will be diagonal cross braced.

Finally, another layer of bitumen is added

to the inner layers of the door to help with

the 2nd

Weather-stripping seal. This will also

help with the isolation even if by small amounts (1-3dB STC per BBC [4]). Overall the sound lock door system has2 x 40dB STC (plus the inner layer of bitumen each side) and a good sealing system. Absorptive compressed

Rockwool will be on the outside of the softwood frame, all sealed off by acoustic backing rods and acoustic caulk

sealant.

Isolation:

[Figure Eight:

Isolation of inner

from outer wall][5]

The studded walls keep

isolation (almost) from

themselves in their design,

Fig.9, and can support their

own weight.

They do however join at the

ceilings and floors, Fig.8

shows how isolation can be

achieved with angled head

strips and walls isolation

pads as pictured in Fig.10.

The Gypsum walls can also

be held in secure andisolated by an acoustic wall-

tie as pictured in Fig.8.

[Figure Nine: Gypsum wall structure showing internal self support][6]

[Figure Ten: Angled Head Strip and Wall Isolation Pad] [5]

For ease of design and due to lack of knowledge concerning the floor

construction of the existing TEE structures of Mix 1, 2, 3 and TV studio (the

floors differ), an assumption is made of a concrete base with no structural

load limitations.

With this in mind, the use of Mason UK Ltds isolation strips/pads will be

implemented. On top of the strips, 4 concrete slabs (STC 54dB) will be [Figure Eleven: Floor Isolating Strips][5]


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used the air gap in between the two layers is almost negligible

but may raise the STC to just above 60dB which matches the

wall STC ratings.

Illustrated, in Fig.12 is a cross section of the foundation, 4 slabs

and wall isolation using acoustic caulking and islolation strips. The

floor is surrounded by 2 x 6 wooden framing.

[Figure Twelve: Floor isolation from walls and

foundation]

Again, due to lack of knowledge and

ease of design, an assumption of a

standard type ceiling has been madefor TEE Studio.

Using the 2 x 10 joist of the ceiling,

with a decking/ tiles/carpet, a 9

layer of Rockwool and 2 x 5/8 Gypsum

board there is a case for a similar STC

of a the dividing walls. However the

joist couples the two membranes. So a

suspended ceiling has been decided to

be used to avoid this affect.

[Figure Thirteen: Initial Treatment for the ceiling under load]

[Figure Fourteen:

suspended ceiling

model]

Mason UK Ltd HD-B Ceiling hangers

will be used. The rubber element

decouples the two membranes.

The two membranes with 9

Rockwool layers, should produce an

STC rating similar to that of the

dividing internal walls (STC63).The suspended ceiling panels,

however will be Gyptone[7], which has

a similar mass to Gypsum, but slightly

higher absorption.

The height of 88 along where Mix 1,

2, 3 was will be restored to the same

height as TV studio for uniformity and

improvement of modes.[Figure Fifteen: Mason UK type suspended ceiling]


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Additional considerations:

Green Glue is to be used to bond all

of the 2 x 5/8 Gypsum boards

together, illustrated Fig.16.

All seams and cracks will be sealed

with acoustic caulking to ensure an

air tight seal. Fire Stop Blocks will be

installed in place on the tops of

Gypsum/drywalls to prevent the

chimney effect.

*Figure Sixteen: Green Glue used to join 5/8+ [Figure Seventeen: Fire Stop

building precaution]

Surface: STC Rating: The wall constructions can vary; depending on if they are internal dividers or paired with

the outer shell. However they roughly match, along with the ceiling...the differences

should be negligible. The floor may have a slightly higher rating, depending on the effectof the gap between the base and the isolating strips. This should not be too significant.

Walls 63dB

Floor 60-63dBCeiling 63dB

4. Room Modes, Dimension and Reverb Time (Pre-Treatment)

[Figure Eighteen: Control Room Dimensions] [Figure Nineteen: Large Live Room Dimensions]

[Figure Twenty: Small Live Room Dimensions]

Fig. 18, 19, 20 Illustrate the original dimensions of the room, minus

the area taken by the wall/floor/ceiling construction the room

dimension ratios used are in the black boxes.

