The Family Garage

[Acoustech]

I received several requests for information regarding soundproofing the family garage, either for a studio facility or a practice room. Let me preface this by pointing out the reality of physics as well as cause and effect of a large db signature introduced into a small space...say .. 18x20x8.. (ft.) As some of you have experienced, it does not take much to light up an un-treated space.
The structure instantly goes into a mode of propagation...acting like a speaker ..if you will... This is the result of the db profile and sound pressure level overwhelming the space. Airborne signal leaking through the structure just multiplies the anomaly. > Just so you have a point of reference > sound pressure level is measured at 10 times the logarithm to the base of the ratio of the db profile and frequency band. Dominant room frequency multiplies acting in a bucket brigade fashion..leading to a mode of what's termed " Permanent threshold shift" by the standards and practice of ANSI, ASA and OSHA.This of course is not only ear damaging but can cause stress to the structure.
Sound pressure is colorless, odorless and invisible to the naked eye but it is a physical force that can be measured and seen with sophisticated measuring equipment.....That said ...we will move on... Understand the garage will no longer funtion as such from this point on.
OK....lets start with the garage...we have a 4" concrete slab...most likley 2x4 wall construction and 2x6 ceiling joist and rafter.... To get the best - db profile...we need to elevate the STC rating..
To do so ...follow the procedure's below.....>
Remove all electrical, remove all debris from the structural members leaving just the bare studding and ceiling grid. Run new electrical feeds to their locations...do not use (romex) Use what's termed "jacketed 3 wire" M/3 type cable for isolated ground. K....Next .....you will need to suit up for this...and use a respirator.
Cut and install OC 705-2" un-faced into the stud and ceiling joist cavities.
(snug) Make sure to be precise in cutting and installing. Mount flush to the stud surface leaving 1.5" of air to the outside sheathing. Once installed... use 30 year caulk to close and cover all seams....this will take a while...it is very important to close all airborne at this point. So do it right.
Apply wall and ceiling treatment composite....5/8" GWB-FC--1/2" Sound stop--5/8"GWB-FC...to completion ..stager the joints in the application.
...tape, joint and caulk every layer to seal. (Floor System)..
There are (2) Types of floor isolators that will work for this application because of their low profile. ( maintaining ceiling height)..Both systems are manufactured by Kinetics Noise Control of Ohio....just e-mail me I will get you the part numbers for ordering.
(1) Puck Isolator-- (2) Concrete form blanket ...The first seems to be the one.
Puck isolators are to be 12" on center and sleepers will be 12" on center as well. Sleeper stock at a minimum will be 5/4" sub-straight or strapping...Once installed....apply 3.5 R-19 within the bays of the sleeper layout.
Install 3/4" sturdy floor using PL-400 adheasive and fasten by course screw. Add a second layer crossing all joints using the same method. Make sure when chalking out the floor system that you leave at least a 1/2" clearence from the floated system to the garage structure. (do not make contact)
Once the shock mounted floor system is installed....layout your acoustical membrane wall system. Using metal studding...Frame a new inner wall system @ 24 on center..This is a membrane wall system that moves with low frequency further eliminating infiltration to the outer demising system...
Leave the walls 1/2" short of the sub-ceiling....secure the walls in a temp mode the same way you would do to plumb a house wall... (attatch temp scrap studding from the walls to the floor to maintain level and plumb)...Using Kinetics model - Iso max channel-- ..install to the sheetrock sub-ceiling making sure to connect to the joist above...This system is a shock mounted linear application which de-couples from the structure. Out of the stud scraps...fabricate gussetts or spline to connect the wall system to the ceiling Iso-Max channel every 16 inches or better to hold the system in place. Bring your electrical into the new system... Install 5/8" GWB-FC to the ceiling spline...install OC-705 2" un-faced in the stud cavilties using the same methods of caulking as before ..then apply 5/8"GWB-FC -1/2" Sound Stop- 5/8 GWB-FC follow the same manner as the outer wall systems...(air tight)
Make sure while in the rough..you install an induction fan to bring freah air into the space...so you can live to enjoy it....use a variac type dimmer to control fan speed and use 3 times the flex duct required to reach its destination. All doors are to be SR- rated with full gasketing and set within the seperate wall systems...(air-lock) don't bother using windows....its just a great expense to treat any opening within the structure.
Finish treatment is a whole other world....when you get there...I would be happy to discuss it.

