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Thread: New studio space...considering my options.

  1. #81
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    Quote Originally Posted by Gtoboy View Post
    A good storm may blow my house down, but that slab ain't goin' nowhere!
    You'll be able to pitch a tent on the slab when the house is gone.

    A guy I used to work with just moved down there...I forget which town...he bought a new construction house, it looked nice, though I never asked what/how the foundation was done....I didn't realize it was that involved down there, I just assumed there was some areas below water level that you had to avoid the basements.

    So when you say "South Texas"...how far north/east/west do you need to go before you get out of that ancient sea bed?
    What about places like Austin...? Probably one of the few Texas cities I at one time thought of moving it, or San Antonio...no disrespect intended to the other places in Texas, there's a lot of nice towns, I just for some reason thought those two would be cool, especially Austin because it appears to have a growing artist community.
    Still...it seems that Texas is now becoming the new Florida...lots of people moving there to retire and/or because cost of living is cheaper.

  2. #82
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    Quote Originally Posted by miroslav View Post
    You'll be able to pitch a tent on the slab when the house is gone.

    A guy I used to work with just moved down there...I forget which town...he bought a new construction house, it looked nice, though I never asked what/how the foundation was done....I didn't realize it was that involved down there, I just assumed there was some areas below water level that you had to avoid the basements.

    So when you say "South Texas"...how far north/east/west do you need to go before you get out of that ancient sea bed?
    What about places like Austin...?
    You can pretty much tell what used to be swamp and see just by looking at the current eleveation. That's why we have so much oil.

    Austin and San Antonio are both hilly, Austin especially. It's almost like a hot version of the pacific northwest. Both cities are more expensive to live in than the greater Houston area and the Dallas/Fort Worth metroplex.

    Texas has an area called "The Hill Country" which includes Austin, The area is very desirable for retirement homes and vacation homes but since there is little in the way of major industry it's an area that population remains lower. Not enough jobs, basically.
    Last edited by Chili; 4 Weeks Ago at 09:38. Reason: fixed the quote for ya!!
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  3. #83
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    Re "Water Table"?

    Mum & Dad's cellar would flood to about a foot if we had heavy rain over an extended period. The floor was cobbles but they "had a man in" and he found there was a stream below that he knew ran through that part of town (house is in middle of Somerset st and side of a gentle slope. Google for map "Racecourse Northampton UK") He put in ceramic ducts and the whole floor was concreted to about 8" above the cobbles.

    Lower parts of our town have suffered serious flooding (I'm ok barring the Second Deluge at NN5 5Pguess) Far Cotton and parts of St James. and STILL the money grubbing bastard developers want to build on the flood plains and woodland that absorb and slow the 'king water!

    Dave.

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    Update...

    So it's been awhile since anything new has happened. I've met a couple of times with the contractor, and again today, and we finally got the thing going, since I put some money in his hands. We are meeting with the architect in a couple of days to kick things off, so we can get the plans and permits going...but we do have one small snag...the property line setback limit will be exceeded, so most likely a variance will be required, which I will need to go before the town board to get it...but considering the location, and that nothing is really going to be affected by this build, and the fact that my neighbor couldn't care less...odds are very good that I will get my variance.

    So...with all that moving forward and permits approved...we are now looking for at best, a mid-August start, which will give me a finished room by end of the year...or at worst, a late September start if things drag out, in which case I will have a sealed and insulated structure, along with the added bathroom work...and then the final finish work on the interior will be completed during the early winter, of course, the holidays are going to be in the middle of that.

    The one thing that's been decided on is the use of resilient sound clips on the studs, with hat channels going into the clips, and then double 5/8" or maybe one 5/8" and one 1/2" layers of drywall attached to the clips and decoupled from the studs and the floor...and the same on the cathedral ceiling, with the walls and ceiling also decoupled from each other.
    In using the clips, the hat channel and double drywall...the insulation in the cavity is then less critical for soundproofing purposes, and can be just the usual pink rolls of fiberglass, but of course, stuffed to the maxing rating for heat/cooling purposes.

    After that, the acoustic treatment will be less of a problem, and will be more for fine-tuning the room, since both the shear room volume and also the decoupled drywall will provide a good acoustic environment. Plus, I plan to do some final layers of wood finish and some stone veneer stuff on the walls before I ever get to adding any actual traps... I think for certain there will be some traps across the ceiling, and also the corners...but that part will be "easy", because I can add a few, then add some more if needed..etc.

    Anyway...I finally feel like we got the train moving forward after the last couple of months of back-n-forth, and trying to find the right contractor. This guy is totally cool (he's also a drummer) about all these "weird" audio requirements that I'm tossing out at him, and has no problem. Sometimes he asks me twice...like if I'm sure about needing double 5/8" drywall, 'cuz it will be more costly, and it's heavier to hang, twice...but when I say that's what I want...he's totally OK, no argument, and he likes that it adds some interesting elements to the project. Same thing with the installation of the resilient sound clips and channels...it's something new for him, but he finds it interesting and is happy to comply with my needs.

