Do any of you guys work in Industrial soundproofing?
23 July 2012, 03:01 PM
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Do any of you guys work in Industrial soundproofing?
Hi Folks,
Need to soundproof a studded wall and ceiling from very heavy industrial noise. Do any of you work in this industry to offer some advice? Google simply returns minefields of information.
Need to soundproof a studded wall and ceiling from very heavy industrial noise. Do any of you work in this industry to offer some advice? Google simply returns minefields of information.
23 July 2012, 04:39 PM
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Acoustic panelling/deadening - It may be easier to buy a soundproof booth and put the machinery inside rather than soundproof an entire area.
What equipment are you using to generate the noise?
What equipment are you using to generate the noise?
23 July 2012, 05:57 PM
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24 July 2012, 10:04 AM
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4wd Dyno.
Sounds like you have worked in this industry?
Have you any experience with sound absorbing wall tiles mate?
Have you any experience with sound absorbing wall tiles mate?
24 July 2012, 10:15 AM
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Different sound absorption materials work more effectively at certain frequencies. For the real effect, you'd need to know what frequencies and decibel levels the dyno is creating. (Spectrum Analyser)
EG, whilst the dyno is running, it will probably be mid to high frequencies - which are relatively straightforward to dampen down.
The problem materialises when you have an engine/exhaust running too....... that's a whole different (wider) frequency range.
For example, here's a link to a "co-efficient" chart - each material has it's own value as to how effective it is at either absorbing or reflecting particular frequencies.
This chart is more so designed to focus on reverb time (I work in the audio industry), but you get the idea of how reverb focuses on mid-range frequencies (we can "technically" hear from 20Hz - bass all the way to 20kHz - treble).
The value closest to "1" is total absorption (at that frequency), whereas "0" is total reflection (at that frequency).
To be fair, it's not totally accurate, and the calculations involve logarithms etc, but it gives you an idea of how to do it.
FWIW, to do it properly, it isn't a DIY job. Pay to get some experts in.
Dan
EG, whilst the dyno is running, it will probably be mid to high frequencies - which are relatively straightforward to dampen down.
The problem materialises when you have an engine/exhaust running too....... that's a whole different (wider) frequency range.
For example, here's a link to a "co-efficient" chart - each material has it's own value as to how effective it is at either absorbing or reflecting particular frequencies.
This chart is more so designed to focus on reverb time (I work in the audio industry), but you get the idea of how reverb focuses on mid-range frequencies (we can "technically" hear from 20Hz - bass all the way to 20kHz - treble).
The value closest to "1" is total absorption (at that frequency), whereas "0" is total reflection (at that frequency).
To be fair, it's not totally accurate, and the calculations involve logarithms etc, but it gives you an idea of how to do it.
FWIW, to do it properly, it isn't a DIY job. Pay to get some experts in.
Dan
Last edited by ScoobyDoo555; 24 July 2012 at 10:17 AM.
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24 July 2012, 08:51 PM
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Different sound absorption materials work more effectively at certain frequencies. For the real effect, you'd need to know what frequencies and decibel levels the dyno is creating. (Spectrum Analyser)
EG, whilst the dyno is running, it will probably be mid to high frequencies - which are relatively straightforward to dampen down.
The problem materialises when you have an engine/exhaust running too....... that's a whole different (wider) frequency range.
For example, here's a link to a "co-efficient" chart - each material has it's own value as to how effective it is at either absorbing or reflecting particular frequencies.
This chart is more so designed to focus on reverb time (I work in the audio industry), but you get the idea of how reverb focuses on mid-range frequencies (we can "technically" hear from 20Hz - bass all the way to 20kHz - treble).
The value closest to "1" is total absorption (at that frequency), whereas "0" is total reflection (at that frequency).
To be fair, it's not totally accurate, and the calculations involve logarithms etc, but it gives you an idea of how to do it.
FWIW, to do it properly, it isn't a DIY job. Pay to get some experts in.
Dan
EG, whilst the dyno is running, it will probably be mid to high frequencies - which are relatively straightforward to dampen down.
The problem materialises when you have an engine/exhaust running too....... that's a whole different (wider) frequency range.
For example, here's a link to a "co-efficient" chart - each material has it's own value as to how effective it is at either absorbing or reflecting particular frequencies.
This chart is more so designed to focus on reverb time (I work in the audio industry), but you get the idea of how reverb focuses on mid-range frequencies (we can "technically" hear from 20Hz - bass all the way to 20kHz - treble).
The value closest to "1" is total absorption (at that frequency), whereas "0" is total reflection (at that frequency).
To be fair, it's not totally accurate, and the calculations involve logarithms etc, but it gives you an idea of how to do it.
FWIW, to do it properly, it isn't a DIY job. Pay to get some experts in.
Dan
For what its worth, would you give me your professional opinion on this? A friend of mine works in building of large places like swimming pools, huge hotel chains etc, and they currently swear by this stuff, apparently its incredible... http://www.acoustiblok.co.uk/products/acoustiblok-3mm
There are lots of data sheets available on there, and they also do a 6mm version, and I am wondering on its potential effectiveness when backed with accoustic plasterboard on both sides of the stud.
24 July 2012, 09:42 PM
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Yeh, doesn't look too bad - the report stated what I suspected (without sounding like a tw@t!!! 
)
The material is good at reduction of certain frequencies (as expected), and starts to struggle at low end (again, to be expected).
