Sujet <===Studio en chantier.===>

Citation : Juste pour info, et si ca ne te derange pas, combien ca t'a couté le matos + les travaux que tu n'as pas fait seul (s'il y en a) ??

Citation : Quel est le role du buffle Biohazard dans tout ca ??

Citation : t tant que j'y suis, tu pourrais faire un plan de tout le studio, j'arrive pas a me faire une idee globale a partir des photos...

Citation : hmm pas vraiment un problem car en considerant que tu est 20cm de plancer teknik (avec suspension sur mouse de 5cm ca fait 25cm
237 - 25 = 212

Citation : Q: How many traps do I need for my room?

A: The more the better! Seriously, the more MiniTraps or MondoTraps you install in a room, the flatter the low frequency response becomes. It's probably not possible to have too much low frequency absorption, but you can definitely make a room too dead sounding at mid and high frequencies. Unlike panels made from foam or plain rigid fiberglass, MiniTraps and MondoTraps have an enormous amount of absorption at low frequencies but with an intentional fall-off at higher frequencies. This lets you put enough of them in the room to flatten and tighten the low frequencies, without removing all of the ambience at mid and high frequencies.

Citation : Q: Why should I buy RealTraps instead of some other acoustic product? Isn't all acoustic treatment pretty much the same?

A: The short answer is No - all acoustic products are not the same, especially at low frequencies. Besides their Class A fire rating, RealTraps products provide far more absorption per dollar than anything else we know of. As you can see on the Product Data page, MiniTraps are nearly six times more absorbent than typical corner foam at 100 Hz and below, and MondoTraps absorb twice again more below 100 Hz. So in a price to performance comparison RealTraps products are actually less expensive than even the cheapest foam brands.

Citation : Note that standing waves and acoustic interference also occur at higher frequencies, such as sustained clarinet or flute tones. You can hear the effect and identify the problem frequencies and locations fairly easily by playing sine waves (not too loudly!) through your loudspeakers. This is also a good way to assess how important bass traps are for your particular studio and control rooms. If you have SoundForge, WaveLab, or a similar audio editor program, it's simple to create sine wave files at different low frequencies for testing. Special CDs that contain various tones and pink noise suitable for room testing and analysis are also commonly available. To determine the severity of low frequency problems, play different sine waves one at a time through your monitors, and then slowly walk around the room. It will be very obvious at which frequencies the peaks and valleys occur, and where they cause the most harm. There's no point in playing frequencies below what your speakers can produce cleanly - I suggest 60 Hz, 80 Hz, 100 Hz, and so forth through maybe 200-300 Hz. If you have a computer connected to your loudspeakers, you can download the NTI Minirator program, which generates a variety of useful audio test signals

Citation : en plus ca diminue le volum reel de la piece donc ca augment la pression acoustique des moniteur

Citation :
tu disais que le mur est super épais, ça fait combien de large une fois terminé avec ce systeme?

Citation : Please understand that I am not a degreed acoustician or studio architect. However, I am experienced in acoustic treatment, and particularly in bass traps. The recommendations described here are the result of my own personal experience and should not be taken as the final word. Although this article is intended mainly for audio engineers and home recordists, all of the information applies equally to home theaters, small churches and auditoriums, and other rooms where high quality reproduction of audio and music is required.

Citation : RealTraps partner Ethan Winer is well known throughout the audio industry for the dozens of technical articles he has written over the years. The following articles are those that relate to acoustics and acoustic treatment which we believe will be of interest to all recording engineers and audiophiles.