Hope this helps,

Best regards,

Jack Piercy
Acoustech

 

[knightfly]

Jack, that was a pretty good outline for stud-framed garages - just a few clarifications, if you don't mind;

You didn't mention what you expected the outer sheathing of the mythical garage to be, nor any method of increasing the outer leaf's mass before building the inner 3-layer leaf - have you considered (or tried) placing a couple of layers of sheet rock in each stud cavity, glued around their edges (only) and held in by small cleats, in order to increase the overall mass effect of the outer wall leaf? I know this isn't a perfect solution, since the space where the studs will be doesn't get the effect - still, if using discrete double frames this wouldn't matter too much, you're still increasing the mass in the mass-air-mass "sandwich"...

If I'm following correctly, you're recommending only a single layer of drywall for the outer leaf in the ceiling, same as the (existing) outer wall?

Have you tried replacing the sound stop with another layer of drywall for the extra mass? Arguably, this would improve bass TL which tends to be the worst offender in these cases - the degree of decoupling that might be afforded by the sound stop shouldn't be necessary if using either resilient hangers or discrete frames for each leaf as near as I can tell.

I've worked with a number of members here and on a couple other sites who had brick walls for outer shells, most of which have weep holes for the constant moisture problem inherent in un-rendered brick - what's your suggestion to solve that problem, considering that even with the holes, the brick will still act as a mass leaf but without hermetic sealing, therefore considerably worsening bass TL?

Also, it's been my experience that a significant portion of the membership here and elsewhere would need quite a bit more depth of information in order to follow your outline; by no means a put-down, it's just the level of experience; a lot of our members have little or no previous construction experience. If they're lucky, maybe their dad has a Skil saw and their uncle knows a carpenter. Because of this, I expect you'll get either ignored (man, this is too complicated for me) or questioned to death(yeah, but doesn't liquid nailz replace real nails?) - Either way, perhaps more complete descriptions, maybe even a basic drawing or three might help clarify a lot - just a suggestion.

Last but not least, I have to echo Rods (and others) compliments on Salmon Peak; when you see a place and just want to disappear in it and have pizza delivered occasionally, it's a successful environment in my book -

Welcome to HR, it's a pretty cool place... Steve

 

[RICK FITZPATRICK]

3 Leaf Confusion?

Hmmmmmmm......If I read this right, and I could be mistaken simply because of explainations, but this seems to be a three leaf system which, has been beat to death as a no no. Clarification needed please.
fitZ

 

[knightfly]

Rick, you're right - I missed that. Perhaps Jack is intending to compensate for a crappy outer shell by "living with" the three-leaf thing and beefing up the two inner leaves to compensate - not perfect, but sometimes you just gotta... Although that would worsen bass TL, it would improve mid-range noise immunity. Things like neighbors' lawn mowers, for example, which I find much more annoying than (almost) ANY musical "noise"... Steve

 

[RICK FITZPATRICK]

Rick, you're right

Thats a first here. I must celebrate with a big glass of grapefruit juice and Mountain Dew!! Still no alcohol, but damn would I love a cold beer. Hey Steve, glad to hear your wife is doing better....like they say "can't hold a good woman down"..........anyway, hope she gets better real soon.

As far as the three leaf thing, John already told me that as long as there are "leaks" in the exterior leaf, it should be ok, and old garages MUST have a leaky exterior skin. Ha! Mine especially. Same with the roof I suppose. But that seems like a contridiction to "sound proof".....hahaha!( I know..I know, just kiddin) Well, the only other thing that comes to mind is .....YIKES....that is ONE EXPENSIVE MOTHA to build.......crap..... same ole thing....champagne STC tastes on a eggcrate budget... never fails........when the hell is someone gonna invent a wallpanel that is foolproof, STC 75, .02 a sq. ft.......and LIGHTWEIGHT! dream on Rick. Later.

fitZ

 

[Acoustech]

