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It’s funny how you never realize how noisy the world actually is…
Until you build your own recording studio.
All those background noises that you never really noticed before…
Suddenly become painfully obvious when heard through a quality condenser microphone.
Which is why, one of the first questions beginners ask is:
How do I soundproof my room?
And so for today’s post, that’s exactly what I intend to answer.
Let’s begin. First up…
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Often times, newbies mistakenly ask about soundproofing, when what they reallymean is acoustic treatment.
So real quick…just to clarify:
Otherwise, let’s continue…
When a room is perfectly soundproofed:
But until you’ve recorded in a room that ISN’T soundproofed, you probably don’t realize how much noise actually exists. For example:
And all of these have the potential to ruin your recordings. Later on in this post, I’ll show you how to handle those inside noises…
But first let’s tackle the outside noises, using…
The process of soundproofing a room is accomplished using a combination of 4 tactics:
Here’s how it all works:
To prevent sound from entering and exiting a room…
The walls of that room require lots of mass…which prevents them from vibrating in response to sound energy.
When building a room from scratch, adequate mass can be added to the wall simply by building it thick, with a dense material such as concrete.
But to add mass to an existing room, additional structures must be built using materials such as mass loaded vinyl, aka Sheetblock – (price/reviews), which is a standard solution for both professional and DIY projects.
To measure how effective materials are at soundproofing, a metric known as Sound Transmission Class (STC) is used. Hard materials like concrete will have higher STC’s, while softer materials such as insulation will have lower ones.
Here’s a general guideline of what the numbers mean:
The other metric used is Sound Transmission Loss (STL), which some say is better because it measures isolation in dB at specific frequency bands…
While STC uses just one number for the entire frequency spectrum, which can often be misleading in terms of actual performance.
Up next…
Similar to adding mass, damping is a method of soundproofing that dissipates kinetic energy from sound waves by converting it to heat.
Currently, Green Glue – (Amazon) is widely-known as the most effective damping compound on the market.
By sandwiching Green Glue between two rigid panels, such as drywall, plywood, or medium density fiberboard (MDF), using two tubes for every 4×8 ft sheet…
You can easily create a make-shift sound barrier for your studio that can be added to any area of the room, including the floor, ceiling, walls, or even the door.
Up next…
Whenever two structures in your room are in direct contact with each other…
Sound vibrations from one can transfer freely to the other, making the original problem even worse.
Decoupling is the process of blocking that transfer of sound by isolating the contact points, usually with some sort of dense, pliable rubber.
Other common examples of decoupling include:
Using a combination of these techniques, any type of resonance that develops in the room can be contained to its original source, instead of amplified by the surrounding surfaces.
Up next…
The final task of soundproofing is to make sure all the little cracks and holes in the room are sealed up air-tight.
Because even after completing the first 3 tasks, any open spaces still offer an easy passage for sound to sneak through.
The 3 most common tools used to plug up those holes are:
And that’s a basic summary of how soundproofing is done.
Now at this point, you might be wondering…
As you can see, soundproofing a room is a huge job which requires time, money, and skills that most of us simply don’t have.
Which is why most home studios either skip it entirely, or just do the best they can with limited resources. And that’s totally fine…
Because while outside noises can be annoying at times, they’re usually periodic, so you can still find those quiet hours during the day to work in peace, even with no soundproofing whatsoever.
Inside noises on the other hand, such as those from your computer, are constant…which makes it much harder to find suitable work-arounds.
So up next…
These days, with single-room-setups being the norm…
Computer noise is a problem that plagues virtually all home studios…
Since microphones and computer are now forced to co-exist in close proximity.
If this is a problem you currently struggle with…
Here are 5 possible solutions that I suggest you try:
While it won’t completely solve the problem…
Creating maximum acoustic separation between your computer and mic can at least reduct the noise to a manageable level.
Here’s how it’s done:
If these tricks alone aren’t enough to solve the problem, up next…
The fact is: when laptops get hot, the fans engage and they get noisy.
So a great way to keep your computer cool is to use a laptop stand…
Which elevates the computer up off the table, allowing air to flow beneath.
The fan still engages from time-to-time, but not nearly as often.
And considering the low price of an item such as this, the investment is well-worth it.
Up next…
The Isobox, pictured to the right, is a high-end rack that solves a number of problems that standard studio racks don’t address.
To tackle the problem of computer noise, it has a soundproof enclosure that protects against overheating with a silent cooling fan, and an alarm that alerts you in the event of any problems.
As you might guess, the Isobox is extremely popular in high-end studios…as it is perhaps the ideal solution for anyone who can afford its incredibly-high price tag.
For those who can’t afford it, here’s the alternative…
While it may not look as cool, or even be as effective as a real Isobox…
Many people have seen great success by building their own “DIY Isobox” out of plywood and acoustic foam.
