Sujet Fabriquer son rack en bois pour son studio

EQ Wizard le verra

Tes oreilles sont pas par terre derrière le meuble, mais en "radiation directe" devant les enceintes

j'ai l'impression que les planches perforées ont au moins 2 avantages même si les meubles sont remplis :
- réduction des surfaces de réflection

 - création de diffuseurs
D'ailleurs, dans le sens du second point, ne serait-ce pas plus intéressant si les formes perforées étaient aléatoires plutôt que droites et parallèles ?

It houses 8u on top (2/6 or 4/4 config) and 4u at the bottom for PSU etc.

Width is 19" + structure. It's not meant to block floor bounce. Only a much larger desk would somehow effectively block such reflection.

Desk is meant to be as transparent as possible. Slotted design all the way which renders it transparent to frequencies up to ca. 8kHz for structural edge areas and 12kHz for flat areas - geometry takes care of anything higher up (reflecting away from sweet spot).

But interestingly, on all measurements so far the floor bounce is always a bit less pronounced with this desk (around -2/3dB). Why it is I don't know yet - this is not an expected result. It should stay about the same.

The attached ETC shows a Mastering studio with the old desk (classical 2 bays Mastering desk design with gear installed) and then our Type A model (same as used @ Dave Collins Mastering, with gear installed). You can see the clutter in the very early milliseconds cleans up nicely, but the floor effect also drops a few dB.

Getting surfaces out of the early reflection area is paramount, and when it comes down to it, there are only a couple ways to do it:

- keep reflective surfaces to a minimum and keep them away from ER areas (physical location & geometry - looking at the full audio frequency spectrum).

- if you can't keep them away, make the surfaces disappear. Which means working a structure that won't be visible to as wide a bandwidth as possible.

The size of our desk can be misleading. Acoustically when at and near sweet spot there basically is no desk, only the actual racked equipment units clusters whose impact are well mitigated or neutralized by shape and properties of the furniture shell.

But gear is still well protected and cabling hidden - as opposed to a purely bare bone structure (like a simple frame holding the gear). We also avoid the use of sensitive fabric surfaces all together

The armrest is basically as big as it can be and fully outside the ER path. We pushed the OCDness to the point of creating a wing-like flared edge on the front area of it to avoid diffraction.

We'll describe this thoroughly and add measurements on the website, but a way to explain how the furniture pods function in practice is to look at it a bit like a level 2 fractal design as far as the low and mid frequencies are concerned.

Level 1: LF - long wavelengths - Diffraction

Diffraction is the ability of a sound wave to move around obstacles (or pass through a slot).

For sound to move around a given obstacle, the size of the obstacle must be smaller than the wavelength (λ). Diffraction will be more pronounced as the ratio λ / d, where d is the width of the obstacle, gets larger. As the sound wave wraps around the object, the wavelength (its frequency) is not affected.

In short, Low Frequencies will diffract around the various elements of the desk and go through the slots a bit like water in a mesh strainer. The desk is transparent at these frequencies.

Level 2: Mid range, shorter wavelengths: slotted design.

When a sound wave passes through a slot opening of dimension (d):

if d~λ or d<λ, the wave is diffracted and it takes the form of a spherical wave (or circular) centered on the Aperture.

if d>λ, the wave passes through without being disturbed, except near the slot edges where negligible diffraction can still occur.

As the sound wave passes through the slot opening, the wavelength (its frequency) is not affected. The desk is transparent at these frequencies too.

The transition between "Level 1" and "Level 2" is smooth and gradual, so there isn't a particular transition frequency where the system doesn't work.

What happens at "Level 2" can be seen as a scaled phenomenon of what's happening at "Level 1". Hence the fractal comparison.

As we move towards high frequencies, from ca. 8KHz for the wider furniture structural edges (near corners) and ca. 12kHz for the slotted areas, the design transitions to a purely geometrical model. The sound waves that do not go through a slot will be reflected away from the listening position. The geometry was optimized taking advantage of typical speaker directivity at such high frequencies.

You can see the direct results in the ETC graph posted in a previous answer - showing difference between a "classical 2 bay design" and our Type A desk both with equipment fitted. A lot of the ER cluster on the blue graph (first ms) is gone on the red.

Now, taste and colors - that's another discussion. A desk has to suit an engineer's particular workflow and no desk will make everybody happy.