First, each sound space has its own different sound characteristics
Every sound space is like everyone, and it has different sound characteristics. People will have different sounds due to the structure of the vocal cords and the different resonances of the abdominal cavity. In the same way, each sound space will have its own unique sound characteristics due to different space size, proportion and interior decoration. In other words, the voices of two people sound the same: in the same way, there are very few sounds in two acoustic spaces that sound the same.
Based on the above findings, audio fans can clearly know that even if the same audio equipment is used, different sound characteristics will occur as long as the sound space is different. These different sound characteristics are like different concert halls. As long as they are successful concert halls, they will have their own charming sound charm. The same, as long as it is a successful sound space, it will have its own charming sound charm. Often, a successful sound space is like a successful concert hall, and it is impossible to meet. You have to go through a well-planned plan to build a concert hall or sound space, but this does not guarantee that you will get fascinating sound characteristics.
Second, rational audio fans should minimize their exclusivity
Every audio fan will inevitably have a listening habit and preference for adapting to his own sound space because he is in his own sound space for a long time. At the same time, it is natural to judge the sound space of others and the listening habits and preferences of others based on their own listening habits and preferences. When you use your own "sound space sound characteristics", "listening habits" and "preference" as the standard to make negative judgments on others, don't forget, others can also use this foothold to make negative judgments on you. . Therefore, when you hear the sound performance different from your own, the first thing to do is not the exclusive argument, but the reflection. Through reflection, try to discover the beauty of other people's sound effects.
Third, the acoustic effect of the sound space should be based on live music, and this standard is not unique.
Is there a standard for the sound quality in the sound space? If not, isn’t there a lot of different opinions? Is there a good standard for sound effects? But please note that this good or bad standard is not unique, but Multiple. Where is the standard of sound quality? It is the performance of live music. Any canned fruit juice that tastes like the original fruit must be judged on the basis of fresh fruit flavor. In the same way, the sound effect of any music soft weight broadcast is good, and it must be judged by the performance of live music.
However, the beauty of the sound effects of live music is not unique, but multiple. As far as classical music is concerned, there are many concert halls in the world that have recognized sound effects, each with different sound characteristics. Some are warm, some are full, some are clear and transparent, some are rich in low frequency, some have high intimacy (sounding is very good, the instrument seems to be very close to you). In any case, the sound characteristics of these concert halls are different.
In the home of the audio fans, the sound effects of the "unknown recording site sound characteristics", "recording equipment sound characteristics", "replay audio equipment sound characteristics", and "sound characteristics of the sound space" make the sound Fans are simply not qualified to discuss who the sound effect is "true." What the audio fans can focus on is to discuss who the sound effect is "beauty", and the standard of "beauty" is based on the performance of live music, and it is a multiple beauty and multiple standards.
Fourth, soft tuning space is better than hard tuning space
What is soft-tuning space? Floors, ceilings, walls, splints or plasterboards or planks are soft-tuned spaces. What are hard-tuning spaces? Ceilings, floors, and walls are all reinforced concrete or brick. It is called hard-tuning space. Most of Taiwan's living environment is hard-tuned: most of the living spaces in Europe, America and Japan are soft-tuned.
Why is the soft-tuning space better than the hard-adjusted space? Because the hard-adjusted space can't absorb too much of the high-frequency band and the low-medium frequency band in an appropriate amount, which causes the high frequency band to be too harsh or too low pressure in the middle and low frequency bands when listening to music. Is there any shortcoming in soft-tuning space? No! The soft-tuning space may also have the disadvantage of excessive absorption in the low frequency band and low frequency. However, compared to the two, soft-tuning space is more suitable for listening to music.
5. How to turn hard-tuned space into soft-tuned space?
Taiwan's general homes are apartments built with reinforced concrete or through the sky. If you want to transform the hard-adjusted space into a soft-tuned space, you can first start with four walls. On these four walls, you can ask the carpenter to nail a sandwich with a plasterboard and a fiberglass cotton in the interlayer. This method does not consume too much interlayer space, but also has a layer of sound insulation effect, and the gypsum board is better than the wood core board.