This stuff seems to be a more trade-based Dynamat
The other thing to consider is the requirements of what you're after - deadening a room (such as a large office): getting rid of the reverb time so that people can function in the room.
Or exposure to the transmitted noise from that environment.
This stuff will help, but only with additional design elements and acoustic design.
To totally reduce noise, you have to understand how noise is transmitted - and this is by the resonating of materials/surfaces. The sound transference between the materials is what causes the problem (without sounding patronising, think about the person with the sub in their car - the license plate vibrates with the bass, yet the vibration is a totally different frequency to the bass)
The only way to get around this is to ensure that surfaces arent touching ie floating floors OR very dense materials, so nothing (such as air) moves. These aspects are your friends!
But I'm digressing into studio design, which may be OTT for what you require.
Suffice to say, it's all possible......... depending on your budget
But DO get the experts in. Do it once, do it right.
Dan
)The material is good at reduction of certain frequencies (as expected), and starts to struggle at low end (again, to be expected).
This stuff seems to be a more trade-based Dynamat
The other thing to consider is the requirements of what you're after - deadening a room (such as a large office): getting rid of the reverb time so that people can function in the room.
Or exposure to the transmitted noise from that environment.
This stuff will help, but only with additional design elements and acoustic design.
To totally reduce noise, you have to understand how noise is transmitted - and this is by the resonating of materials/surfaces. The sound transference between the materials is what causes the problem (without sounding patronising, think about the person with the sub in their car - the license plate vibrates with the bass, yet the vibration is a totally different frequency to the bass)
The only way to get around this is to ensure that surfaces arent touching ie floating floors OR very dense materials, so nothing (such as air) moves. These aspects are your friends!
But I'm digressing into studio design, which may be OTT for what you require.
Suffice to say, it's all possible......... depending on your budget
But DO get the experts in. Do it once, do it right.
Dan
24 July 2012, 10:50 PM
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Thanks pal,
First of all, you dont sound like a tw@ or patronising. If I was anywhere near an expert on the subject I wouldnt be asking advice. I know a little about sound frequency, but need to know more.
One side of the room is concrete block with a brick outer wrapper, so little I can do with that. The front wall will be stud and drywall, as will teh right wall nd the ceiling. Those are the basics that I cannot change, so i need to work within those constraints sadly, otherwise I would house a custom enclosure inside a concrete room.
Exhaust extraction system is pretty much designed with its own pump and silencers, and the fans are going to go in their own fan room which again I need to soundproof as best as possible, with 2 of those walls studded and the other 2 concrete.
The main brief is to limit the exposure of sound to the surrounding neighbours. The operational environement inside the building is very much a secondary concern as this dyno is going in its own unit, directly across the road to my main business.
First of all, you dont sound like a tw@ or patronising. If I was anywhere near an expert on the subject I wouldnt be asking advice. I know a little about sound frequency, but need to know more.
One side of the room is concrete block with a brick outer wrapper, so little I can do with that. The front wall will be stud and drywall, as will teh right wall nd the ceiling. Those are the basics that I cannot change, so i need to work within those constraints sadly, otherwise I would house a custom enclosure inside a concrete room.
Exhaust extraction system is pretty much designed with its own pump and silencers, and the fans are going to go in their own fan room which again I need to soundproof as best as possible, with 2 of those walls studded and the other 2 concrete.
The main brief is to limit the exposure of sound to the surrounding neighbours. The operational environement inside the building is very much a secondary concern as this dyno is going in its own unit, directly across the road to my main business.
Yeh, doesn't look too bad - the report stated what I suspected (without sounding like a tw@t!!! )
The material is good at reduction of certain frequencies (as expected), and starts to struggle at low end (again, to be expected).
This stuff seems to be a more trade-based Dynamat
The other thing to consider is the requirements of what you're after - deadening a room (such as a large office): getting rid of the reverb time so that people can function in the room.
Or exposure to the transmitted noise from that environment.
This stuff will help, but only with additional design elements and acoustic design.
To totally reduce noise, you have to understand how noise is transmitted - and this is by the resonating of materials/surfaces. The sound transference between the materials is what causes the problem (without sounding patronising, think about the person with the sub in their car - the license plate vibrates with the bass, yet the vibration is a totally different frequency to the bass)
The only way to get around this is to ensure that surfaces arent touching ie floating floors OR very dense materials, so nothing (such as air) moves. These aspects are your friends!
But I'm digressing into studio design, which may be OTT for what you require.
Suffice to say, it's all possible......... depending on your budget
But DO get the experts in. Do it once, do it right.
Dan
)The material is good at reduction of certain frequencies (as expected), and starts to struggle at low end (again, to be expected).
This stuff seems to be a more trade-based Dynamat
The other thing to consider is the requirements of what you're after - deadening a room (such as a large office): getting rid of the reverb time so that people can function in the room.
Or exposure to the transmitted noise from that environment.
This stuff will help, but only with additional design elements and acoustic design.
To totally reduce noise, you have to understand how noise is transmitted - and this is by the resonating of materials/surfaces. The sound transference between the materials is what causes the problem (without sounding patronising, think about the person with the sub in their car - the license plate vibrates with the bass, yet the vibration is a totally different frequency to the bass)
The only way to get around this is to ensure that surfaces arent touching ie floating floors OR very dense materials, so nothing (such as air) moves. These aspects are your friends!
But I'm digressing into studio design, which may be OTT for what you require.
Suffice to say, it's all possible......... depending on your budget
But DO get the experts in. Do it once, do it right.
Dan
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