Building a Studio in the Desert

[NivenHuH]

First off -- hello! I found this forum on Google, and from doing research over the past week or so, I've found there's a lot of valuable information here. I have no background in acoustical engineering -- but from starting the research on this studio build -- I'm learning a lot of the really neat attributes that sound waves have -- and considerations for room construction.

A little bit of background

I'm a computer programmer by trade, musician by hobby. I primarily play Bass Guitar and make a bunch of noise with synthesizers -- my husband is a singer and plays drums. We both moved from San Francisco to Joshua Tree to start up a clothing business and to make a creative space on a 5 acre property that we purchased. We've been out here for a few years now, and are ready to build a music space to further our creative endeavors.

The goals for this project / space:

- Friend jam / practice space (electric guitar / electric bass / vocals / drums / software synth -- for now, probably not recorded)
- Voice recording space (I would like to record sound effects that I make, and my husband wants to record his singing)
- When not used as a music space, will be where I record a computer programming podcast / do programming work
- Re-purpose our unused garage / "spider rooms"
- Be able to be loud (90dB) without the neighbors hearing (3-4 acres away). Low frequencies are a special consideration given the quiet environment / distance between people -- and tend to be what bothers folks out here
- It would be nice if the ambient noise inside of the studio were around 25dB
- Convert some garage space into "shipping prep" space, outside of the music studio

Some more info about the ranch:

The ranch is a 1 story property located in the center of our parcel of land. The exterior cladding and roofing of the ranch is sheet metal. There are two main zones: the original cabin (normal timber framed) and workspace (steel framed). The workspace is essentially a very large pair of garages that were built onto the side of the original cabin. The workspace consists of some unused rooms (with 7' ceilings ) that I'm planning to demo, and a large garage with garage door, and another large garage with two rolling garage doors (planning to leave this second garage untouched). Within the workspace, the ceilings are A shaped, with peak height being 13' / edge height 12'. The floors are concrete.

The Project (outside of the music studio)

• Demo existing rooms
• Add HVAC / mini-split cooling to workspaces, studio, and cabin
• Insulate / finish ceiling & walls of workspace (planning to use shiplap to enclose the ceiling, drywall for walls)
• Add wood floors within the workspace area
• Re-route existing electrical as needed for new construction
• Install new washer/dryer behind studio space with existing plumbing
• Add shipping table to workspace

Things I want to avoid:

• Removing / modifying garage door
• Moving water heater

Budget:
I'm budgeting $20k for the project (flexible) and my husband and I are planning to do the work.

Where Am I in the Project?
The very beginning! I'm currently building out the project in CAD first to ensure I'm thinking about all of the elements required for the build. I've spent a lot of time thinking about non-conventional rooms, pitched ceilings, room modes / ratios / etc.., but it seems like going with a simple rectangular shape / as high as I can go / flat ceiling is the way to go. (Not only for acoustic reasons, but also because construction will be more simple.) I've been using this as a calculator: Room Mode Calculator

The pictures I've posted are of the workspace and the high-level plan (for the studio footprint, the dimensions listed are outside-finished wall dimensions).

Once I've finalized how I'd like to divide up the floor-space, my next step is going to be to do the CAD detail for the Studio itself. I have plenty of questions around the actual studio construction process, but will come back to those after I've had some time researching / building out the CAD plans.

Questions about the High Level plan

• Is there any acoustical benefit provided by rotating the room? (I'm planning to rotate it to make zoned space for other purposes, but was curious about the acoustic effects of doing so)
• Will the workspace walls containing the studio act as an additional leaf, or is that only applicable at short distances? Are there acoustic considerations that should be considered when insulating / finishing the non-studio walls?
• I don't fully understand how the Bonello graph works, but if I maintain room width/length/height ratios that keep me within the "bolt area", will that leave me with a room that I can treat for different sound usage scenarios?
• I would like to build a booth within the studio, is it a good idea to cut off a corner of the studio to dedicate for this? Should the booth be any particular shape (making odd-shaped geometry inside of the room)?
• I am planning to install wood flooring throughout the workspace and studio. Would it there be any acoustical benefit to build the studio framing on top of the wood flooring as opposed to the concrete base?
• Should I consider adding acoustic treatments to the workspace walls to help prevent noise transmission from inside to outside?
• Are there other basics that I should be asking about at this high-level of planning that I've missed?

Thanks in advance to whoever reads this! Happy to share my progress as it comes along -- and hope to obtain a little bit of validation (or challenge) from folks to build my confidence up as I get further into the project.