Perhaps you will ask, why not use a general wooden core board or a thin splint to nail the interlayer, but use a plasterboard or a splint? Because the thin splint or the wooden core board easily absorbs the middle frequency band, and the full frequency of the middle frequency band is very important when listening to music, so We can avoid using thin splints or wooden core panels. Because of the heavier quality of gypsum board, the absorption of the medium and low frequency is more, and the negative impact on listening to music is relatively small. Furthermore, the gypsum board is a fireproof material, and it is safer to use it for sandwiching at home. Here, I provide several sound absorption rates for gypsum board and splint for your reference: the same is 9mm plate thickness, the air layer is about 45mm thick, the gypsum board has a sound absorption rate of 0.26 at 125Hz, which can absorb some medium and low frequency stations. wave. The sound absorption rate of the splint is only 0.11. At 250 Hz, the sound absorption rate of the gypsum board is reduced to only 0.13. The sound absorption rate is lower at 500 Hz, only 0.08. Conversely, at 250 Hz for the splint, the sound absorption rate is as high as 0.23. If the thickness of the splint is reduced to 6 mm, its sound absorption rate at 250 Hz is as high as 0.33. From the above sound absorption rate, you should understand why I would recommend plasterboard.
As for the ceiling and the floor, they are different from the four walls. Let me talk about the floor first. Due to the humid climate in Taiwan, the use of carpets is not appropriate. Otherwise, thick carpeting on the floor is one of the ways to soften the space. Usually, the floor of a home is usually tiled or nailed with a layer of solid wood. You can put a thick wool carpet on the floor. The size of the carpet is preferably about the space from the speaker to the listening position. The size is similar. The role of this carpet is to absorb some sound waves that are emitted from the horn to the floor and from the ceiling to the floor. Usually, this carpet will only be effective for frequencies above the mid-range, and there is no absorption for the mid-low frequencies and low frequencies. However, because it absorbs frequencies above the intermediate frequency, it also changes the human ear's sense of hearing at frequencies below the mid-frequency, so it sounds like the whole will change. The mineral fiber board is cheap and easy to use.
Let's talk about the ceiling. The cheapest way is to use a light steel frame and a mineral fiber board. Its role is mainly in the absorption of medium and high frequency bands in the appropriate amount, and has little effect on the frequency bands below the intermediate frequency. If you think that the mineral fiber board is not good enough, you can also ask the woodworker to use the thin splint to make the ceiling shape. Please pay attention to avoid the concave shape, and make more convex shapes or arcs. Because the concave shape will make the sound gather somewhere, and the convex or curved shape can spread the sound wave. It is also worth noting that the shape of these ceilings is best not to be connected together in a single piece. This method will reduce the frequency range of absorption and affect the fullness of the mid-range. The correct approach should be to divide the ceiling into several zones and design the shape with the principle that each zone is not connected.
6. How to deal with the surface of the space after hard tuning and soft adjustment
After changing the sound space from hard to soft, you can follow the principle of "Liu's Good Song" and use the method of "pre-hardening and then diffusing" to do the surface treatment. The back wall of the horn is hard.
The so-called "pre-hard" refers to the front section of the room (that is, the section between the back wall of the horn and the horn). It is best not to do too much absorption, because this method will absorb the sound energy emitted by the horn, making it expand. The machine must have a larger output power and we will feel that the sound is strong enough. If the wall is hard, we only need a smaller enlarger, and then combine it into a strong sound by the reflection of the back wall.
There will be a question here. The front is not to explain that the four walls need to be nailed to become a soft-tuned space. Isn’t this a contradiction with the “pre-hard†that is required now? Is it contradictory to judge according to the actual situation, if the speaker is behind The wall is just a floor-to-ceiling window, of course, you can't nail a plasterboard. If the back wall of the horn is a half window, the plasterboard can be nailed or nailed (avoid the window to nail, do not seal the window, this will hinder the light and the air.) The above two situations can also make the back wall Keep it in a hard-toned state.
The more important thing to consider is that when the back wall of the horn is originally a wall, do you want to nail the plasterboard? If your power of the expansion machine is not too big, it is not too big. I suggest that this wall should not be plastered. On the contrary, it can be nailed together. China Home Theater Network
In other words, if you are listening to music, after the sound absorption on the two side walls, you still feel that the sound is too sharp and too forward. At this time, you must hang a thicker material with high-frequency absorption on the back wall of the speaker. This method will only absorb frequencies above the medium and high frequency, and will not have a negative impact on the mid-range. Therefore, it does not violate the principle of “pre-hardâ€. The two side walls are to be absorbed.
The so-called "middle suction" is to perform sound absorbing surface treatment on the two side walls between the horn and the listening position. Why does the second side of the section absorb sound? Because this area is the source of the first reflected sound after the horn makes a sound. If the first reflected sound is too strong, it will interfere with the direct sound and affect the clarity of the positioning. In addition, because the first reflection sound is too much, it will also cause pressure on the human ear above the middle and high frequency. The most direct feeling is that the sound is too bright and too harsh.