Due to the extra space created by the ratio used in the Control

Room, the narrow width of the old Mix 1 space just could be

broadened to fit the smallest Sepmeyer Ratio, the length

extending back into the closet space marginally.


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Control Room

[Figures Twenty One, Twenty Two: Mode Strength and Bonello graph of Control Room space]


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[Figure Twenty Three: RT60 Calculator and results Control Room]


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Large Live Room:

[Figure Twenty Four, Twenty Five: Room Mode Strengths and Bonello Graph Large Live Room]


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[Figure Twenty Six: RT60 Calc and results Large Live Room]


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Small Live Room:

[Figure Twenty Seven: Room Mode Strength and Bonello Graph Small Live Room]


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[Figure Twenty Eight: RT60 Calc and results for Small Live Room]


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Schroeder Cut-Off Frequency = 2000

(RT60 was calcd in metric)

Control Room (0.33s) Large Live Room (0.36s) Small Live Room (0.2s)

148Hz 140Hz 186Hz

Desired Reverb Time

0.2-0.3s 1s

- This space needs to be around 0.3-

0.5s as room colouration is not

desirable [8].

- a live-end dead-end (LEDE)

approach will be used so the room

can be used to mix

- All frequencies below the Schroeder

Cut-off will be treated with

absorption in the corners

- The reverberant field needs to be

relatively short/long to suit most

types of music/testing/Foley etc

- the existing RT60 is fairly short, so

reflective panels will need to be an

option

- the existing time is excellent for

testing and foley, perhaps a more

diffuse field can be considered- frequencies below Schroeder Cut-off

will be treated with absorption

- The room is intended for vocal and

Foley use, so a relatively dead room

is required, the RT60 is adequate for

this with a few LF coincidental issues

to be trapped

-

Due to the nature of the STC63 walls with Rockwool (13 in total) they will absorb 1KHz freq, so diffusion

around this area needs to be achieved.

Bass energy is concentrated in the corners and at antinodes this must be considered[9]

In all rooms, for simplicity, only axial & coincidental tangential modes (up to 300Hz) have been considered,

see appendix A for full modes list

The Bonello curves for each room appear to follow the idea, and have no substantial flats, or any dips in the

response

5. Final Room Plans

[Figure Twenty Nine: Control Room with treatment]

Control Room:

- Bass traps in the corners tuned to wave length,

of 100Hz. As the bass trap becomes thinner

towards the edges so will the absorption of the

trap rise and will also cover up to the Schroeder

Cut-Off Frequency (this covers a range of lower

frequency issues terminating in the corner)

- The couch will also trap lower frequencies in the

corner

-

[Figure Thirty: Bass Trap design for corner] Ref[17]


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The bass traps are combined with wideband absorption panels fitted to the area surrounding the observation

window and the same panels are placed within the distribution angles of the studio monitors to absorb early

[Figure Thirty One: Sloped front wall absorption] Ref [16]

The front end of the room will also have a vertical slope of panels

installed; the panels and traps around the front end preserve the

reflection-free zone (keeping in mind the possible angles of

incidence of sound from monitors)for the engineerdead end.

Schroeder diffusion tuned to a wideband of mid/high frequencies

using the well depth proportionality factor = n2modulop

Three have been joined at the back wall to increase the surface

area of the unit via repetition of diffuser number sequence, hence

increase the diffusion creating a live end.

[Figure Thirty Two: Large Live Room Treatment]

Large Live Room:

- Again, the same build of bass trap has been used,

as well as there being a larger couch present.

- A point of note being is that while the couches in

both rooms help with LF absorption, so it provides

seating for students during the lesson.

- The treatment for this room, which has a low RT60

time for a live room(ideally this should be around

1sec ), is to create a diffuse sound field within the

LMF/MF/HMF area. Two different types of diffusers

have been used, three of the same on two walls and

a slightly lower tuned one on the wall hosting the

door.