[DanDan]

Hi, welcome. Can't get into this right now, but I will get back to you very shortly.
Just one thought- Modal calculators are 'idealised' in the sense that they assume massive stiff boundaries.
Your space isn't really like that. Philip Newell, author of Recording Studio Design, refers to such spaces as 'A Limp Bag'.
This is a good thing! You can probably find that book to download or view, while you are waiting for it to be delivered.
Rod Gervais.... Build it like the Pros.....is well, as it says on the tin, but he's US focussed... codes and materials...
Both of these guys are legends who have built legendary studios. Don't let that put you off, these books are Gold.
DD

[DanDan]

I lived in San Francisco in the 90's. I miss it now and then.

Unwanted Sound =Noise. Here it is from the pioneers.... https://www.bksv.com/media/doc/br0047.pdf
To assess Noise from your neighbours' standpoint I would use Z (Zero) or C Filter with Fast Response.
Measurements integrated over a few minutes or longer sampling are way better.
Room Eq Wizard can do all of this including long term level logging.
Faber Acoustical SoundMeter is excellent. As is this https://www.cdc.gov/niosh/topics/noise/app.html

You need to get an accurate sense of Sound Levels. I hit 90dB when Mastering here.
A band in a room........ if it's electric..... 100-110 dBZF. Very few drummers can play quietly and it can sound a bit silly. Consider Electronic drums.

What is the background level outside, ideally AT your neighbours' fences?

Sound Treatment is easy, and your Limp Bag is a great start. But Sound Isolation and Quiet Air.....
You are in the Forum though! Not joking.

Quiet Air........

We don't have Shiplap here, but I would focus on beefing up and acoustically damping the steel roofs. Suspended ceilings of 705 or other fully absorbent tiles are a great start to any room treatment, including those side corridors. You could add a foot of pink fluffy over any actual recording areas.


1 Is there any acoustical benefit provided by rotating the room? (I'm planning to rotate it to make zoned space for other purposes, but was curious about the acoustic effects of doing so)

Your rotation looks odd on paper, but if it suits your side purposes vaya con Dios.
A large gap between inner and outer shells is aces.

Will the workspace walls containing the studio act as an additional leaf, or is that only applicable at short distances? Are there acoustic considerations that should be considered when insulating / finishing the non-studio walls?

That's a hard call, let's ask for more build experienced views. IMHO:- Mass Air Mass systems are enhanced when any or all of the elements are maxed out. Your 'Air' gap is bigger than normal by far, so..... Double doors with a chamber are often used for soundproofing.


I don't fully understand how the Bonello graph works, but if I maintain room width/length/height ratios that keep me within the "bolt area", will that leave me with a room that I can treat for different sound usage scenarios?

Most of those Ratios were developed for Concert Halls. They do not scale down. Also your boundaries are not 'solid'. So I wouldn't sweat it. Just avoids any dimensions that are integer multiples.

I would like to build a booth within the studio, is it a good idea to cut off a corner of the studio to dedicate for this? Should the booth be any particular shape (making odd-shaped geometry inside of the room)?

A Booth needs to be all absorbent. If you go with the Absorbent ceiling I would suggest a frame holding 4-6" fibre. No hard boundaries unless you really need the isolation.
Quiet Air.....

I am planning to install wood flooring throughout the workspace and studio. Would it there be any acoustical benefit to build the studio framing on top of the wood flooring as opposed to the concrete base?

No. I have seen Painted Concrete in a few US Studios. It has a modern vibe and feels 'warm'. I like it.

Should I consider adding acoustic treatments to the workspace walls to help prevent noise transmission from inside to outside?

Mass Layers. Sheetrock is probably the best bang per buck.


Are there other basics that I should be asking about at this high-level of planning that I've missed?

I would hold off on the CAD until some Noise Assessment is done.
Overall I recommend guidance from Acousticians with US Code knowledge and build experience there.
As I said you are in the best Forum. There are projects here with Stuart hand holding. He is no longer here, and the next most helpful Greg is a bit busy just now.
I would recommend you consider Consulting. At the level of approving of plans and material choices remotely, this can be affordable and often zero cost by avoiding unnecessary expensive choices. As it happens that pretty much describes what I most do. But I have some friends local to you who I could recommend for a chat also.

[NivenHuH]

Hi DanDan, thanks for the response!

I lived in San Francisco in the 90's. I miss it now and then.

Same, I had a lot of fun playing music in SF. We ended up renting a practice studio space in the basement of some apartment on Polk street -- had so much fun hanging out with friends and rotating around on instruments

Room Eq Wizard can do all of this including long term level logging.