It is common for many audio fans to place wooden or Polyron's secondary residual diffuser on this two side wall. This is the wrong way. Because the diffuser plates of wood or bolsters do not contribute to the absorption of the first reflection, they only have a diffusing effect. If a secondary residual diffuser is to be used, a soft diffuser wrapped with a thick surface should be used, which has an absorption effect on the mid-high frequency band in addition to the diffusion effect.
There are many ways to "suck", and the individual is ingeniously different. The bright people can combine the interior decoration. Produce a sense of beauty. If ordinary people want to do simple things, they can also hang some soft materials, which can also meet the requirements of "neutral". I would like to remind readers that the general window cloth will not do much for absorption, because they are too thin, and most of them are not high-fiber soft materials, you just spend money. If you want to hang on the two side walls, the eighth and second remainder diffusers are very easy to use.
Before saying the second remainder, let's talk about diffusion. The so-called diffusion is that the sound waves emitted by the horns are reflected into the reflector from the direction of the ê, and the sound waves are evenly reflected in all directions. Therefore, diffusion can be said to be non-directional. And the general sound wave reflection? Usually oriented. For example, a slope is used to reflect sound waves. Theoretically, as long as the length of a reflecting surface is greater than the wavelength of the acoustic wave, all frequencies having a smaller wavelength than the reflecting surface will be reflected in a certain direction.
From the above description, you can understand that in the acoustic space of the audio fan, what we need is diffusion, not directional reflection. Because the diffusion will make the sound waves in the room more uniform, and the directional reflection will only affect a certain part.
Then, what is the quadratic remainder? Its English is Quadratic Residuc. This name comes from the calculation formula hn=(竹0/2N)Sn, where Sn is the remainder of n square divided by N. Where is the center frequency wavelength at which diffusion is desired (for example, center frequency at 1000 Hz), and N is the number of diffuser grids (ie, step) that you decide. Please note that the number of steps must be prime, such as 7, 11, 13, 19, 23, 29... and so on. n is 0,1,2,3,4,5,6,7... Hn is the height of nê step. The benefit is that the spread is very wide.
In fact, telling readers that the simple formula of the second remainder diffusion may not help you understand the spread of sound waves. My main purpose is to let you know the origin of the noun. There are many types of diffusers based on this theory, including diffusion for specific use, diffusion and absorption, and diffusion, absorption and reflection. In addition, in addition to the use of the wall, there are also ceilings.
Why is the quadratic residue diffuser popular in recent years? Because it has a diffusion characteristic: if the center frequency is used, the lower limit of its diffusion range can extend down to about half the frequency below the center frequency (if the center frequency It is 1000Hz, the half multiplier is 750Hz), and the upper limit is very high, which can reach (N-1) times the center frequency. Assuming that the center frequency is 1000 Hz and the step of the two-number diffuser is 7, the upper limit of the diffusion range is about 6000 Hz.
Seeing here, I think you already know that the quadratic residue diffusers that are generally seen outside are almost all frequencies above the intermediate frequency: and the more the number of steps (the number of steps here is a single group, not two) The sum of the three groups of groups), the upper limit of the diffusion frequency is higher. In addition, why no one will do three or five steps? Because the upper limit of its diffusion is relatively low.
Seven, reflection, absorption and diffusion must be skillfully applied
The principle of “pre-hard, post-absorption and post-diffusion†mentioned above is in fact the three principles of “reflectionâ€, “absorption†and “diffusion†in the acoustic space. These three tools must be used flexibly and try to use your imagination under the broad principles. I would like to remind you that when you want to imitate the treatment of others, you must first carefully evaluate whether the sound characteristics, conditions and the likes of your own audio space are the same as others. Otherwise, the result of random imitation will usually end in failure. For example, if you have followed the above principles, you still feel that the high frequency band is too bright and too harsh. At this time, you can learn Liu Renyang, a consultant of this magazine, and apply a large amount of green cloth in the room to absorb the high frequency band. On the other hand, if you already feel that the sound is a bit boring and not bright enough, then if you put a large amount of cloth on it at this time, it will be counterproductive.
Remember, we carefully modulate the reflection, absorption, and diffusion of sound waves in order to get the sounds of “warm,†“full,†“soft,†“rich,†“clear,†and “transparent,†if you hear It’s sharp, harsh, thin, white and hot, so listening to music will be a painful trial, not a relaxing and enjoyable experience.