- There are also two adjustable reflective/absorptive

panels next to the diffusers. Along with the HD

monitor panels and observation window, this should

create a fairly reflective option for the room if

required.


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[Figure Thirty Three: Small Live Room Treatment]

Small Live Room:

- Because of space restrictions the bass traps occupy

the same space as the larger rooms. The Schroeder

Cut-Off Frequency also is a little higher, so the basstrap has been tuned to length of 150Hz

- Broadband acoustic panels to absorb freq from

6kHz upwards have been distributed throughout the

room with the aim of reducing HF noise and keeping

the liveliest frequency area of 1-6KHz for

speech/vocal recording

- The main aim in treating this room was mainly to

deal with the minor issues of coincidence (Fig.27

shows no axial coincidences, only axial with some

tangential modes) at LF

6. HVAC and Power Requirements

[Figure Thirty Four: Mains Breaker Box] Ref [12]

In Fig.34 we can see a mains breaker box with the main

switch near the top, which is separated into a 13 ampere

line for switches [10], and 6 amps for lighting [11].

The aim is to keep the gear on one line, separate from the

other equipment. However the this cannot be customized in

an existing electrical system of TEE, the best that can behoped for is placing the whole studio on separate lines for

lighting and sockets.

Ideally a star/isolated grounding system should be used. This

could be achievable if we could create isolated ground

paths to a separate ground panel that then runs to the main, as well as a common ground line to the main [see

appendix B].


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[Figure Thirty Five: Duct Coupling] Ref[1]

A few basic considerations concerning

the air conditioning, firstly, not to

acoustically couple rooms together via

the ducts. The most sensitive room will

be the Large Live room (once noise

gets into a recording its permanent),

so this room will be coupled with the

closet space, and the control room

with the corridor. The small live room

will have its own vent-port. [Figure Thirty Six: Turbulence treatment]

Ref [1]

Also, bends and joins contribute to air-turbulencewhich is responsible for higher NCB ratings in the rumble

(R) region. This must be addressed with acoustic treatment or possibly expansion chambers/tuned silencers if

necessary.

BTU, Heat and Fresh Air Requirements

Control Room Large Live Room Small Live Room

Surface Area: 984.23ft2

Floor/Surface Area: 228ft2

Mac Pro: 285W Max [13]

C24 Desk: 140W [14]

NS-10 Monitors: 120W Max [15]

People: 141.48 * 15 = 2122.2

(avg person BTU with a max

capacity class assumed)

Total: 2667.2

Conversion (W * 3.4129) =

9102.89 BTU@hour

*This is a rough estimate, a deeper

enquiry will have to be made once

more decisions on equipment and

system power rating has been

done

Surface Area: 1152.492

Floor/Surface Area: 280.512

Surface Area: 464.86ft2

Floor/Surface Area: 178.94ft2

***[Author note: I have ran out of time to complete this assignment. Please be kind,

towards what I have completed, thanks!]***


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8. References

[1] Alton Everest, F; Pohlman, K. The Master Handbook of Acoustics 5th

Edition: Control of Interfering Noise, pg.

297-301; McGraw-Hill (2009).

[2] Northeast Solite Corporation: Block Specifications, sourced athttp://www.nesolite.com/blockspec.htmon

14/04/2012[3] Berger, R; Rose, T: Partitions (1985); sourced at

http://mixguides.com/studiodesign/tips_and_techniques/partitions-studio-design-1085/on 14/04/2012

[4] Plumb, G; Clark, R; BBC R&D Report: The Sound Insulations of Studio Doors Part 1, BBC RD (1994) sourced at

http://downloads.bbc.co.uk/rd/pubs/reports/1994-14.pdfon 16/04/2012

[5] Mason UK Ltd: Vibration Control Products and Acoustic Floor Systems, sourced athttp://www.mason-

uk.co.uk/acoustically-isolated-walls.aspon 16/04/2012

[6] Waterman, T. Walls and Ceilings: Musical Instruments and Acoustics, lecture notes SEP UG3 (2012).

