Recording - November 2013 - 8

Note to faithful writers: When sending your letters by email,
please remember to include your name and where you hail from.
Not your usual “working in the box”
I found Matt Seiler’s DIY piece in your September issue on
reinforcing walls for acoustic treatment to be a great article, but
I need to point something out regarding the comments on electrical boxes. I am an electrical engineer, but also spent many
years as a licensed electrician.
The article touches on the fact that the electrical boxes in the new
wall will be recessed by an inch or so, and it goes on to say that
if you can’t extend the box you should seek longer screws to reach.
Local codes will vary, but many jurisdictions will adopt the National
Electrical Code (NEC) in whole or in part as the local code. I refer
to Article 314.20 of the NEC. It requires that boxes be installed so
that they are flush with the finished surface (for walls made from
combustible materials, like wood panelling), or recessed no more
than 1/4" for walls made of non-combustible materials (like
sheetrock or concrete). I am not familiar with Homasote 440 and
do not know if it is considered combustible or not.
My point is that adding about an inch of thickness to the existing wall will require some sort of electrical box extension, and
not simply longer screws. I can say from experience that electrical inspectors do check for this. Now, will your studio burn
down if you don’t follow these requirements? Are “do it yourselfers” likely to have an electrical inspection? Probably not, but
your readers should be informed of what the code says.

Vinyl—trend, fad, or history repeating?
Dear Editors: I’m a student at CRAS, researching material for
an assignment on the recent “resurgence” of vinyl. I am hoping you have a minute to tell me what you think of this. Is it a
trend or fad? Why are some artists putting out vinyl records
along with digital formats?

Mark Scheuer
Myrtle Beach, SC

Tony Suazo
Gilbert, AZ

Thanks, Mark! This is a valid point. Whenever you do work with
electricals, be sure you stay within code and keep your building
and your studio safe. When in doubt, ask an expert.—MM

Hi, Tony! Vinyl never fully went away and it’s not likely to.
There are three big markets for it.
One is the listener who believes that music loses something
when it’s digitized, no matter how good the conversion process
is; these people like the sound of analog on vinyl and the whole
process of listening to records.
Another is the artist who is looking to capture a “retro” feel for
his or her releases. Vinyl singles alongside digital formats are popular for indie rock, punk, and other genres; they’re great souvenirs
to sell at live shows, and can be used to promote and define a particular image for a band, since they hark back to the “do it yourself” basement-label aesthetic of the 1980s punk movement.
The last one is the DJ who prefers to scratch real vinyl rather
than use a digital simulation for his decks.
We’ve done a variety of articles on mastering for vinyl and
working with vinyl as a distribution medium, and our current
Sound Advice monthly e-newsletter is covering that very topic right
now. Check it out!—MM
Dear Tony: I look at it as a pendulum swing, this one away
from the cheap earbuds and the music typically played through
them, music where rawness and overcompression takes precedence over dynamic subtleties and colors. Quality matters again,
and to some ears the quality of vinyl sounds better than digital.
It’s a matter of taste, and not everybody trusts their own, so as some
prominent artists go one way, others follow, trusting that this must be
the way to go, hence a trend develops, artistically and—of course—
commercially: once again there’s money to be made from something
you can’t download. Is it a fad? Only time will tell.—LzR

Busting out?
Dear Bruce Black: I’m one of those decent handymen you talk
about. Perhaps a bit more than decent. I suggest you add an
addendum to your September article (“Stop Sound Leakage!”)
because of your discussion of the “Great Stuff” line of products.
I’ve used these, and the only one that amateurs should use is the
product for “Windows and Doors”. It does more than stay flexible—it has limited expansion. The “Gaps and Cracks” and “Big
Gap Filler” can expand within a door frame to unseat it, or,
worse, actually break the board. I’ve seen the bottoms of window
frames (sill, stool, whatever you want to call it) crack right in the
middle because of these products when used improperly. I’ve also
seen windows and doors that suddenly don’t close tightly because
their frames have been expanded and distorted. Just a thought.
Scott
via email

Bruce Black replies:
Dear Scott: I have used expanding foam numerous times and
haven’t had this happen, nor have I encountered this with any
of the rooms I’ve worked on over time. That being said, it sounds
like Scott is a professional handyman so he likely has far more
experience with the foam than I.

