Oh - I also meant to say that I did end up screwing the drywall up but used as few screws as I could and supplemented them with the finishing nail technique.
On Purpose Productions detached garage studio
Originally posted at johnlsayers.com, topic 11485.
In finishing up the caulking of the first layer of drywall on the ceiling I thought of a trick that would have been really helpful during all the beef-up. When you measure the stud cavities to make your drywall cuts for the 1st layer, write the measurement on the studs for each location measured (obviously positioned such that it will still be visible after installing the drywall). Then you won't have to measure again the second time round like I'm about to do.... :roll: Especially since I'll have to be careful not to touch the caulking. :x
One thing I did do was mark lower edge of the bottom truss chord at the location of my 1x4s (my screw anchor points). Its really nice know where to screw quickly when you're hoisting that drywall over your head!
great tip, thanx!
You know, that's actually not such a bad ratio. You only have 4 modes below 85 Hz, and only 8 below 100 Hz. The lower ones are a bit spread out, but you could build some kind of treatment to take care of those, I think. According to Gold's calculator, that ratio is actually a good ratio, attributed to an "unknown" original source, but also listed by Eric Desart (#21 on his list) and just on the edge of the EBU recommendation. If you can spare an inch of length, then at 7.7"(H) x 11'5"(W) x 12'6"(L) you'll be right inside the EBU R22-1998 spec, and not too far off Louden's graph. Maybe what you have with those adjustments isn't too bad, after all... - Stuart -This is the decision I have: an ideal room ratio that may potentially feel small and cramped or more space with the likelihood of increased modal issues. I could move the wall between the booth and CR in as you suggested. If I move it 3" I'd end up with a 1 : 1.5 : 1.64 ratio - not a major improvement.
Stuart,
Thanks a lot for taking the time to check that out - those dimensions do seem pretty good (assuming the number I'm using for my width is acceptable, being an average). It seems I would get a dip somewhere between 50Hz and 65Hz and a peak around 88Hz ( I used 7.6ft x 11.46ft x 12.4ft). There's also quite a cluster of tangential modes at 155Hz and 202Hz - those could be controlled with traps I'm sure.
Given my angled walls I wonder if its worth doing calculations with three widths - the shortest, the longest and the average? It's probably possible that any modes associated with these widths could potentially exist in the room, although I assume that because the walls are angled the intensity of any dips or peaks would be minimized/diffused.....?
At any rate, I think I like these dimensions! :D
A quick update:
Finishing up the outer leaf ceiling took a while! I was surprised to learn that nobody stocks Roxul Safe n Sound bats for 24" OC wood studs. Rather than wait for an order I used 16" bats and just cut to fit. I certainly used more twine and nails doing that but wasn't willing to wait.
I put the HVAC runs up again - hopefully positioned such that they'll be out of the way of the new walls and ceiling.
I also finally got some flagstone at a great price from a huge supplier about 20 minutes from me and finished off the path for the new entrance. I was going to wait until my wife had prettied up the top of the wall with some flowers before posting a pic but oh well...here ya go! :wink: The driveway is still caked with mud from all the work.....gotta get that cleaned up.
I measured out and penciled in the location of all the interior walls to make sure my room dimensions are actually going to be what I've planned. I'm filling all remaining gaps with caulk and will be starting the inner framing in the next couple days! :D :D Very excited about that!
Framing has been moving really quick. I've got a good chunk of it done! Here are some pics;
You'll notice the red Tuck tape - I decided to cover up all the exposed caulking with it. Without it I'm sure I would have been constantly getting caulk everywhere while framing.
Pic 1 - I cut out a 1/2 inch gap in the Dricore between the CR and LR
Pic 2 - North Wall (will be the back of the CR)
Pic 3 - North East corner
Pic 4 - West wall of CR
Pic 5&6 - The beginnings of the CR/LR divider walls
wow, that's horny :)
Don't we all get a bit exited when seeing frames go up ? There should be a calendar about that, hosting pictures of frames (with attractive birds in front ofcourse)
:) It has got me pretty excited!
What did you decide to do for the inner ceiling joists??
Did you ever get an answer about laminating 2 2x4's vs. using 2x6's??
I am considering this to save some height.
