Recording - December 2013 - 59
speaker cabinet, but without the speaker
cutout. The air inside the cabinet vibrates
at a frequency determined by the relationship of the port size to the cabinet volume to dissipate the sound. These also
respond quite well to the pressure at the
room surfaces and therefore are particularly adept at absorbing low frequencies.
The shape of the resonator doesn't matter,
so it can be designed to fit into whatever
space can be spared for it. Rectangular
shapes are easiest to calculate and build,
but the interior dimensions don't need to be
any particular ratios-again, shape doesn't
matter. You can make them to any shape
that fits the space available.
You can further optimize the resonator's
performance by placing the port as close
as possible to a corner of the resonator
cabinet. This will allow placing the resonator as close as possible to a corner of
the room where two or three surfaces
meet, improving their effectiveness. The
port should also be placed an inch or two
from the wall, where the pressure will be
highest, rather than facing into the room.
Finally, I install some hardware cloth with
a 1/4" or 1/2" pattern over the port, basically to keep things from crawling
through the port into the resonator.
Also, since the box surfaces aren't part of
the resonating equation, you can paint or
cover them as you please, even with an
absorbent material. And you can hide them
in out-of-the-way places without affecting
how well they work. See the photos of a
mix room's resonator placement-the resonators are the dark, fabric covered boxes
stashed away in otherwise unusable room
corners. You can also use multiple resonators to control multiple frequencies, or
use multiples of the same frequency to
increase the absorption there.
So, let's see... Focused on the actual
problem frequency; can be any shape; can
be hidden away anywhere; easy to build;
can be covered however you like-sounds
like a winning combination, to me.
Okay, so they're a good idea-now
what?
Next time, I'll go through the process of
building one of these resonators. I'll choose
a particularly useful frequency for my illustrated example, and will provide simple
tweaks to the design so you can tune your
own resonator to the exact frequency you
need to attenuate. See you then!
Bruce Black (black@recordingmag.com)
is a recording and post-production engineer now working as an acoustics consultant with Media Rooms Tech in
Ventura, CA. Learn more at mediarooms
tech.com and read Bruce's blog at
manofacoustics.com.
http://www.clearsonic.com
http://www.clearsonic.com
http://www.recordingmag.com
http://www.mediaroomstech.com
http://www.mediaroomstech.com
http://www.manofacoustics.com
Recording - December 2013
Table of Contents for the Digital Edition of Recording - December 2013
Contents
Recording - December 2013 - Cover1
Recording - December 2013 - Cover2
Recording - December 2013 - 1
Recording - December 2013 - 2
Recording - December 2013 - 3
Recording - December 2013 - 4
Recording - December 2013 - 5
Recording - December 2013 - Contents
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Recording - December 2013 - Cover3
Recording - December 2013 - Cover4
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