I'm about to make a tremendous rework of the acoustics in my studio, and a fix for the 129Hz standing rez-wave that haunts it. Right now I'm looking at Auralex Wedges, considering possibly 4" wedges at the hotspots and 2" elsewhere, with bass-traps consisting of a kind of long tubular heavy insulation originally meant for ventilation pipes running continuously along every corner in the ceiling. I wonder if anyone here has any opinions on this, or perhaps Auralex in general? I use the same room for both sound designing/editing, mix, ADR, sound effect recordings and foley, so I prefer reliability and neutrality over artistic and beautiful acoustics.
I would avoid going down the absorption wedges route, it is really easy to mess up.
Personally I would work with moveable panels which you can make up from fibreglass sheets which you cover with rockwool and then cover with cloth. The size of the sheet and the depth of the rockwool will allow you to control the frequencies that you absorb. These panels can either be floor standing if you mount them in a wooden frame, or they can be screwed on to the wall. Either way you can tune the room to the right balance of live and dead according to the job you are working on.
Make some tuned panel absorbers instead - the wedges wont tame it in my experience. Lots of cheaper options than buying that stuff, go DIY on your studio, you'll learn a bunch in the process of saving a sheckle or two and make for a better end result.
FYI McGregor and I are talking about the same thing...
Lots of good articles on the Sound on Sound "technique" and archive section too. http://www.soundonsound.com/search?page=3&Section=8&Subject=5 Particularly the "Practical Acoustic Treatment" series
I agree with the previous posts. Go DIY! I like Auralex for the more architectural products which especially for diffusion. The foam products are petroleum based and much of the modern insulation products are very green. There are some many great forums and youtube videos that show you how to make absorption and bass traps with material from home depot and fabric from the internet. On another note, Gik acoustics makes a soffit trap which one of my favorite prefab devices. Good luck.
Did You also treat the first reflection points? If not, I suggest to do it first and the measure again
It can be quite tricky to optimize Your spot. It might take some time, So If You want to learn - got DIY
If You have no time to dig into acoustics - go greenacoustics, real traps, GIK, etc. depends on the money really. Auralex might not work too well due to material.
If You can insure that Your room is quite linear already but just have some probs with specific freqs/-ranges, You need to go Helmholtz or VPR (Plate resonator- hope it´s also called like this in english) . Which can be VERY tricky to build. If You need more infos, feel free to ask for links...
So my way would be:
Measure again, treat the corners AND first reflection points. measure again.
fabrics for DIY can be : owens corning 703, basotect, hemp :-)
Happy optimizing, it´s worth it
Cheers and thanks for the answers!
As I see it right now, I will make the first steps in the new rebuild of the studio by completing the bass-traps I already have (some triangular broad-band traps, don't really know exactly where they're most effective) with, among others, the Auralex Venus Bass-Trap, which is especially effective (at least in print) in the very range I have most resonance in. I'll also check out the spring-traps, some Helmholtz resonators, and bass-panels at the resonance-points.
I'm still not sure exactly how to deal with the high/mid acoustics, as for now the Auralex 4" wedges seems the most interesting. I'm looking for absolute neutrality and short reverb-time, so I suppose it will take quite some tweaking before I get it great. But I will use a combination of my old modular walls, retractable moltom (of at least 400gpm thickness) and a few other things to reach as close to complete deadness as I can when doing sound effects, ADR and foley. I don't really care how much it will cost in the end, it's not only that I do make a living out of this, I live for sound and are willing to do whatever it takes to get as close to perfection as possible.