For an example of how it’s done, check out this video: (This guy uses it for his guitar amp, but a similar one could be built for a computer as well.)
If you DO try this…HERE IS MY WARNING TO YOU:
Anytime you place a computer inside such an enclosure, it runs the risk of overheating. With your own design, be VERY careful to allow for adequate ventilation, and proceed at your own risk.
Got it? Good.
And now for the final method…
One of the nice things about pro studios is…
Having multiple rooms makes it easy to keep computer noise far away from your mics.
At home though, the best you can usually do is keep your computer in a nearby bedroom by itself.
Of course, this only works with desktop towers…and many challenges arise when extending computer cables over longer distances.
While no single strategy will work for all rooms, some of the more popular methods people use include:
So your best bet is to examine the layout of your room, and decide which of these methods will work best in your situation.
Up next…
The other “indoor noise” that studios often struggle with is their A/C.
If you live in a warmer climate, then you already know how much it sucks to record in a hot stuffy room.
And while you’d think the simple solution would be to just turn off the air while you record…
Once you’ve tried it, you’ll realize how hard it is.
And the constant focus on the air conditioner distracts everyone from the real task at hand. So while it does work, it’s not a long-term solution.
Assuming you’ve again followed the 4 steps to creating maximum acoustic isolation that I showed you earlier for computer noise…and the A/C is still too loud…
Here’s what I recommend:
Many folks don’t realize this…but a big portion of A/C noise comes not from the unit itself, but from the world outside.
With window A/C’s, every little crack leaves an opening for sound to leak through.
So make sure it’s sealed up air-tight. And if you must, get a professional to help you re-install it.
With central A/C’s, sometimes the problem isn’t the compressor or the fan, but the vent itself.
So to be on the safe side, remove any vents covering the air ducts in the room.
As a side benefit, this can also provide for more efficient cooling through better airflow, possibly allowing you to run the A/C on a lower setting as well.
Much like the DIY Isobox we covered earlier, a simple A/C sound dampener can be built with just some plywood, acoustic foam, and a little bit of handiwork.
For an example of what one might look like…
Here’s a diagram I found on the Auralex website that illustrates the concept perfectly:
Now just like every other tip in this post, sound dampeners work KINDA, but not COMPLETELY.
And if the 3 previous tips combined aren’t enough to solve the problem, it could be because your current A/C just isn’t up to par.
So up next, I’ll help you find a better one.
Starting with…
All home air conditioners fall into 1 of 4 basic designs:
Here’s how they compare:
Because they’re easy-to-move and require no installation, Portable A/C’s might seem appealing for home recording…
But the truth is…they’re the worst of the 4 options. And here’s why:
So if you currently use a portable A/C, I highly suggest exploring other options.
Compared to portable models, Window A/C’s offer several advantages:
I say LESS noisy because personally, every window A/C I’ve ever tried was still too loud for recording. According to some sources though, the newest models have become much quieter.
However, they’re still far from ideal.
A HUGE step up from window A/C’s, Central A/C’s cool the entire house, instead of just one room.
The biggest advantage of this design is that the compressor is located outside, far away from your microphones…
Which can in-theory, provide an extremely quiet solution to cooling your studio.
The only catch is…the house MUST-HAVE high quality air ducts in order to provide adequate airflow with minimal noise.
And unfortunately, most houses have crappy ducts, and some don’t have any at all.
Luckily, there’s more option…
A hybrid between window and central A/C’s, Split Ductless A/C’s are actually comprised of two separate units:
For a studio in need of some quiet cooling, split ductless A/C’s may be the ideal option, because just like Window A/C’s…
And just like Central A/C’s…
While I don’t normally like to recommend specific products unless I’ve tried them myself, if your REALLY want a suggestion on where to start looking, the Mitsubishi MSZ-GE Series Ultra Quiet Air Conditioners look EXTREMELY promising:
Here’s a quote I pulled from the company’s website:
Our indoor units are some of the quietest in the industry, operating at a noise level of as low as 19 dB. To put that into perspective, consider that background noise in a library is 30dB.
One useful tip worth mentioning is: Buy a model designed for a room BIGGER than your own. That way, to keep YOUR room cool, it can operate at a lower setting, and stay quiet as quiet as possible.
Now to conclude this article…
Because noise is such a complex issue with home recording, some people just give up on the problem altogether…
And instead rely entirely upon noise reduction plugins, which have become increasingly popular in recent years.
But the problem with these plugins is…they can’t remove the bad sound (the noise) without seriously degrading the quality of the good sound (the music).
And they really aren’t meant to. Because originally, these plugins were designed for audio forensics…NOT music.
So the better strategy is to working on eliminating noise BEFORE it gets recorded…not AFTER.
And using your own combination of the methods outlined in this post, you should have no problem doing exactly that.