Leather floor tiles or laminate flooring

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mickmadness

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Hi, so I have a pretty cool studio room as it is but I was thinking about ripping up the carpet to lay something else down that isn't so prone to staining/smelling bad.

Leather floor tiles look cool and probably won't be quite as reflective as laminate floors. I know that ill need to treat the ceiling extensively in order to tone down the liveliness of the room too. For the ceiling I was thinking about using a drop ceiling with panels of acoustic treatment set into it as opposed to the ordinary drop ceiling tiles. I know I saw some sort of acoustic treatment for drop ceilings somewhere online.

Thoughts?
 
does any have any good companies in mind that sell acoustic ceiling panels? i foudn a couple but i was wondering if anyone has a company that they have ordered through beore that led to a pleasurable experience.
 
For the ceiling I was thinking about using a drop ceiling with panels of acoustic treatment set into it as opposed to the ordinary drop ceiling tiles.

My company sells high-performance ceiling tiles, but they're not cheap:

Ethan, to what extent does the hieght of the airgap between the tiles and the boundary above affect the performance you your tiles? ie...rigid fiberglass alone, with no boundary, placed in the middle of the room, does nothing. In that respect, if the airgap is 4' high or more, which is fairly common in some commercial spaces, would place the boundary at a distance where it will not "couple" with the tiles, which from my understanding is the whole reason resistance absorbers work.
fitZ
 
That's a new one on me. :D
:eek: Hmmmm, Ethan, have I missed something all these years?:confused::confused: Please show me how a resistive type absorber wll work in the middle of the room, with NO BACK! From my understanding of the principle...ie....ZERO VELOCITY at the BOUNDARY, MAXIMUM VELOCITY @ 1/4 wavelength from the boundary=best absorption coeffecient/ frequency.

Afterall, if a resistive absorber is placed in the middle the room, exactly how is it absorbing???? ie... A12"x12 open window in a boundary such as a wall=1 Sabin of absorption because the sound goes through the opening to never return. In a room, the sound is all around. How can an absorber absorb when the sound is not reflecting off a boundary behind it? Are you suggesting a 12"x12" piece of 703, with NO back, placed in the middle of the room will have the same absorption coeffecient as when mounted on a boundary?:confused::confused: How the hell would you even test this? Hmmm, the more I think about this....shit, maybe my understanding of why a resistive absorber works is wrong. Maybe you can enlighten me...:rolleyes:

Furthermore, why would one place them in the middle of a room when the point is to absorb REFLECTIONS off the walls:confused::confused:
fitZ
 
Got an answer!

Alright, I posted a question regarding 703 in free space, and this is the answer I got.

Placing the material against a boundary doubles the effective thickness of the material. Hung in free space it will still absorb, but to down to about twice the lowest of material against a boundary. That is ignoring if the sounds at those frequencies are free field or diffuse field.
:confused::confused:

Hmmm, so if you had 1" thick material with a table of absorption coefficients for that thickness, I guess if you placed it on a boundary, it would take on the absorption coeffecients of 2"?:confused: And then if you spaced it out 1", it would take on the approximate coefficients of 3"? And if you placed it in free field with no boundary, it absorbs at its rated coefficients? Boy, this is a new one to me.
 
Alright, I posted a question regarding 703 in free space, and this is the answer I got.

So you didn't believe me and had to hear it from someone else before you'd accept it? :D

Free-hanging flying baffles have been used for ages in large spaces, and they work very well far away from a boundary.

so if you had 1" thick material with a table of absorption coefficients for that thickness, I guess if you placed it on a boundary, it would take on the absorption coeffecients of 2"?

Only if you have an air gap equal to the panel thickness. Otherwise you get the same absorption as was measured. And labs measure against a boundary too. More here:

http://www.ethanwiner.com/acoustics.html#air gap

A free-hanging panel out in the room is actually twice as absorbent as you think, because both sides are exposed to sound. Versus against a boundary where only one side absorbs.

--Ethan
 
So you didn't believe me and had to hear it from someone else before you'd accept it?

That's a new one on me.
Believe you? What part of this reply gave me a goddamned explanation Ethan? Fuck.:rolleyes: All it did was make me wonder if I was wrong and WHY? :mad:You didn't offer didly squat other than pretending your illustrious reputations somehow implied
you were correct by virtue of some kind of knowlege you knew nothing of.

Free-hanging flying baffles have been used for ages in large spaces, and they work very well far away from a boundary.
Holy shit. And all these years I've been under the assumption that either they were a two way absorber with a boundary between them or they were simply a one sided absorber.:rolleyes: so much for assumptions.

so if you had 1" thick material with a table of absorption coefficients for that thickness, I guess if you placed it on a boundary, it would take on the absorption coeffecients of 2"?
Only if you have an air gap equal to the panel thickness. Otherwise you get the same absorption as was measured. And labs measure against a boundary too. More here:

Hmmmm,. unless I'm missing something, thats not what Scott says. QUOTE....
Placing the material against a boundary doubles the effective thickness of the material. Hung in free space it will still absorb, but to down to about twice the lowest of material against a boundary
Whatever "to down to about twice the lowest of material against a boundary" means?:rolleyes:What part of this am I missing.

Futhermore Ethan, I've posted some questions in regards to this subject at Studiotits. I'd like to hear YOUR take on them.

