Recording - March 2017 - 54
construction wasn't permitted and inspected, there's no way to know with any confidence how the wall was built. I expect all the other walls and the ceiling to have been
built the same way.
What this leaves us with is walls with panels between each stud that can vibrate in the
presence of sound (and absorb energy by doing so). And vibrate they do, with each one
resonating at its own unique frequency, and with greater level due to the sloppy-floppy
construction technique. Shake well and multiply times four walls and one ceiling-an
excellent recipe for low frequency loss.
Now add a nice set of
speakers playing loud music. It takes a little time to
see things manifest, but
we must give Newtonian
physics time to work its magic. The inertia of each one
of those panels takes some
time to overcome, and
for the panels to take on
FIGURE 1
enough acoustical energy to
really get moving. You can
start to see the effect at 40
milliseconds, and it's pretty much going full force at 120 milliseconds. Which, by the
way, translates to around 45 feet and 135 feet of sound travel, respectively-so
again, it's not caused by phase interference.
Once fully excited, those panels are merrily changing acoustical energy into mechanical energy, effectively
absorbing around their chosen
frequencies. According to the
data, the LF losses continue
out to around 320 milliseconds, where the response
evens out, and the LF is
primarily low-level ambient noise. At this point fricFIGURE 2
tion and dissipation have
changed the mechanical energy into heat, which in turn
gets sucked up by the air conditioning and unceremoniously thrown outside. So I suppose
you could say your missing LF got the boot out the door.
Every picture tells a story
The bigger picture here is that there are a lot of things that are missed if you don't
consider the time aspect of sound, which a realtime analyzer does not. A lot happens
in the time domain, and as
we see with the AWOL low
frequency, there are things
that can go wrong and leave
you baffled if you don't know
where to look.
Figure 1 shows the direct
sound for a room with the
dreaded bass suck-out (all the
graphs are 10 to 1000 Hz
54
RECORDING MARCH 2017
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Table of Contents for the Digital Edition of Recording - March 2017
Contents
Recording - March 2017 - Intro
Recording - March 2017 - Cover1
Recording - March 2017 - Cover2
Recording - March 2017 - 1
Recording - March 2017 - 2
Recording - March 2017 - 3
Recording - March 2017 - 4
Recording - March 2017 - 5
Recording - March 2017 - Contents
Recording - March 2017 - 7
Recording - March 2017 - 8
Recording - March 2017 - 9
Recording - March 2017 - 10
Recording - March 2017 - 11
Recording - March 2017 - 12
Recording - March 2017 - 13
Recording - March 2017 - 14
Recording - March 2017 - 15
Recording - March 2017 - 16
Recording - March 2017 - 17
Recording - March 2017 - 18
Recording - March 2017 - 19
Recording - March 2017 - 20
Recording - March 2017 - 21
Recording - March 2017 - 22
Recording - March 2017 - 23
Recording - March 2017 - 24
Recording - March 2017 - 25
Recording - March 2017 - 26
Recording - March 2017 - 27
Recording - March 2017 - 28
Recording - March 2017 - 29
Recording - March 2017 - 30
Recording - March 2017 - 31
Recording - March 2017 - 32
Recording - March 2017 - 33
Recording - March 2017 - 34
Recording - March 2017 - 35
Recording - March 2017 - 36
Recording - March 2017 - 37
Recording - March 2017 - 38
Recording - March 2017 - 39
Recording - March 2017 - 40
Recording - March 2017 - 41
Recording - March 2017 - 42
Recording - March 2017 - 43
Recording - March 2017 - 44
Recording - March 2017 - 45
Recording - March 2017 - 46
Recording - March 2017 - 47
Recording - March 2017 - 48
Recording - March 2017 - 49
Recording - March 2017 - 50
Recording - March 2017 - 51
Recording - March 2017 - 52
Recording - March 2017 - 53
Recording - March 2017 - 54
Recording - March 2017 - 55
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Recording - March 2017 - 57
Recording - March 2017 - 58
Recording - March 2017 - 59
Recording - March 2017 - 60
Recording - March 2017 - 61
Recording - March 2017 - 62
Recording - March 2017 - 63
Recording - March 2017 - 64
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Recording - March 2017 - 66
Recording - March 2017 - 67
Recording - March 2017 - 68
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Recording - March 2017 - 70
Recording - March 2017 - 71
Recording - March 2017 - 72
Recording - March 2017 - Cover3
Recording - March 2017 - Cover4
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