Hi Steve,
Thanks for your comments...some are well founded. Although, perhaps you should read through the script once again... You will find that the outer layer of the building (demising system) has an STC rating of 35....the sheating of the structure is of no consequence.. we are not treating the outside shell. Your sugestion of placing sheetrock in the stud cavities is interesting, however...we have to look at the coefficient data of the product used. The absorption coefficient of sheetrock is in the 600Hz range.. at best.. the coefficient data of the OC-705 are @ .85 to 5500 @htz.
This of course is where you would proceed. And to answer your query regarding masonry with weep holes... I just don't see how this would impact a designed system.
To most acousticians...the shell of the building never comes into play regarding the STC rating... It makes no difference. We design containment and acoustics within the confines of the same.
In regards to mass.... this is somewhat misunderstood ...it is not the end all ..it is only part of the equation.
But your observations are valid indeed...
I also appreciate your advice concerning the folks that take in the information on this site... I must tell you ..I was quite astounded at the volume of requests I received.
As well.. taken back a bit of the lack of valid information that was running about.
Perhaps I have fallen into a pit of sorts. But I will complete my obligations as per the request of the ASA...and try to get through it...Hence the reason I wrote the script prior....I received over 290 email requests over the past 4 days.....
I think I will have to resort to a news letter of sorts...rather than ...well you get it.
Steve, thanks so much for your kind words regarding the facility in San Antonio...
That room kicks ass..... Dead on..........The Dixie Chicks are there now recording.....
If you plan to be in the south west in the near future...I would be happy to get you in there for a look.

Best regards,

Jack Piercy
Acoustech

 

[knightfly]

Jack, thanks for the reply - the bad news is that you've just made a serious stab at upending about half of my last couple of years study with some of your comments - I've been studying Everest's books off and on for about 20 years, and added books from Newell and Beranek (kinda slow on the last) in the last 2 years; had input in large quantity from serious players including a designer heavily involved with Galaxy Studios

http://www.galaxystudios.com/

- Not one of these helpful gentlemen ever told me I could just "ignore" a mass and design around it; instead, I was told that the most efficient use of materials was a mass-air-mass system; that adding a third leaf and second air space would detract from bass isolation while improving midrange TL - The USG site has a paper by Mr. Stanley Roller on insulation density for walls, with the conclusion that 2.5 PCF is the ideal density for in-wall insulation, lower values resulting in better bass TL and higher values resulting in higher midrange TL. My comment about additional sheet rock in stud cavities was to increase the mass of the outer leaf, not as an absorbent - My understanding of mass in a wall is that two dissimilar masses separated by an air'/insulation gap is optimum - things that increase performance, especially for low end, are more mass, wider air gap, optimum insulation density, (in some cases) slight overfill in insulation for increased damping of panels, decoupling of one wall leaf from the other, dissimilar thickness panels within a leaf for improved coincidence dip, and overall as low a mass-spring-mass resonance of the wall assembly as possible, down to at least about .6 x the lowest frequency concerned (12 hZ for a 20 hZ rated wall) -

That's a really brief nutshell, but you can see why some of your comments caused me to say "whaaa??!?

I'd absolutely LOVE to check out Salmon Peak in person, but don't see that as a nearfield possibility - my "day gig" at the moment is in Industrial Instrumentation and Control for a large rare metals plant, and I've been keeping my usable vacation time whittled down getting ready to build my new studio on my 10-acre property in Oregon. I'm hoping to "retire" sometime in the next few years, at which time I plan on doing nothing that's not FUN - if you're still around then, maybe I could get a raincheck on the tour.

I know you're likely too busy for much of this, but would definitely like to hear more of why I've been led astray so far, and the best way to "get back home", so to speak - Interestedly, Steve

 

[Acoustech]

Sorry Steve......it is what it is....
most of the text's you mention have been out of date for many years.. Particularley Everest.... This is scary....In regards to your coments to mass...yes...they do apply...
But not in the terms you are speaking.. A containment is what it is...can we agree on that. Once the containment is secure and we understand the db profile of extraction ...we then can formulate a method of containment and acoustics. To create a state of the art facility by acoustical design and fabrication. In other words...the rest of the world is cut off. Our control rooms spec out at 30Hz to 18,000 K... This is a good thing...No..
What you seem to be concerned with is the building itself..in terms of housing what's inside. This of course is of no consequence.....To the actual build and design of the facility. You all seem to be stuck in fundamental (101) acoustics.
I know you are all smarter than that.....and that some things at some level just do not work....there is good reason .....they don't.......
Just look at diffusion...years ago we ...if...we would rely on current data just as Steve has.......you would find a quantum leap in regards to the technoligy.
In no more than 18 years... from the text he read........So ...what would be best... Quadritic Residue Diffusion, Binary Diffusion, or Isometric diffusion systems.......?I in a controlled space. At M.I.T this is what we did....for more hours than I would like to count...anechoic chambeers....are not pleasent....but the data was fun....
Steve.......you should give me a call sometime........regarding acoustics.... I would be happy to speak to you.