[7] Gyproc Saint-Cobain website: Gyptone Acoustic Ceilings, sourced at

http://www.gyptone.com/products/acustic+wallon 26.04.12

[8] Sound On Sound: Practical Acoustic Treatment Pt3, sourced athttp://www.soundonsound.com/sos/sep98/articles/acoustic_3.htmlon 26.04.2012


Edition:Acoustics of Listening Rooms, pg.

229-342; McGraw-Hill (2009).

[10] DTI Product Standards, Electrical Equipment: Requirement for Plugs and Sockets (2007), sourced at

http://www.bis.gov.uk/files/file38628.pdfon 26.04.2012

[11] DIYData, Understanding Domestic Lighting Cicuits (2000-2012), sourced at

http://www.diydata.com/planning/electric_lights/electric_lights.phpon 26.04.2012

[12] Bourbon, A, (2009). Electrics and HVAC. Lecture notes for BSc Sound Engineering.

[13] Mac Pro: Power Consumption and Thermal Output, sourced athttp://support.apple.com/kb/HT2836on

26.04.2012

[14]Control 24 Product Sheet, sourced athttp://akmedia.digidesign.com/products/docs/Control_24_13285.pdf

on 27.04.2012

[15] NS-10.net: Fan Page for Yamaha NS-10, sourced athttp://www.ns-10.net/category/specifications/on

27.04.2012


Edition:Acoustics of Control Rooms, pg.

355-365; McGraw-Hill (2009).


Edition:Absorption, pg. 179-222;

McGraw-Hill (2009).

X. Appendices

Appendix A:

Control Room Large Live Room

All Modes

nx ny nz f Type

1 0 0 34.3 Axial0 1 0 40.7 Axial

1 1 0 53.2 Tangential

All Modes

nx ny nz f Type

1 0 0 28.0 Axial0 1 0 40.7 Axial

http://www.nesolite.com/blockspec.htmhttp://www.nesolite.com/blockspec.htmhttp://www.nesolite.com/blockspec.htmhttp://mixguides.com/studiodesign/tips_and_techniques/partitions-studio-design-1085/http://mixguides.com/studiodesign/tips_and_techniques/partitions-studio-design-1085/http://downloads.bbc.co.uk/rd/pubs/reports/1994-14.pdfhttp://downloads.bbc.co.uk/rd/pubs/reports/1994-14.pdfhttp://www.mason-uk.co.uk/acoustically-isolated-walls.asphttp://www.mason-uk.co.uk/acoustically-isolated-walls.asphttp://www.mason-uk.co.uk/acoustically-isolated-walls.asphttp://www.mason-uk.co.uk/acoustically-isolated-walls.asphttp://www.gyptone.com/products/acustic+wallhttp://www.gyptone.com/products/acustic+wallhttp://www.soundonsound.com/sos/sep98/articles/acoustic_3.htmlhttp://www.soundonsound.com/sos/sep98/articles/acoustic_3.htmlhttp://www.bis.gov.uk/files/file38628.pdfhttp://www.bis.gov.uk/files/file38628.pdfhttp://www.diydata.com/planning/electric_lights/electric_lights.phphttp://www.diydata.com/planning/electric_lights/electric_lights.phphttp://support.apple.com/kb/HT2836http://support.apple.com/kb/HT2836http://support.apple.com/kb/HT2836http://akmedia.digidesign.com/products/docs/Control_24_13285.pdfhttp://akmedia.digidesign.com/products/docs/Control_24_13285.pdfhttp://akmedia.digidesign.com/products/docs/Control_24_13285.pdfhttp://www.ns-10.net/category/specifications/http://www.ns-10.net/category/specifications/http://www.ns-10.net/category/specifications/http://www.ns-10.net/category/specifications/http://akmedia.digidesign.com/products/docs/Control_24_13285.pdfhttp://support.apple.com/kb/HT2836http://www.diydata.com/planning/electric_lights/electric_lights.phphttp://www.bis.gov.uk/files/file38628.pdfhttp://www.soundonsound.com/sos/sep98/articles/acoustic_3.htmlhttp://www.gyptone.com/products/acustic+wallhttp://www.mason-uk.co.uk/acoustically-isolated-walls.asphttp://www.mason-uk.co.uk/acoustically-isolated-walls.asphttp://downloads.bbc.co.uk/rd/pubs/reports/1994-14.pdfhttp://mixguides.com/studiodesign/tips_and_techniques/partitions-studio-design-1085/http://www.nesolite.com/blockspec.htm