Eight, the second remainder diffuser is very easy to use
Before saying the second remainder, let's talk about diffusion. The so-called diffusion is that the sound waves emitted by the horn are reflected into the reflector in any direction, and the sound waves are evenly reflected in all directions. Therefore, diffusion can be said to be non-directional. And the general sound wave reflection? Usually oriented. For example, a slope is used to reflect sound waves. Theoretically, as long as the length of a reflecting surface is greater than the wavelength of the acoustic wave, all frequencies having a smaller wavelength than the reflecting surface will be reflected in a certain direction.
From the above description, you can understand that in the acoustic space of the audio fan, what we need is diffusion, not directional reflection. Because the diffusion will make the sound waves in the room more uniform, and the directional reflection will only affect a certain part.
Then, what is the quadratic remainder? Its English is Quadratic Residuc. This name comes from the calculation formula hn=(0/2N)Sn, where Sn is the remainder of n square divided by N. Where is the center frequency wavelength at which diffusion is desired (for example, center frequency at 1000 Hz), and N is the number of diffuser grids (ie, step) that you decide. Please note that the number of steps must be prime, such as 7, 11, 13, 19, 23, 29... and so on. n is 0,1,2,3,4,5,6,7... Hn is the height of n step. The benefit is that the spread is very wide.
In fact, telling readers that the simple formula of the second remainder diffusion may not help you understand the spread of sound waves. My main purpose is to let you know the origin of the noun. There are many types of diffusers based on this theory, including diffusion for specific use, diffusion and absorption, and diffusion, absorption and reflection. In addition, in addition to the use of the wall, there are also ceilings.
Why is the quadratic residue diffuser popular in recent years? Because it has a diffusion characteristic: if the center frequency is used, the lower limit of its diffusion range can extend down to about half the frequency below the center frequency (if the center frequency It is 1000Hz, the half multiplier is 750Hz), and the upper limit is very high, which can reach (N-1) times the center frequency. Assuming that the center frequency is 1000 Hz and the step of the two-number diffuser is 7, the upper limit of the diffusion range is about 6000 Hz.
Seeing here, I think you already know that the quadratic residue diffusers that are generally seen outside are almost all frequencies above the intermediate frequency: and the more the number of steps (the number of steps here is a single group, not two) The sum of the three groups of groups), the upper limit of the diffusion frequency is higher. In addition, why no one will do three or five steps? Because the upper limit of its diffusion is relatively low.
Nine, large space is better than small space
Why is the large space better than the small space? The reason is very simple, because the volume of the large space is large, the sound waves emitted by the horn are less distorted by the boundary (six walls), and the sound you get will be more correct. That's why if we use computer software for horn testing, we usually have to ask for measurements in larger spaces. Because the sound waves have less distortion of the boundary, the test results will be more accurate. Many people don't know. In fact, the effective value of many speaker computer test software is only above 300Hz. The frequency below 300Hz is easy to be interfered by the inner boundary of the space because of the long wavelength, which makes the test value unreliable. The goal of the non-sounding room is to completely eliminate the interference of the space boundary in theory, so that the test results are accurate and credible.
In the average person's home, the large space is the open space shared by the living room and the restaurant. The small space is a specially designed sound room or general room. In the large space, we need to consider the multi-functional sharing of the space, the interference during the listening, and the low-frequency sense of the speaker. If you can properly deploy, the sound you get will usually be easier, more uniform and correct, and the ability to snorkel down will be stronger. As for standing waves, even large spaces cannot be completely avoided, but the degree of harm will be relatively reduced.
In a small space, the sound waves emitted by the horn are severely distorted by the boundary, and the damage of the standing wave is far greater than that in the large space, and the extension of the low frequency band is always limited. However, due to the small size of the small space, it is not necessary to use a high-power amplifier and a large speaker, and the space arrangement is relatively trouble-free.
Ten, things are much better than things
This does not mean that the more equipment, the better, but the more things in the sound space, the better. However, the more things you have, the more you have to organize them. Don't just throw them away, causing the whole room to be messy. Why do the more things in the sound space are better? Because these things will naturally absorb and reflect the sound waves, and achieve the effect of naturally regulating the indoor reverberation. Keep in mind that the heavier the quality, the more it absorbs the mid-low or low-frequency, and sometimes solves some of the low-frequency standing waves. For example, cabinets, sofas, bookshelves, CD stands, etc. all have this function. The surface of the multi-fiber, porous soft thing has a high-frequency absorption, such as the surface of the flannel sofa, carpet flannel and so on.