Thanks, just downloaded it and also went ahead and ordered the USB mic they recommended. I found the Room Simulation portion of the application, and will play around with it to become familiar with it.

You need to get an accurate sense of Sound Levels. I hit 90dB when Mastering here.
A band in a room........ if it's electric..... 100-110 dBZF. Very few drummers can play quietly and it can sound a bit silly. Consider Electronic drums.

You're right, with our analog drum kit, we easily exceed 115dB in our space. I quoted 90dB for our usage because we only play on the drums during the day (when external noise is less of a concern to neighbors) -- I think our usual will be playing electric bass on an analog amp with backing sound & vocals coming from a pair of studio monitors. +1 to considering electronic drums

What is the background level outside, ideally AT your neighbours' fences?

I took some measurements during the daytime (see image below) -- pretty windy conditions (which is usual during the day) -- I'm planning to update the drawing with night measurements as well.

We don't have Shiplap here, but I would focus on beefing up and acoustically damping the steel roofs. Suspended ceilings of 705 or other fully absorbent tiles are a great start to any room treatment, including those side corridors. You could add a foot of pink fluffy over any actual recording areas.

I didn't think about doing a suspended ceiling, but will look into it! Planning to use insulation for the studio room itself (as well as the exterior shell) for cooling / insect / sound purposes since there's currently no insulation at all. (Sidenote to self to search the forums for types of insulation to consider.)

A large gap between inner and outer shells is aces.

Your 'Air' gap is bigger than normal by far, so..... Double doors with a chamber are often used for soundproofing

- I'm considering on shrinking the footprint of the room a little more so that I can add an entry chamber. Not sure what 'Air' gap refers to, so I'll search the forums

Most of those Ratios were developed for Concert Halls. They do not scale down. Also your boundaries are not 'solid'. So I wouldn't sweat it. Just avoids any dimensions that are integer multiples.

A Booth needs to be all absorbent. If you go with the Absorbent ceiling I would suggest a frame holding 4-6" fibre. No hard boundaries unless you really need the isolation.

Sounds like it should also be constructed with staggered studs as well? What do you mean by no hard boundaries? I'm assuming it should it be fully isolated with a door as well.

No. I have seen Painted Concrete in a few US Studios. It has a modern vibe and feels 'warm'. I like it.

Nice, I'm 50/50 on leaving the floors concrete or putting wood inside & outside the room. I like the idea of wood for aesthetic purposes.. but doing something fun with the concrete could be good too.

Mass Layers. Sheetrock is probably the best bang per buck.

-- planning to add sheetrock to both sides of the wall, and probably shiplap on top of the sheetrock for one of the sides.

I would hold off on the CAD until some Noise Assessment is done.
Overall I recommend guidance from Acousticians with US Code knowledge and build experience there.

I'm using the time on CAD to think about each component of the build / develop questions about the project -- so I'm probably going to continue along there. (I'm pretty comfortable with CAD, and can always adjust measurements within each part/assembly. Working on it allows me to understand the work that'll need to happen, which drives to asking more questions, etc..)

As I said you are in the best Forum. There are projects here with Stuart hand holding. He is no longer here, and the next most helpful Greg is a bit busy just now.
I would recommend you consider Consulting. At the level of approving of plans and material choices remotely, this can be affordable and often zero cost by avoiding unnecessary expensive choices. As it happens that pretty much describes what I most do. But I have some friends local to you who I could recommend for a chat also.

Awesome! I'm joining here with the hope of sharing my build process with others, connecting with other folks who have the experience in this space, and asking for guidance / opinions along the way. I'd like to develop my own understanding of how I'd approach the project (so I'm more educated/informed) before reaching out to a consultant, but will definitely consider it. How much does a consulting engagement typically cost for a project about this size, and what services are provided?

[DanDan]

Those SPL measurements look odd. What did you use to measure? I often use an iPhone and it's own mic. Even without Calibrating it in any way these apps tend to be within 2dB or so of the real thing. Wind noise? And or wind impinging directly on the measuring device mic?

[NivenHuH]

Yeah, it’s usually pretty windy during the day (was trying my best to shield the mic from the wind). Going to try to measure again later tonight when it’s a little more calmer.

[DanDan]

Beware of the term Insulation. Glass or Rock fibres are acoustically absorbent. PIR insulation is three times better thermally but has no acoustic benefit.

An Air gap is just that, a gap filled with Air. This can be a corridor or the gap between two two doors in an entrance chamber.

Booths which are isolated are very useful. e.g. Vocalist in one, drummer or loud amp in another.
You need to consider some combination of that and open shared space.