‘We developed a special floor made of cobogó brick filled with concrete; a fully experimental work that resulted in a beautiful pattern,’ explains Humberto. ‘We employed sisal fiber as a natural background that complements the strong graphic effect created by the cobogó brick.
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There is no point in doing this halfway-- you must cover all internal walls, preferably on both sides. Additional gypsum gives diminishing returns, but an intermediate layer of soft fiber board can be helpful.
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The worst problems occur when a speaker winds up in a corner. If this is unavoidable, figure out where the reflections occur, and make that part of the wall or ceiling absorptive.
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You can reduce the amount of isolation you need if you give some careful thought to the choice of rooms you are putting your studio in. Pick a room that does not adjoin a kitchen or bathroom, or the place where your housemate does taxes or watches TV. In other words, put some cobogo space between the studio and the noisemakers or sound sensitive activities.
The development of the advanced liner technology for aeroengine noise control necessitates the impedance measurement method under realistic flow conditions. Currently, the methods for this need are mainly based on the inverse impedance eduction principle, confronting with the problems of initial guess, high computation cost, and more info low convergence. In view of this, a new strategy is developed that straightforwardly educes the impedance from the sound pressure information measured on the duct wall opposing to the test acoustic liner embedded in a flow duct. Here, the key insight is that the modal nature of the duct acoustic field renders a summed-exponential representation of the measured sound pressure; thus, the characterizing axial wave number can be readily extracted by means of Prony's method, and further the unknown impedance is calculated from the eigenvalue and dispersion relations based on the classical mode-decomposition analysis.
The curtain over the window Is here too light to be a really broadband absorber, but it combines with the low frequency absorption of the glass to give a reasonably flat overall effect. The carpet and wooden floor interact in much the same way.
We can get away with materials that poop out below 100 hz because normal wall and floor construction is absorptive in the low end but very reflective above 200 hz. This means that the reverb in an empty room is almost always bass shy.
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