Best regards,

Jack Piercy

 

[knightfly]

Jack, I'd love to talk to you - if you like, PM me here (just click on my screen name at the top of one of my posts, it will take you to profile info where you can send me a Private eMail) - We can exchange contact info relatively securely that way without causing torrents of spam from search-bots, etc...

If nothing else, perhaps you can direct me to more recent texts so I can at least learn to understand a few more of the terms you use :=)

Just one of the pitfalls of self-education - woulda probably been a whole lot easier if I'd known how much fun this subject could be while still in high school and single... Steve

 

[RICK FITZPATRICK]

You all seem to be stuck in fundamental (101) acoustics.

Excuse me?, You seem to be stuck in La La land. I don't recall a recent class in MIT Advanced acoustics offered here. It appears you don't have a clue about the nature of HR.
In fact, you seem to have lost touch with the working class realitys, dude. Too many hours spent in elite Corporate World Class studios or anachoic chambers maybe? I mean, show me an architect that designs for the working class and I'll kiss your ass. Get my drift? Of course, I doubt if any of them grew up in a shack so they can't relate. Thats why they only work for the rich.
We're not talking people building World Class Studios here. On the contrary. Most first time visitors here don't have a clue what to do, I mean DUH!......If they had a degree in acoustics why in the hell would they be here in the first place? This isn't PRO REC pal......I mean thats why the word HOME is in the name......comprende?
Your offer to help is appreciated I'm sure. But lableing members acoustical freshman is pure elitist bullshit. Even if they are, so what? I'm sure you had to be taught to shit in a toilet too.
If anything, most who visit here probably don't have $1k to use on a studio. Let alone an education in acoustics. They're lucky they have what they have to do a little recording. Your solution would easily cost $5k to $10k, depending on labor skills. I doubt there are many visitors here with that kind of pocket change for a studio? I don't. And I've saved for years.
Most just want a room that they can record without bothering the neighbors and vice versa, without hawking thier home to build it. If everyone could afford the level of construction you are talking about, who would need HR. They would just hire an acoustical consultant, contractors,an architect and get on with it. I won't speak for every one here, but I'd bet $100 the cost of your methodology would easily be beyond the average enthusiast that visits here, financial ability to accomplish. I know you meant well, but GEEEEEEEEEZUS theres plenty of Mercedes dealers too...........that don't mean everyone could afford one, but I CAN afford an old Chevy that gets me from point A to B. I don't need a fucking $50000 car to go to work. Cold hard facts may be what it be as you said, but you offered NO alternative. And from what I read into this, you could play a stack of Marshall amps full blast with no transmission to the outside world whatsoever. It seems to be containment by brutal force, without even knowing one needs it. This isn't a one size fits all situation, which is exactly what you imply. What about the musician who just wants to record a little acoustic and his voice without breaking his financial balls to do it, and still get decent results.
To me, the BEST advice you could possibly give here would be to tell the "less enligntened than thou" members how to build a SMALL vocal booth. People ask all the time, but NEVER has anyone offered a plausable diffinitive design for a vocal booth. Yea, theres been many ideas offered, but an ACTUAL plan, or set of instructions has never been put forth, probably because of the lack of confidence on members behalf to believe it is viable. Maybe just scaling your method to a 6x8 space? Or are small vocal booths not worthy of acousticians time? If you care to prove me wrong I'm all ears.

fitZ

 

[Acoustech]

Hey Fitz....I like you.... I don't live in La La land...I live on the east coast with the rest of the Celts... I loved your e-mail... it made the end of my day//LMAO. very good.
You are sorley missinformed regarding your veiw of my stature in your preception....( you must be a liberal) (joke) ...although I do work in the corporate world and for producers , artists others...and my being her in some way offends you because of the same...But stop and think for one moment why I would be here.....? Its of no monitary value to me...
I gain nothing.. I was asked to be here...to donate my time to the artists that subscribe to this site. The Acoustical Society saw fit to do so...and I volunteered..
The whole Idea was to inform the collective of correct procedures of design and application of acoustical product and construction. My goal is to put folks on the right path and disregard the "vodoo" that is put forth on this site (although well meaning)...and from the hundreds of e-mails I have received... that's just what's going on...so consider the thousands of dollors waisted there...I have 24 days left to contribute to the members of this site... and will do so in earnest. There is no pretext...I assure you. what would I gain.
Although you seem a bit hostle...I welcome your opinion..that's what's great about this country.....But regardless of your missinformed opinion of me ( you don't know me)...
I was not rich ...and to this day I am still not rich...I work for a living. My Crews are dedicated people...... I am sure like yourself... if you had the oppurtunity to be here doing this work ...you would be involved.
Seems me being here offends you... I do not opologize for that. I am here to assist those who request it.
I did like the spirit of your letter..... you must be a celt..but that's just a guess.
Please ...don't be so intimidated...say what's on your mind...!!!!