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0 0 1 65.1 Axial

2 0 0 68.6 Axial



2 1 0 79.7 Tangential0 2 0 81.4 Axial

1 1 1 84.1 Oblique



3 0 0 102.9 Axial

2 1 1 103.0 Oblique



1 2 1 109.8 Oblique

3 1 0 110.6 Tangential3 0 1 121.7 Tangential

0 3 0 122.1 Axial

2 2 1 124.8 Oblique


3 1 1 128.4 Oblique

0 0 2 130.3 Axial






1 1 2 140.7 Oblique

1 3 1 142.6 Oblique


3 2 1 146.5 Oblique



2 1 2 152.7 Oblique0 2 2 153.6 Tangential

2 3 1 154.5 Oblique

4 1 1 157.2 Oblique

1 2 2 157.4 Oblique



0 4 0 162.8 Axial



2 2 2 168.2 Oblique

3 1 2 170.9 Oblique

5 0 0 171.4 Axial

2 0 0 55.9 Axial

0 0 1 65.1 Axial




1 1 1 81.7 Oblique

3 0 0 83.9 Axial




2 1 1 95.0 Oblique



3 0 1 106.2 Tangential1 2 1 107.9 Oblique

4 0 0 111.8 Axial

3 1 1 113.7 Oblique


2 2 1 118.3 Oblique


0 3 0 122.1 Axial




3 2 1 133.8 Oblique


4 1 1 135.7 Oblique




1 1 2 139.3 Oblique

5 0 0 139.8 Axial1 3 1 141.2 Oblique



2 1 2 147.5 Oblique


2 3 1 149.3 Oblique

4 2 1 152.9 Oblique




1 2 2 156.1 Oblique

5 1 1 159.5 Oblique


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4 2 1 172.3 Oblique

3 3 1 172.4 Oblique




1 4 1 178.7 Oblique

1 3 2 181.8 Oblique



3 2 2 184.9 Oblique

5 1 1 187.8 Oblique

2 4 1 188.3 Oblique




4 1 2 193.5 Oblique

4 3 1 194.8 Oblique

0 0 3 195.4 Axial



5 2 1 200.6 Oblique

1 1 3 202.5 Oblique

3 4 1 203.3 Oblique

0 5 0 203.5 Axial

6 0 0 205.7 Axial

4 2 2 205.9 Oblique

3 3 2 206.1 Oblique






1 4 2 211.3 Oblique




1 2 3 214.4 Oblique




1 5 1 216.4 Oblique5 1 2 219.1 Oblique

2 4 2 219.5 Oblique

3 1 2 160.2 Oblique


3 3 1 161.8 Oblique

0 4 0 162.8 Axial



6 0 0 167.7 Axial




5 2 1 174.4 Oblique

3 2 2 175.0 Oblique


4 1 2 176.4 Oblique1 4 1 177.6 Oblique

4 3 1 177.9 Oblique



1 3 2 180.7 Oblique


2 4 1 184.1 Oblique

6 1 1 184.5 Oblique



2 3 2 187.1 Oblique

4 2 2 190.0 Oblique


3 4 1 194.4 Oblique

5 1 2 195.4 Oblique

0 0 3 195.4 Axial

7 0 0 195.7 Axial

5 3 1 196.7 Oblique


6 2 1 197.5 Oblique




1 1 3 201.5 Oblique


0 5 0 203.5 Axial





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6 1 1 219.6 Oblique

5 3 1 220.3 Oblique



2 2 3 222.5 Oblique4 4 1 222.6 Oblique

2 5 1 224.4 Oblique

3 1 3 224.5 Oblique

4 3 2 225.1 Oblique


5 2 2 230.2 Oblique


6 2 1 230.6 Oblique

3 4 2 232.5 Oblique