The issue Scott mentioned would most likely happen when
expanding foam is injected into a wall void (like between framing
studs) through a small hole, where it is very constrained. In this scenario it can only push against the wall components when it expands.
In the article’s application, there is an unconstrained gap that is
being filled, so the foam would expand out this gap into the room.
The amount that expands into the room can be trimmed off once it
dries. Also, the amount used to seal gaps would be much smaller
that the amount used to fill a void for thermal insulation, allowing
expansion into the voids without pressuring the wall components.
In the article I do mention testing the expanding foam in a cardboard box or on some newspaper so that you can get a feel for
how much it expands. Scott’s comments point out how prudent it
is to do this! A little bit goes a long way, so doing this helps avoid
having too much expand into the room, and demonstrates just
how messy it can be to work with. In the end, any reader who
has concerns about expanding foam should not use it.—BB

Write to us at: Talkback, Recording Magazine, 5408 Idylwild Trail, Boulder, CO 80301
Or save stamps and send email to talkback@recordingmag.com
8

RECORDING November 2013



Recording - November 2013

Table of Contents for the Digital Edition of Recording - November 2013

Recording - November 2013
Fade In
Contents
Talkback
Fast Forward
Creativity And Community: A Chat With Kristian Bush
Reviewed & Revisited: Apple Logic Pro X
Write—Record—Release—ROCK!
Yamaha HS7 Monitors And HS8S Subwoofer
The Windup... And The Pitch
DPA Microphones d:facto II Handheld Vocal Microphone
Focal Spirit Professional Headphones
Songwriter’s Intervention
Millennia Media NSEQ-2 EQ For The Universal Audio UAD-2 and Apollo
Be Ready!
Recording Fundamentals. Chapter 23: Compression—Part 2
Readers’ Tapes
Advertiser Index
Fade Out
Recording - November 2013 - Intro
Recording - November 2013 - Recording - November 2013
Recording - November 2013 - Cover2
Recording - November 2013 - 1
Recording - November 2013 - 2
Recording - November 2013 - 3
Recording - November 2013 - Fade In
Recording - November 2013 - 5
Recording - November 2013 - Contents
Recording - November 2013 - 7
Recording - November 2013 - Talkback
Recording - November 2013 - 9
Recording - November 2013 - Fast Forward
Recording - November 2013 - 11
Recording - November 2013 - 12
Recording - November 2013 - 13
Recording - November 2013 - Creativity And Community: A Chat With Kristian Bush
Recording - November 2013 - 15
Recording - November 2013 - 16
Recording - November 2013 - 17
Recording - November 2013 - 18
Recording - November 2013 - 19
Recording - November 2013 - Reviewed & Revisited: Apple Logic Pro X
Recording - November 2013 - 21
Recording - November 2013 - 22
Recording - November 2013 - 23
Recording - November 2013 - 24
Recording - November 2013 - 25
Recording - November 2013 - Write—Record—Release—ROCK!
Recording - November 2013 - 27
Recording - November 2013 - 28
Recording - November 2013 - 29
Recording - November 2013 - 30
Recording - November 2013 - 31
Recording - November 2013 - 32
Recording - November 2013 - 33
Recording - November 2013 - 34
Recording - November 2013 - 35
Recording - November 2013 - Yamaha HS7 Monitors And HS8S Subwoofer
Recording - November 2013 - 37
Recording - November 2013 - The Windup... And The Pitch
Recording - November 2013 - 39
Recording - November 2013 - 40
Recording - November 2013 - 41
Recording - November 2013 - DPA Microphones d:facto II Handheld Vocal Microphone
Recording - November 2013 - 43
Recording - November 2013 - Focal Spirit Professional Headphones
Recording - November 2013 - 45
Recording - November 2013 - Songwriter’s Intervention
Recording - November 2013 - 47
Recording - November 2013 - Millennia Media NSEQ-2 EQ For The Universal Audio UAD-2 and Apollo
Recording - November 2013 - 49
Recording - November 2013 - 50
Recording - November 2013 - 51
Recording - November 2013 - 52
Recording - November 2013 - 53
Recording - November 2013 - 54
Recording - November 2013 - 55
Recording - November 2013 - Be Ready!
Recording - November 2013 - 57
Recording - November 2013 - 58
Recording - November 2013 - 59
Recording - November 2013 - Recording Fundamentals. Chapter 23: Compression—Part 2
Recording - November 2013 - 61
Recording - November 2013 - 62
Recording - November 2013 - 63
Recording - November 2013 - Readers’ Tapes
Recording - November 2013 - Advertiser Index
Recording - November 2013 - 66
Recording - November 2013 - 67
Recording - November 2013 - 68
Recording - November 2013 - 69
Recording - November 2013 - 70
Recording - November 2013 - 71
Recording - November 2013 - Fade Out
Recording - November 2013 - Cover3
Recording - November 2013 - Cover4
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