  5. #85
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    Great news! Now forgive me Miroslav but I worry...about details...like. Does the sparks you will use know about compliant cabling so that a rigid cable does not cross a wall/wall boundary and "short circuit" your carefully planned acoustic isolation?

    Dave.

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    Dont forget wiring channels in the floor/walls for audio when you get with the architect. Good news though
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    Quote Originally Posted by ecc83 View Post
    Does the sparks you will use know about compliant cabling so that a rigid cable does not cross a wall/wall boundary and "short circuit" your carefully planned acoustic isolation?
    Not really following you when you say "cross a wall/wall boundary and 'short circuit'... "...?

    Also not sure about "rigid cable"...?
    The electric cable is not really rigid, I mean, it's quite bendable, and since it's all internal, it's not going to be clad in metal.

    There are going to be basically two electric systems...one will be typical "home" wiring that takes care of the required outlets, and the lighting and the stuff that will feed the HVAC unit, etc.
    The other system is going to be specifically for feeding the audio gear. There's going to be just a single 20A outlet (with a second spare) that my power distro boxes (surge protection, voltage regulation, and balanced power) are going to plug into. Those things are daisy-chained one into the next, etc.

    My only conduits will be from those power distro boxes out to my gear racks and console, etc...and also some running to a few points on the walls and into the iso-booth. Basically like long extension cords from the power distro to these other locations, so I can plug my guitar amps and any other movable audio gear in a few different parts of the studio space.

    AFA the acoustic aspect...the outlets in the walls will automatically be decoupled because the walls are decoupled. The stuff through the floor, same thing, because the floor will be basically framed/floating, and not tied to the walls, it will only be tied to the slab...the dry walls will not touch the slab...so pretty much everything will be decoupled from each other, so to speak.
    I won't need channels in the walls all that much, because the lines will run mostly through the raised floor...so only in those spots where the floor is up to the wall, that small bit of wall below the floor height will have an access hole, with caulk/sealant around it of course...and the lines will then run up and into the wall to where they need to go. That small bit of "coupling" where the cable from under the floor ends up on a wall plate...is not going to be an issue.

    I'm still in the early planning stage, and the contractor said we don't need to worry at this moment about those things, since we will be able to make adjustments once the basic foundation and framing is done. So there's plenty of time to work it out, and I'm still having some conversations with a couple of acoustics specialty shops that have all that material, along with a lot of info on what's the right way to do it...plus I have my "Home Recording Studio - Build it like the Pros" by Rod Gervais book as a ready reference... ...though I have to say, he may be talking to home rec people, but his book pretty much talks about extreme pro construction.

    I mean, if you followed all the info to the letter...you're talking 5 times more cost than most home rec people could afford to do...but there is a lot of room adjustment. He's basically showing how to build it the absolute best/perfect way...from the ground up, and also, much of it assumes that you are either building a multi-room facility (even though it's a home studio)...and that you are in some area where there are other structures and neighbors, so there's a lot of focus how to mitigate the sound transmission issues...lots of double walls and room-in-room nonsense that I really don't need to consider, and neither would most home studio situations if you have an environment that is free of those potential issues.

  8. #88
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    "Not really following you when you say "cross a wall/wall boundary and 'short circuit'... "...?"

    Ah. Well, probably med ridden old amp jockey talking bllx but..Here in UK the standard mains wiring is grey PVC 2.5mm cross/sec' with earth and the resultant cable quite stiff, especially when cold.

    If such a cable were used between two acoustically de-coupled rooms it would transfers sound if solidly fixed to a joist/noggin say.

    Industrial premises tend to use "Tri-rated conduit cable" Three single wires in a conduit and so these could be looped and put in a flexible section of conduit so as to form a "stop" to cable born vibration.

    Same principle as putting a loop/knot at the mic end of a mic cable.

    But, as I say, probably bllx and you have it covered.

    Dave.

  9. #89
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    Also! UK of course runs "ring mains". For those not in the know, a 2.5mill cable exits the fuse box (we call it a Consumer Unit), goes around a floor and returns to the CU. Mains outlets, usually twins and switched and positioned strategically (ha!) around the room. There is no limit to the number of outlets and of course our plugs are fused.

    Now, some say the "ring" induces hum currents in sensitive gear? Others that since the send and return current must be equal and opposite, a ring is quieter than spurs.

    I have no idea if the matter has ever been properly evaluated?

    Dave.

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    Quote Originally Posted by ecc83 View Post
    Great news! Now forgive me Miroslav but I worry...about details...like. Does the sparks you will use know about compliant cabling so that a rigid cable does not cross a wall/wall boundary and "short circuit" your carefully planned acoustic isolation?

    Dave.
    Visual aid.

    build_05-o6damqabmjnqqo-gi8_jumj8beaxawuc-jpg

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