1 3 3 232.9 Oblique3 2 3 235.3 Oblique


3 5 1 237.2 Oblique



7 0 0 240.0 Axial

2 3 3 240.4 Oblique


4 1 3 242.2 Oblique



1 5 2 244.1 Oblique

0 6 0 244.2 Axial

5 4 1 245.2 Oblique



6 1 2 246.9 Oblique

5 3 2 247.5 Oblique


4 4 2 249.6 Oblique

2 5 2 251.2 Oblique

7 1 1 252.0 Oblique

4 2 3 252.2 Oblique

3 3 3 252.3 Oblique





1 6 1 255.1 Oblique

5 2 2 207.7 Oblique

4 4 1 208.0 Oblique


7 1 1 210.2 Oblique

1 4 2 210.4 Oblique4 3 2 210.7 Oblique






1 2 3 213.5 Oblique



1 5 1 215.5 Oblique2 4 2 215.9 Oblique

6 1 2 216.2 Oblique

3 1 3 216.5 Oblique

6 3 1 217.5 Oblique

2 2 3 218.9 Oblique


2 5 1 220.9 Oblique

7 2 1 221.7 Oblique

8 0 0 223.7 Axial

5 4 1 224.3 Oblique

3 4 2 224.8 Oblique


5 3 2 226.8 Oblique


6 2 2 227.4 Oblique

3 2 3 227.7 Oblique

4 1 3 228.8 Oblique

3 5 1 229.6 Oblique


1 3 3 232.1 Oblique





8 1 1 236.5 Oblique

4 4 2 236.6 Oblique

2 3 3 237.1 Oblique


4 2 3 239.4 Oblique


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1 4 3 256.6 Oblique

6 2 2 256.7 Oblique


0 0 4 260.5 Axial

7 2 1 261.7 Oblique2 6 1 261.9 Oblique


3 5 2 262.6 Oblique


5 1 3 263.1 Oblique

2 4 3 263.4 Oblique



1 1 4 265.9 Oblique




5 4 2 269.9 Oblique

6 4 1 270.3 Oblique

5 2 3 272.4 Oblique

6 3 2 272.4 Oblique

2 1 4 272.4 Oblique

3 6 1 272.9 Oblique



5 5 1 274.0 Oblique

8 0 0 274.3 Axial

3 4 3 274.3 Oblique

1 2 4 275.1 Oblique

7 1 2 276.1 Oblique


7 3 1 277.0 Oblique


1 6 2 278.9 Oblique



2 2 4 281.4 Oblique



3 1 4 283.0 Oblique


1 5 3 284.2 Oblique8 1 1 284.8 Oblique

7 2 2 284.9 Oblique

7 3 1 239.7 Oblique


4 5 1 241.2 Oblique


6 4 1 242.7 Oblique1 5 2 243.3 Oblique

5 1 3 243.7 Oblique

0 6 0 244.2 Axial

6 3 2 245.0 Oblique

3 3 3 245.2 Oblique


8 2 1 246.8 Oblique


2 5 2 248.0 Oblique


5 4 2 251.0 Oblique

9 0 0 251.6 Axial


5 2 3 253.7 Oblique

1 6 1 254.3 Oblique





5 5 1 255.4 Oblique

3 5 2 255.8 Oblique

1 4 3 255.9 Oblique

4 3 3 256.1 Oblique




2 6 1 258.9 Oblique


0 0 4 260.5 Axial

6 1 3 260.7 Oblique

8 1 2 262.0 Oblique


7 4 1 262.8 Oblique

8 3 1 263.0 Oblique

9 1 1 263.1 Oblique



7 3 2 264.9 Oblique


24/27

0 7 0 284.9 Axial

2 6 2 285.2 Oblique


6 1 3 286.6 Oblique


4 6 1 287.6 Oblique


4 4 3 289.0 Oblique


1 3 4 289.8 Oblique


2 5 3 290.3 Oblique

3 2 4 291.7 Oblique



8 2 1 293.4 Oblique

1 7 1 294.3 Oblique