Heres my WHOLE last post, for those here who don't know about StudioTits and yourself(since you can't answer them there).
Scott says:
Building high transmission loss room partitions to diminish noise propagation into other rooms is a different elephant from the job of installing absorptive elements on the inside surface of room boundaries for the purpose of diminishing sound reverberations,
Excuse me Scott? I may not be an expert on acoustics, but don't get condensending . I've been posting in this forum for quite a long time and do not appreciate your ivory tower approach. Building high TL partitions vs treating them are hardly Einstein depth concepts. Thats not to say I don't appreciate your friendlier insights.

Scott says
PS: having a solid panel on one side of a gobo can be useful in that you then have an absorptive surface counterpoised with a reflective one - but that doesn't make it better than one with both sides absorptive -
It does if your trying to keep one instrument from bleeding into another mic

Scott, you apparently misinterpreted my misunderstanding I wasn't asking about the performance of a gobo with one side absorptive vs 2 side absorptive, although now I understand a non backed gobo would inherently be a 2 sided absorptive unit. I didn't before this point. AND, a gobo with two sides absorptive can still have a boundary between them. I was trying to understand how an UNBACKED absorber in free space would absorb ANYTHING.

I was simply confused regarding the working principle of resistance absorption. I was under the impression, via all the illustrations I've seen over the years, in books as well as on the net, that resistance absorbers...SOMEHOW NEEDED a boundary (and this is where the confusion started) to make this 1/4 wave concept work. Not ONCE, did any literature on the subject mention the fact that a panel of say 703, anywhere, anyplace, all by itself, with no back, ABSORB. Perhaps, via extrapolation on my part, via statements to the effect that a resistance absorber had virtually NO effect on the TL of a partition, I concluded that sound transmitting though the material was NOT absorbed, unless it reflected from a boundary behind it. SOMEHOW. THAT is why I asked for a physics lesson. Another concept I must not have fully understood is "vector pressure"...ie..I was under the impression that a freestanding absorber would have "equal" pressuree surrounding the entire surface..ie..if free hung in space...all 6 faces. So much for "layman" interpretation of partial physics lessons.
And now that I think about it. What the heck would "1/4 wavelength" have anything to do with an UNBACKED absorber, as the "explanations" usually define the 1/4 wavelength thingy in relationship to a BOUNDARY...ie.. ZERO VELOCITY-MAXIMUM PRESSURE at the boundary, MAXIMUM PRESSURE-ZERO VELOCITY @1/4wavelength from said boundary...no? sheeezus, what am I missing here. Where is the "frequency/pressure/velocity relationships for an UNBACKED absorber in freespace?

I know it may seem very stupid to you guys. However, this is the problem with quasi physics illustrations for laymen who simply want to improve their home studios, but don't want to waste money and time on things that don't work. They really don't explain the underlying principles in relationship to the one that is being illustrated.

One more thing to clear up.

Scott says:
Placing the material against a boundary doubles the effective thickness of the material. Hung in free space it will still absorb, but to down to about twice the lowest of material against a boundary.
Another member says:
And, as we've been discussing, the absorption would be somewhat "halved" by the use of the solid backing.


aaaaaah....now I'm really confused. These two statements SEEM to contridict themself. The first suggest a boundary would "double the effective thickness(whatever that means), and the second suggests it would "halve" the effective thickness. Which confuses me even more. In the first instance, when a lab tests these materials, and gives a frequency band/thickness table of absorption coefficients, are these coefficients based on this material in FREE SPACE, or with a boundary??? Scott suggests that placing them against a boundary will "double the effective thickness"..in relationship to what? Absorption coefficients of the same patch of material hanging in free space with a given coefficient of material HALF the thickness of the one placed on a boundary??? Or absorption coefficients of the same patch of material with a given coefficient for material TWICE the thickness of the material placed against a boundary

Furthermore, I'm still trying to get a handle on 1 SABINE. I understand the concept of an open window 12"x12"=1 SABINE of absorption. What I don't understand, is how thick a piece of material such as 703 would have to be(given an EXPOSED face of 12"x12" and flush to a boundary with the rest of the material enclosed by a box)to perform the same as an open window of the same size. i.e. .....An absorption coefficient of 1 does NOT equal 1 Sabine of absorption...OR DOES IT?

Thanks again guys. Well, time to go eat crow.

Well, here I am. Crow tastes like shit.:mad::D
Not only that, but this does it for me. I'm through trying to wade through this shit.:rolleyes:
 
Not so fast Rick.
Given the fact that a soundwave propogates in a sphere, from a sound source, if a panel of 703 is in the path of said sphere of propagation, the wave must enter the material in ONE DIRECTION, only to exit on the other side. If that is true, than HOW does an absorber in free space absorb TWICE as well as one against a boundary, unless you are referring to a reflection off some boundary facing the exiting side of the absorber, and THEN returning to said absorber, only to be absorbed AGAIN by ONE THICKNES, in ONE DIRECTION...no? So, in reality, there must be some kind of magic happening during ONE TRIP THROUGH a given thickness of absorption material hanging in free space in relationship to ONE TRIP through the same material placed against a boundary huh? Please explain this magic Ethan.
 
music is better with magic ;-)
 
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