I could never find any data on laminated 2x4s or on 4x4s. However, from what I gathered it seems that the amount of strength and rate of deflection is determined by the studs vertical length (height) when installed, and since a 4x4 has the same height as a 2x4......? But then it wouldn't be a common practice to sister (scab, laminate) joists for additional strength..... although it is recommended to add a taller stud when sistering (for example a 2x8 onto a 2x6)......... So as you can see, I didn't get any answers and ultimately decided to bite the bullet and use 2x6s on the CR side and 2x4s on the LR side. I'd be willing to bet that I would have been okay using laminated 2x4s, especially if I put them 12" OC, but this is not an area where I felt comfortable going against conventional wisdom. And ultimately it was the LR where I really wanted the maximum ceiling height anyway. My finished ceiling height in the CR will be about 7' 7.5" and 2" higher than that in the LR (depending on the flooring I end up with) :|What did you decide to do for the inner ceiling joists?? Did you ever get an answer about laminating 2 2x4's vs. using 2x6's?? I am considering this to save some height.
Framing is nearing completion - I've still got some doors and windows to frame out and the ceiling joists need to go in. However, I've been focusing on electrical - getting all my quotes together from various electricians and finalizing exactly what I need.
Alas, I think I need to add yet another star grounding inquiry although I do think I grasp it for the most part after much research. Its regarding Rod's diagram in his book that still has me a little fuzzy - I've attached an image with my text added.
If I'm correct in my assumptions of how its connected, is the common ground connector necessary? Or is it just there because standard cables come with a ground connector in their sleeve so it needs to go somewhere?
On another electrical note: One of the electricians made a suggestion that I hadn't thought of. I currently have a 30 amp connection to the garage from the 100 amp main panel in the house. He suggested that we take that 30 amp run and connected it straight to the mini-split and run a separate 30 amp line for everything else in the studio.
He said that would minimize the chance of getting a dip in power when the mini-split powers on, but wouldn't everything running from the main panel dip (including the separate 30 amp line for the studio)?
He also pointed out that there isn't a separate grounding rod for the garage and we would need to put one in for my isolated grounding. I had assumed that the garage would of had a separate rod than the house. But you know what they say about assumptions....... :oops:
i was going to ask the exact same question. Also, That diagram shows connecting from the isolated ground panel to the same ground as the rest of the service. I've read many posts about this and have seen two opinions. 1- install separate ground rods for the tech. service 2- tie into the existing ground from the star ground panel. Is one way better?? What are the pros and cons??Framing is nearing completion - I've still got some doors and windows to frame out and the ceiling joists need to go in. However, I've been focusing on electrical - getting all my quotes together from various electricians and finalizing exactly what I need. Alas, I think I need to add yet another star grounding inquiry although I do think I grasp it for the most part after much research. Its regarding Rod's diagram in his book that still has me a little fuzzy - I've attached an image with my text added. If I'm correct in my assumptions of how its connected, is the common ground connector necessary? Or is it just there because standard cables come with a ground connector in their sleeve so it needs to go somewhere?
My guess is that it is necessary if you have metallic boxes, which seems to be part of code in the USA. Here in Chile we use plastic boxes and PVC conduit, so we obviously don't need that, but if you have metal boxes then I sure can see why you would want to ground that separately. That would be your last line of defense if anything comes lose or arcs inside the box. For example, if your live conductor comes lose and contacts the box, then the ground conductor on that receptacle wont do a thing to help you, and the box (plus the metal screws and faceplate attached to it) would be live! Not a good situation. So you need that "common ground" line to deal with that kind of situation. However, that common ground should ONLY go to the ground bus in the distribution panel, and should NOT also be jumpered (bridged) to the receptacle ground in each box. If you did that,m you would create a potential ground loop, which is what you are trying to avoid....is the common ground connector necessary?
Yup! Smart move! Makes a lot of sense. You should also split that second 30 amp line into another two circuits: one for lighting and non-technical power, the other ONLY for your equipment. Keep things as separate as you possibly can.He suggested that we take that 30 amp run and connected it straight to the mini-split and run a separate 30 amp line for everything else in the studio.
Not if it is wired correctly. Those two circuits would both be coming directly from the main bus in the panel, and that main bus can handle the entire 100 amp load. The bus has very low resistance, so there will be practically no voltage drop between taps on it, even for large load changes. But a piece of wire is different. It has much higher resistance (relatively speaking), so any change in load (current flow) will cause a large change in voltage drop along that piece of wire. That's what you see as a "dip". So each circuit that comes off the main bus only sees the "dips" associated with its own circuit. Your electrician is speaking words of wisdom. He is right.He said that would minimize the chance of getting a dip in power when the mini-split powers on, but wouldn't everything running from the main panel dip (including the separate 30 amp line for the studio)?