6 2 3 295.2 Oblique

3 6 2 295.3 Oblique

2 3 4 295.8 Oblique

5 5 2 296.3 Oblique

6 5 1 296.6 Oblique

4 1 4 297.2 Oblique

7 4 1 297.2 Oblique


7 3 2 299.1 Oblique

2 7 1 300.2 Oblique


3 5 3 300.3 Oblique

1 1 4 265.2 Oblique

4 5 2 266.3 Oblique

3 6 1 266.3 Oblique


6 4 2 267.6 Oblique3 4 3 267.8 Oblique


5 3 3 269.5 Oblique

2 1 4 269.5 Oblique

6 2 3 270.1 Oblique

8 2 2 271.3 Oblique

6 5 1 271.7 Oblique

9 2 1 272.4 Oblique



4 6 1 276.4 Oblique



3 1 4 276.7 Oblique


4 4 3 277.8 Oblique

1 6 2 278.2 Oblique

2 2 4 278.6 Oblique

5 5 2 279.2 Oblique

7 1 3 279.5 Oblique





2 6 2 282.4 Oblique



1 5 3 283.5 Oblique8 4 1 284.2 Oblique

0 7 0 284.9 Axial

6 3 3 285.0 Oblique

3 2 4 285.5 Oblique

7 4 2 286.0 Oblique

8 3 2 286.2 Oblique

9 1 2 286.2 Oblique


4 1 4 286.4 Oblique

9 3 1 287.2 Oblique2 5 3 287.6 Oblique



25/27

7 2 3 288.3 Oblique

5 6 1 288.8 Oblique

1 3 4 289.1 Oblique

3 6 2 289.2 Oblique

7 5 1 289.8 Oblique5 4 3 290.2 Oblique



2 3 4 293.1 Oblique

1 7 1 293.6 Oblique

6 5 2 294.2 Oblique

3 5 3 294.3 Oblique

9 2 2 294.8 Oblique

4 2 4 295.0 Oblique




2 7 1 297.6 Oblique

5 1 4 298.4 Oblique

4 6 2 298.5 Oblique

3 3 4 299.7 Oblique


8 1 3 299.8 Oblique

7 3 3 302.3 Oblique


Small Live Room

All Modes

nx ny nz f Type

1 0 0 54.1 Axial

0 1 0 65.9 Axial

0 0 1 75.1 Axial



2 0 0 108.2 Axial

1 1 1 113.7 Oblique



0 2 0 131.9 Axial


2 1 1 147.3 Oblique

0 0 2 150.3 Axial



1 2 1 161.1 Oblique


26/27

3 0 0 162.4 Axial



1 1 2 172.8 Oblique



2 2 1 186.4 Oblique

3 1 1 190.7 Oblique

2 1 2 196.6 Oblique

0 3 0 197.8 Axial



1 2 2 207.1 Oblique


4 0 0 216.5 Axial

1 3 1 218.4 Oblique


3 2 1 222.2 Oblique

0 0 3 225.4 Axial



2 2 2 227.3 Oblique


3 1 2 230.8 Oblique



2 3 1 237.7 Oblique

4 1 1 238.4 Oblique

1 1 3 241.0 Oblique





3 2 2 257.5 Oblique

2 1 3 258.6 Oblique



0 4 0 263.7 Axial

4 2 1 264.4 Oblique

1 2 3 266.7 Oblique

3 3 1 266.7 Oblique


5 0 0 270.6 Axial


27/27

2 3 2 270.9 Oblique

4 1 2 271.6 Oblique





2 2 3 282.7 Oblique


3 1 3 285.5 Oblique

5 1 1 288.5 Oblique


4 2 2 294.7 Oblique

2 4 1 294.8 Oblique


0 0 4 300.5 Axial

Appendix B:

- Basic geometry of a star grounding system, Ref [12]

ricky-lee anderson - acoustics ug3 - studio design

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