Audio Engineering

854 Chapter 29

Table 29.4 : Continued

Materials SRI (dB)

Floors

21-mm  1 & g boards or 19-mm chipboard 35

110-mm concrete and screed 42

21-mm  1 & g boards or 19-mm chipboard with plasterboard below and 50- mm sand

pugging

45

125-mm reinforced concrete and 150– mm screed 45

200-mm reinforced concrete and 50– mm screed 47

125-mm reinforced concrete and 50– mm screed on glass fi ber or mineral wool quilt 50

21-mm  1 & g boards or 19-mm chipboard in form of raft on mineral fi ber quilt with

plasterboard and 50– mm sand pugging

50

150-mm concrete on specialist fl oating raft 55–60

Windows

4-mm glass well sealed

23–25

6-mm glass well sealed 27

6-mm glass—12-mm gap—6-mm glass 28

12-mm glass well sealed 31

12-mm glass laminated 35

10-mm glass—80-mm gap—6-mm glass 37

4-mm glass—200-mm gap—4-mm glass 39

10-mm glass—200-mm gap—6-mm glass 44

10-mm glass—150-mm gap—8-mm glass 44

10-mm glass—200-mm gap—8-mm glass 52

29.3 Studio and Control Room Acoustics .....................................................................

Today the acoustic response of the control room is recognized as being as equally
important, if not more important, than that of the studio itself. This is partly due to
improvements in monitor loudspeakers, recent advances in the understanding of the
underlying psychoacoustics, and the recent trend of using the control room as a recording
space, for example, for synthesizers, whereby better contact can be maintained among
musician, producer, and recording engineer.