my fault - bad example in the drawing but simple enough when constructing - cut the base plates to join on the angle and overlap if double plate on top. place studs on 90 degrees to plates and fill gap with a ripped down blocking.
my fault - bad example in the drawing but simple enough when constructing - cut the base plates to join on the angle and overlap if double plate on top. place studs on 90 degrees to plates and fill gap with a ripped down blocking.
With parallel walls sound waves reflect back on themselves(cancelling and doubling), causing peaks and nulls at certain frequencies. It also cause standing waves(room modes) and flutter echo. The can all be avoided with non-parallel walls, AND careful use of absorption. Generally, imo, absorption is the easier method, although it does deaden a room(reducing the reverb time), which non-parallel rooms doesn't do. People say this can suck the life out of the recording, although reverb can be added later which solves this problem, imo. With the choice of reverbs available with FX, you can make it sound as though it has been recorded in a huge auditorium, if you wish, when it is just a small booth in your room.
the angled walls only help with the flutter or slap echos. any room by definition will have standing waves/modal resonance/etc... a rectangular room is just easier to compute these things wereas a non-parallel set of walls will skew things and in some cases potential make it worse. generally speaking, reducing the corner angles with traps can help with flutter echos and with trapping.
the floor is constructed of heavy MDF panels and plywood sitting on rigid insulation, carpet foam, Sylomer, or Sorbethane to provide the right amount of loose spring and physical stability. it would be roughly 10-15hz depending on the isolating compound used.