Low frequency waves in a small room

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Winding Road

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I'm wondering how exactly they behave, without getting too technical that it creates more confusion than enlightenment. If they're not fully developed when they strike a surface, how do they then play into your mix, affecting the direct sound?

I'd also like to gain more knowledge on why exactly they have a tendancy to increase in amplitude in the 90 degree areas--room corners.


This question comes from the confusion of why bass traps are needed in a small area.
 
I appreciate the links, but at this point I'm leery and am not really looking for links; reason being that I have 2 books on recording that I'm currently reading and they usually don't answer specific question that you have. I have no engineer or producer to bounce questions off of so I'd like direct responses on here incase I have further questions.
 
There is pretty specific information on both those sites - But you have to know YOUR specifics before it'll help -

We really can't be any more specific without knowing pretty much everything about your room - The exact dimensions, the construction, furnishings, etc.
 
from a little offshoot of the realtraps link Massive gave you, you'll hear many many people here quote
http://ethanwiner.com/acoustics.html

You'll need to learn to just read and absorb as much as you can. Don't just rely on these forums. You'll get more wrong answers here than you will on reputable links.

To answer your questions, within the link above:

There is a common myth that small rooms cannot reproduce low frequencies because they are not large enough for the waves to "develop" properly. While it is true that low frequencies have very long wavelengths - for example, a 30 Hz wave is nearly 38 feet long - there is no physical reason such long waves cannot exist within a room that is much smaller than that. What defines the dimensions of a room are the wall spacing and floor-to-ceiling height. Sound waves generated within a room either pass through the room boundaries, bounce off them, or are absorbed. In fact, all three of these often apply. That is, when a sound wave strikes a wall some of its energy may be reflected, some may be absorbed, and some may pass through to the outside.

When low frequencies are attenuated in a room, the cause is always canceling reflections. All that is needed to allow low frequency waves to sound properly and with a uniform frequency response is to remove or at least reduce the reflections. A popular argument is that low frequencies need the presence of a room mode that's low enough to "support" a given frequency. However, modes are not necessary for a wave to exist. As proof, any low frequency can be produced outdoors - and of course there are no room modes outdoors! Top

Here's a good way to look at the issue: Imagine you set up a high quality loudspeaker outdoors, play some low frequency tones, and then measure the frequency response five feet in front of the speaker. In this case the measured frequency response outdoors will be exactly as flat as the loudspeaker. Now wall in a small area, say 10x10x10 feet, using very thin paper, and measure the response again. The low frequencies are still present in this "room" because the thin paper is transparent at low frequencies and they pass right through. Now, make the walls progressively heavier using thick paper, then thin wood, then thicker wood, then sheet rock, and finally brick or cement. With each increase in wall density, reflections will cause cancellations within the room at ever-lower frequencies as the walls become massive enough to reflect the waves.

Therefore, it is reflections that cause acoustic interference, standing waves, and resonances, and those are what reduce the level of low frequencies that are produced in a room. When the reflections are reduced by applying bass traps, the frequency response within the room improves. And if all reflections were able to be removed, the response would be exactly as flat as if the walls did not exist at all.

Remember, even though wavelenghts of low frequencies are long...they still reflect around the room, so they have all day and night to develop if need be. Like Ethan says, some of the wave is absorbed, some of it passes it through, and some of it reflects back into the room. It's the part reflecting back into the room that you want to control.
 
So basically, just dead the low bass range and absorb mid and hi range frequencies and diffuse them to preserve an ambient feel to the recording?
 
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