Yep! And maybe more than one, depending on the physical properties of the actual "ground" (="dirt") in your area. Where I live, I always specify four rods, each driven one meter into the ground, on the corners of a one-meter square, and connected together with heavy gauge copper. A single conductor runs from that grid to the panel, and that is the separate ground for the technical circuits. Check with your electrician, and your local code, to see what they say about getting a very good, low resistance ground. But are you going to install an isolation transformer for your technical power? If not, then be careful how you wire your grounds! You don't want to create a new ground loop between the existing house ground and your new technical ground... - Stuart -He also pointed out that there isn't a separate grounding rod for the garage and we would need to put one in for my isolated grounding.
Stuart - thanks for clearing that up! It makes sense to me now.
Is an isolation transformer the same thing as a power conditioner? I have been considering options for a 'whole home' conditioner and surge protector for my house main panel.are you going to install an isolation transformer for your technical power?
Framing is complete except for the rough framing above the doorways. I'm holding off on that until I can hopefully confirm what flooring I'll be going with and therefore know exactly how high in the frame the doors will need to be mounted. I'll get some pics of the framing up soon.....
I'm about ready to put in my order for audio cabling, connectors, etc. from Redco. I'm going with Mogami snakes but I'm torn about whether or not to go with Neutrik connectors or Redco's own MX-3 XLR connector. I certainly don't want to skimp out on my signal chain quality.......
Does anyone have any experience and/or opinions on these?
Go with the Neutrik XX series (NC3MXX, NC3FXX). Looks like they're actually cheaper than Redco's house brand. They're super easy to terminate and go together faster than the older X series.I'm going with Mogami snakes but I'm torn about whether or not to go with Neutrik connectors or Redco's own MX-3 XLR connector.
Hey, Thanks - The Redco FX-3 has gold pins, which was really what was attracting me to them at their $2.50 price point. Those XX series have silver pins - would you still prefer the Neutriks?
I just realized that the only Redco brand panel-mount XLR connectors they offer use nickel pins :shock: (such as in their pre-loaded face plates). So for panel mounts I'd definitely be going with Neutrik - but there's the question of the worth of gold connectors there as well.....
I've never had a connector last long enough to get to the point where the nickel pins were corroded, so I've never put much stock in gold connections. They don't increase conductivity, just corrosion resistance. If I were out in the field with my cables or they were being handled by sweaty roadies all the time, I might think differently.Hey, Thanks - The Redco FX-3 has gold pins, which was really what was attracting me to them at their $2.50 price point. Those XX series have silver pins - would you still prefer the Neutriks?
Hmm, then maybe silver pinned Neutriks it is.... Thanks a lot for your thoughts!I've never had a connector last long enough to get to the point where the nickel pins were corroded, so I've never put much stock in gold connections. They don't increase conductivity, just corrosion resistance. If I were out in the field with my cables or they were being handled by sweaty roadies all the time, I might think differently.
Pics;
More Pics;
I've started to second guess my decision for the height of the window between the CR and LR. I put it starting 4' from the ground (its 2' high by 4' wide). I chose this height because I planned to use a pair of 22" LCD monitors placed on the desk. The Argosy desk that I hope to use is 40.5" tall and the LCD monitors are another 16". As it is with this window height the monitors would cover about 7" of the bottom of the window. I've just been accepting the fact that I'll need to stand to get a visual on artists in the LR.
But....I have considered the possibility of using our current 32" LCD tv as a wall mounted monitor in the future, in which case it would mount above the window. I would certainly want the window lower in that case.
I have seen people use swivel mounts for their monitors attached to the top of the desk so that the monitor can lean forward and below the top of the control24. If I planned on doing that with my existing pair of monitors then I could lower the window and still allow the possibility of mounting the larger LCD at a future point.
So many decisions.... :x
:?: Yes I would lower it.
Does it matter if the band gets a glimse of the back of your monitors?
If the band is sitting down you won't see them as the window is a bit high.
the typical window is 3ft from the floor and 3ft high - to 6ft.