And to get the best acoustical qualities in your new room, it’s important to bring in an acoustical designer like MediaRooms at the very start. This allows many ideas to be floated and changes to be made while everything is still just pixels in a CAD file, and not cast in stone. Or wood. Or drywall.
And this means we have the best opportunity to create a room with a really great sound.
By calculating the prospective room’s resonances (“modes”), aiming for an even distribution in the frequency domain, we can get a good idea of how well it will perform sonically. If it doesn’t look good, we select some new dimensions and try again. This process can be repeated as many times as needed until we get that smooth, even distribution. All that’s needed to accommodate this is to change the CAD drawings. Without driving a single nail or cutting a single 2 X 4.
This process virtually ensures that your room will sound great when it’s finished.
This is also when we can address important issues such as how much isolation is required from other workspaces and neighbors, air conditioning noise and isolation, and other important details. All with an eye toward building a room that performs well and operates smoothly.
But this is also an important time to avoid making mistakes that you would be stuck with forever, once your room is built.
Sound is your business, so it’s crucial to bring in acoustical expertise early, when it can be used to minimize pitfalls and maximize success.
This is where MediaRooms will help you.
Give us a call today.
With new construction we have the option to adjust the room’s dimensions, so we’re able to optimize them, virtually guaranteeing high acoustical performance.
With Paul Massey’s private mix room, the length and height were not “cast in stone”, so it was possible to adjust these to realize the best sonic performance. Starting with the original planned dimensions, we calculated the resonances using a tool of our own design.
There was room for improvement, so we changed the length and height, and calculated again. We repeated this process until the best dimensions were found. After a few calculations, it became apparent how each dimension was affecting the distribution of resonances so we were able to really zero in on the final numbers.
After fine tuning with a dozen or so calculations, we found that lengthening the room by a foot and lowering the ceiling by 6 inches provided the best distribution of resonances. Once completed, mixes made in Paul’s private room translated quite well to his large mix stage at Sony Pictures, sounding nearly identical.
This is an accomplishment we’re proud of, as “common wisdom” says it’s nearly impossible to get good sonic translation between small mix rooms and large mix rooms. We proved this need not be the case, and that using science and math can provide very high quality results repeatably and consistently.
Science & Math – 1
Guesswork & Alchemy – 0