Best regards Fitz,

Jack Piercy
Acoustech

 

[Saih Pitu]

Your offer to help is appreciated I'm sure. But lableing members acoustical freshman is pure elitist bullshit.

I'm not a regular poster here in this forum so maybe I am a bit out of place saying this but in all honesty I think it is closer to the truth then you obviously care to admit. I certainly don't have a degree in Acoustics and I have never built a proper professional studio before nor have I spent the last twenty years studying the topic and I think I can assume that neither have you. As you pointed out if we had then we probably wouldn't be here in a home recording forum, so blasting an expert in the field who is offering us their advice for free just because you can't afford their method at this point in time is probably not the best way to learn the subject from the experts.

For me this posting is very timely for two reasons. One being I just started to clear my garage down to the bare shell and have been thinking about converting it into a small project studio, so I am very interested in what he says for personal reasons. Maybe you can't afford his way of doing it (and I am not sure at the moment if I can either) but it is at the very least interesting to see what the experts in the field consider what is the right way to build a garage based studio. The other reason I am interested is I teach recording techniques at the community college level and the second most asked question I receive (right after when can I start recording my soon to be million selling CD in your free studio ) is how can I build a home studio? Up until now most of what I have told them is very basic, perhaps I can learn something in this thread that I can pass on to my students. I look forward to learning more on this topic.

 

[Acoustech]

By the way Fitz....... if you want a design layout for vocal isolation....why don't you just ask >>>>>...?
I would be happy to send you the information...that's why I am here...


Jack Piercy
Acoustech

 

[RICK FITZPATRICK]

and my being her in some way offends you because of the same

Not at all. I value good information and appreciate people who have skills and education, and are willing to share it.
It was your statement that we are stuck in Acoustics 101 that pissed me off. If I had a degree, I would have known that, however not all are endowed with the ability to get one. Yes, maybe we are, but no one likes thier nosed rubbed in thier own illiteracy. Especially if they were not aware of it. It smacked of elitism. I see it all the time at Alt. Physics.com. Some go so far as to suggest the less informed members have "the audacity to ask questions", as if they are some kind of fucking god. Make me puke. Or should I say....line em up like the Russian Czars family..........the world has no use for ivory tower pricks. At least in my book.
But as to the subject at hand, let me get the hair on the back of my neck back down. Ok, volunteered huh? Your motive is admirable. Its about time. There are many "gurus" who make an appearance now and then, and some even stick around for a while. I'd like to suggest something. However it will take more time than I have at the moment to do so. I'll be back tomorrow after work.
As it sounds like I amused you as opposed to offending you, thats good. I won't have to apologize then. I've done that enough around here already. Maybe I'll open my ears and mind and learn something. I'm always ready to clean out all the theorys that are collecting cobwebs in my brain anyway. Till then, later Jack.
fitZ

 

[Acoustech]

Loren , I was just finishing up for the night and caught your posting...your sentiment was
sweet...and well taken . I was a bit troubled by Mr. Fitz....hostility ..seems there are other issues there. But if you are indeed a teacher of music... you have no idea of what's available to you in regards to facility design that we provide.
If it is within the curriculum of the school to construct such a facility I.E Control Room and Studio...for the student body.... we will provide the service to your school at no charge. Meaning..we will design and put to architectural Print detail for your contractor
to construct the same . (A Studio).
If the school is interested.please foward request to:
Acoustech
P.O.1554
New london N.H.

We would be happy to assist,

Best regards,

Jack Piercy
Acoustech

 

[Acoustech]

Hey Rick, it was not my intention to offend anyone...I can assure you of that. I was speaking to Steve ..by the way...who has a great depth and no how concerning the subject. I was trying to lead him out of the garden so to speak.......or out of the darkness. You seem to have other issues...perhaps while I am here trying to help your friends....and I know this is may be hard for you to comprehend ....I receive no compensation...what so ever in doing so..and to be honest and I do not consider it in any other mode other than helping fellow artists... ..I find your comments in regards to the same shameful...
However, perhaps you need to go elseware for the remaining days.... the folks here desire help...which I will provide at no charge to any and all who are not a commercial facility. And that's exactly what i will do... If you have a problem with that ...well as the Irish would say .....(FECK--OFF)

Jack Piercy

Acoustech

 

[knightfly]

Guys, how 'bout we all lighten up a bit?

