Solving acoustics on a 17' x 13'8"x 10' room for two channel

Cellcbern

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Jul 31, 2015
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In small room acoustics, you must treat the low frequency issues first and foremost. The fundamental low frequency issues produce harmonics that extend through the middle and higher range frequencies. If you treat the fundamentals, you minimize the impact at the middle and high frequencies. In a room this size and volume, you have major treatment issues starting at 33 Hz. and going through 225 Hz. Moving speakers around in a room this size and usage will not have the effect you desire. Treat the room fist and then set up within the treated room.
Question for you if I may: Is there a tradeoff between treating the ceiling and treating the floor? I could be wrong but my impression from what I've read and the many photos I've looked at is that in the pro studio space at least treatment of the ceiling is common and the floor (beyond carpeting) rare. Having treated the walls and ceiling I'm finding little audible difference so far when testing absorptive panels at the floor first reflection points. I'd appreciate your thoughts on this.
 

MTB Vince

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May 11, 2019
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Question for you if I may: Is there a tradeoff between treating the ceiling and treating the floor? I could be wrong but my impression from what I've read and the many photos I've looked at is that in the pro studio space at least treatment of the ceiling is common and the floor (beyond carpeting) rare. Having treated the walls and ceiling I'm finding little audible difference so far when testing absorptive panels at the floor first reflection points. I'd appreciate your thoughts on this.
I'm not Dennis but I can answer that. In a typical studio space the mixing desk will occupy the space where you might have placed absorptive traps on the floor for the first reflection. This would apply with 100% certainty to the nearfield monitors and likely mid or far field monitors as well. All mixing/mastering studios will incorporate absorptive ceiling cloud" treatments above the mix desk and MLP. Carefully aimed mid or farfield monitors using mid and high frequency horns with a narrow vertical throat profile to limit vertical dispersion will largely avoid exciting the floor and ceiling primary reflection points.
 
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Cellcbern

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Jul 31, 2015
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Washington, DC
I'm not Dennis but I can answer that. In a typical studio space the mixing desk will occupy the space where you might have placed absorptive traps on the floor for the first reflection. This would apply with 100% certainty to the nearfield monitors and likely mid or far field monitors as well. All mixing/mastering studios will incorporate absorptive ceiling cloud" treatments above the mix desk and MLP. Carefully aimed mid or farfield monitors using mid and high frequency horns with a narrow vertical throat profile to limit vertical dispersion will largely avoid exciting the floor and ceiling primary reflection points.

I'm not Dennis but I can answer that. In a typical studio space the mixing desk will occupy the space where you might have placed absorptive traps on the floor for the first reflection. This would apply with 100% certainty to the nearfield monitors and likely mid or far field monitors as well. All mixing/mastering studios will incorporate absorptive ceiling cloud" treatments above the mix desk and MLP. Carefully aimed mid or farfield monitors using mid and high frequency horns with a narrow vertical throat profile to limit vertical dispersion will largely avoid exciting the floor and ceiling primary reflection points.
I appreciate your comments. I used the pro audio space by way of comparison, but my question regarding potential tradeoffs was related to home listening rooms.
 

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