1. Corners – the first point of attack
Acousticians have long known that corners are your best friend when it comes to room treatment. Walls and ceilings act as guides that cause build-up in corners. Furthermore, because sound constantly expands, using corner reflections to your advantage can double the performance of your acoustic panels!

The Cumulus is probably the first and most effective room treatment. This triangular shaped corner trap will absorb all frequencies from roughly 125 Hz up. It is inexpensive, quick to set up and because it is almost ‘invisible’, it can adapt to any room décor without being obtrusive. Another good option for corner treatment is combining a Broadway broadband panel with corner impalers. These combine to create a large air cavity behind the panel which will help absorb bass. These can be mounted alone or stacked to fill the whole corner. You can even use recycled cotton, rockwool or fiberglass bats in behind to increase the effectiveness. This will effectively absorb energy from the 75hz region up. For even greater performance, the Primacoustic MaxTrap adds a flexible membrane to further attenuate deep bass.

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But before we get into the solutions, let’s discuss the problems in more detail. The good news is that most of the noise generated by our computers is high pitched. High frequencies are much easier to contend with than low frequencies by strategically positioning absorptive materials where they will do the most good. The bad news is that the very reason computers have fans is that they need air to cool themselves or else they will overheat and stop working. So the required solution involves providing a mix of absorption while allowing fresh air to flow.

High frequencies are more directional than low frequencies and they also contain less energy. This means that you require less mass to contain their sound and thinner absorptive panels. Knowing this, let’s apply these two concepts to a typical studio workstation setup using a three step approach:

Step 1 Add a front door
Most project studios employ a desk of come sort as a workstation. The computer is often located out of the way under the desk in a computer ‘tunnel’ that includes a low lying shelf which is open at the front and in the back. The noise is escaping from both access points. So the first thing to do is to add a solid door to the front. Most hardware stores sell a variety of standard kitchen cabinet doors and these can be custom ordered to fit. The best choice of door will be a good heavy one made from melamine as it will contain more sound. Bring your desk opening drawing with you so that the hardware specialist can recommend the best hinge to suite your particular need. If you want to get a glass door, try to get one that has a good heavy pane of glass and make sure it does not rattle. Most doors are designed to expand and contract so they do not glue the panel inside the rails. If your door rattles, add a silicone bead. You should also apply good weather stripping to surround the door opening. Remember, if air can pass so will noise.

Step 2: Absorb the noise before it gets out
Now that the noise exiting the front of the cabinet will be significantly reduced, we have to treat the noise inside the tunnel itself. Think of it this way: by reducing the noise at the source, it will be mush easier than trying to deal with it after it escapes! Remember: Because we need to provide the computer with fresh air, we cannot simply put another door on the back. Enclosing the computer would result in recycling hot air which of course could cause your system to overheat.

The best way to quiet down the noise is to line the inside of the tunnel with 1″ thick Broadway panels. You should line the sides and top and even the front door if you can. Just make sure you leave sufficient space so that air can flow. Because the whirr of the computer fan is usually quite high, the 1″ thick panels will provide effective results. All you need is standard construction adhesive some 1.5″ finishing nails and some Broadway panels. For safety, it is always best to use fiberglass panels. Urethane foam panels can dry out and end up causing a dust problem for your computer which could clog up the fan or create problems in the electronics. Fit the panels inside the tunnel best you can to cover the surfaces. You can then cut the panels to fit by first pulling the excess fabric out of the way and then re-gluing it to cover the edges. Add a bean of adhesive around the perimeter and then X from corner to corner. Use a couple of finishing nails to hold the panels in place to allow the glue to set.

Step 3: Control the noise exiting the tunnel
The final step involves doing what you can to reduce the noise that is exiting the back of the tunnel. This is done by treating the wall (or walls) behind the desk. Remember, high frequencies are directional. This means that the exit port of the tunnel where your computer lives has now become a horn. The direct sound exiting the horn will reflect off any adjacent walls and follow a vector. By treating the wall you will eliminate these reflections. You can use 1″ thick Broadway panels to do this or if you happen to have some extra 2″ panels, you will increase the attenuation.

Although this 3 step approach will not completely eliminate computer noise, it will do wonders at reducing the noise problem without breaking the bank. This do-it-yourself project is easy to do and it will definitely help lower the residual noise your studio.

[via primacoustic.com]

And yet we’re hearing only half an orchestra. Today, woodwind and brass have convened for the second, and final, day of recording for Killzone 2’s 28 minutes of cutscene music. Later this evening, the choir will arrive to perform its parts before the session ends at 10pm.

Though 28 minutes doesn’t sound like much, it’s a punishing schedule for two days of sessions, and when we arrive in the late afternoon, they’re already running behind. The music’s composer, Joris de Man, who also wrote the scores for the original Killzone and PSP follow-up Killzone: Liberation as a founding member of Guerrilla Games, has had to hurriedly tweak the orchestration for sections that didn’t quite go to plan during yesterday’s session, in which they recorded the strings. And the conductor, Jon Williams, is finding the session particularly gruelling because he broke his collarbone only a couple of weeks previously.

But experienced from a balcony above the control room, it sounds incredible. Even without the strings and choir in place, the music is full, angry and dramatic, with sharp trumpets punctuating phrases of the final piece of the day, The Helghast March.

On the other end of the scale are the loud, low, vicious barks of a cimbasso, but there’s room in the score for almost every instrument to take a role, from mournful oboe to processions of dramatic horns. Williams completes another take and quietly waits for de Man and the engineers in the control room to confirm over his headphones that all was well. The players relax.

Conservatively dressed and generally middle-aged, they’re all session musicians, and many play principally for the London Symphony Orchestra. You can’t help but wonder what they think about playing music for a videogame. Eventually, with two minutes to go until the wind section’s session time is up, the control room confirms it’s a wrap.

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