Rick, I know how frustrated you get on this subject sometimes, occasionally I even agree with you :=) but regardless of motivation, many of the members here have a chance to learn from someone with current practical experience; so if you manage to piss Jack off and make him leave before we can milk him dry, I WILL be forced to feed your nuts to my 160 pound Doberman (lovingly, of course :=)

Jack, I thought your first post or two sounded a bit "talk down" too, but attributed it to the likelihood that you may be used to dealing with high end studio personnel, many of whom seem to be world-class pricks who NEED to be "baffled with bullshit" - If I'm wrong please correct me, I'm used to it - but my general philosophy of life is never to turn down an offer I've not heard, so whatever else happens, let's keep this friendly and educational, please -

Everyone, here's a thought - even a butterfly knows SOMETHING you DON'T know - if you step on him, who's going to teach you to fly?

Back to the fray - BTW, that "small vocal booth" is something I've been kicking around, but it will take probably another year before I can get to it - when I do, it will be most likely a paid download or CD-rom for a reasonable price, and it won't happen til I can produce real-world test results along with plans, pix and material list/cost estimates along with complete directions - in other words, I'll first have to build one in my shop including ventilation and acoustic treatments, then test it, while documenting every step of the way. Don't hold your breath, just be aware that I'm planning on it... Steve

 

[DDev]

Acoustech,

Since the subject has been brought up (I'll not stoop to getting into the rest of the fray, and Steve is being hit from too many fronts by too many of us amateurs to keep up with the demand for his advice), I for one would like to see some plans for a temporary vocal booth (ie. one that can be assembled when needed and disassembled when not needed). The space i currently use for my vocal recordings is 6x6 feet in the corner of my basement. I have a curtain rod hung that I string a couple of heavy blankets across to provide a little bit of isolation from the rest of the basement and some rigid fiberglass panels that I put on the walls to cut down some of the reflections, but it doesn't cut out the dog barking or the air conditioning running (my 2 biggest issues). What I am hoping for is enough isolation that I don't have to make my wife take the dog for a walk whenever I do vocals and that has enough isolation to not pick up the ambient noises in the house. I don't need perfect isolation, just something more than I've got and my wife won't let me do anything else permanent down there (she did let me build a control room at least).

Thanks,
Darryl.....

 

[jeff5xo]

Ok, I am in Acoustics 101. But I don't think it's necessary for you, Jack to speak to any of us in a condescending way. And as for telling Rick to go away.............are you really that arrogant? Your expertise is more than welcome here. Your attitude isn't. We don't have the knowledge that you do, and believe me we all thirst for it, but that's no reason to insult any of us. Rick may have been a little harsh, but you're just throwing fuel on the fire by making his opinions seem feeble. We WANT your help. We need your help. You are an expert in your field and we all admire that. You have the knowledge that we crave. Please stop trying to rub our noses in it, and actually help us. I am glad your here, and wheather Rick wants to admit it or not, I'm sure he is glad as well. So help us. Let's talk about that vocal booth. What would your recommendation on building a quality vocal booth? By the way, very cool on helping the dude out with the studio plans for the school. I hope he follows up with you on that.

 

[mshilarious]

I don't have a question, actually just a suggestion. If you are truly buried in email, it would be a better use of your time to simply limit your responses to posting here. Sorry to dis all the emailers, but publicly available archived threads are a lot more useful.

None of this is relevant for me, as I only have 100 ft2 for a studio, but most of the questions here relate to design & treatment of:

1) live room
2) control room
3) iso booth

Given that the average homereccer space dedicated to the studio is around 300-400ft2, mostly with 8' ceilings.

So my query would be what would be your preference for allocation of space, combination or separation of the above-listed rooms, and design and treatment of the various spaces.

Let's presume that this space is adequately soundproofed by virtue of your garage design or a basement location.

The other great issue is the bedroom studio that cannot be majorly altered, but I don't know if there's much to suggest in that case beyond basic treatment, which has been pretty well covered here already.