If there are few things in the sound space, there is only one set of sound and a few CDs and a sofa. The space of such a spring is easy to produce shortcomings such as long echo, high frequency, and false sound. Similarly, if all kinds of cabinets in the sound space are equipped with glass doors, too many high-frequency reflections will occur. Therefore, it is best not to have glass doors for all kinds of cabinets in the sound space.
11. Is the proportion of acoustic space important?
The so-called proportion of sound space, the average person will get used to the so-called "golden ratio." In fact, the word "gold" here only represents precious and rare, and has nothing to do with the real "golden ratio". Why should the sound space pay attention to the ratio of length, width and height? If the proportion is correct and correct, the standing wave intensity in the sound space can be minimized, and at least the low-frequency standing wave interferes with the listening music. Therefore, if you have the opportunity to decorate an undisturbed dedicated sound room, of course, you should pay attention to the length, width and height of the space. The congenital condition is first available, and the adjustment of the day after tomorrow, the effect of the sound space will of course be superior.
What is the ratio of the best golden ratio? If you want to be simple, as long as the length, width and height are not multiples. To put it bluntly, these three values ​​cannot be removed from each other. If you pay attention to it, you have to carry some simple numbers. These numbers are all related numbers that are calculated by computer and have low standing wave strength. You can remember the following three groups: A: 1.00: 1.14: 1.39; B. 1.00: 1.28: 1.54; C. 1.00: 1.60: 2.33. The 1.00 of the above three sets of numbers represents the height of the room, and the other two are width and length respectively. From a numerical point of view, you can see that this is a ratio of the space of three different sizes. In the end, you should use that ratio, depending on how much space you have.
Twelve, standing waves should only be taken by wisdom, not to be very dry.
What is the standing wave? Simply put, the standing wave is the sound wave that does not go. Where are you going to stay? Between two opposing parallel walls. There are three sets of opposing parallel walls in one space, so there will be three sets of standing waves mixed together in one sound space.
In fact, the standing wave is the resonance phenomenon of space. As long as the distance between two opposing parallel walls is equal to an integral multiple of half wavelength, resonance will occur, that is, standing wave. For example, a distance of 5 meters is half the wavelength of 34Hz (the speed of sound is 340 meters per second divided by the frequency of 34Hz is 10 meters of full wavelength), such a length will be 2,3,4,5 at 34Hz , 6... times to generate standing waves. That is, standing waves are generated at 34 Hz, 68 Hz, 102 Hz, 136 Hz, and the like.
If the standing waves generated by the three parallel walls in the space overlap each other, a stronger standing wave will be formed. This stronger overlapping standing wave is the standing wave commonly known by our audio fans. For example, if three parallel walls have exactly 102 Hz standing waves, then the strongest standing wave in this acoustic space is 102 Hz.
In fact, standing waves in the acoustic space will not only occur on parallel walls, but also on the length of the line. Therefore, when the horn is playing music, the standing waves generated in the acoustic space are very complicated. Fortunately, audio fans don't need to understand the complex standing waves, you only need to know the cause of the standing wave formation.
Why do I say that the standing wave should only be taken by wisdom, not to be rude? First, the standing wave is not only a single frequency, it has a wide range, you can not "set off" them with some facilities to prepare. Second, the standing wave energy is very strong, usually more than ten dB higher than the sound pressure of normal music. Such a strong sound pressure is not able to cope with the sound tuning technique used for "fine tuning". Therefore, based on my many years of experience, the best way for audio fans to deal with standing waves is to avoid it. What method is used to avoid it? Avoid using the speaker position and changing the listening position.
If I have to use some measure to reduce a strong standing wave, can it be successful? If you want to do it at no cost, of course there are many methods developed by the predecessors. For example, if you want to absorb 102Hz, you should use the formula to calculate, what kind of sound-absorbing material, how to install it, and how much to absorb it. In the studio, there are many such facilities that absorb low and low frequencies. Alternatively, you can design a large quadratic residue diffuser that specifically spreads the lower frequency bands. However, it is still an old saying that the amount absorbed is not only impossible to control accurately, but also has a negative impact on adjacent frequency bands.
Here I want to emphasize again: the most effective way to deal with standing waves is to build a sound space of the right proportion. If you don't have the chance to build the most trouble-free and clever way, you can avoid it by "speaking the horn" and "changing the listening position." Many people are very "iron teeth", but they do not believe in evil and want to face the standing wave. To be honest, I have already passed the "iron teeth". My experience is the old man's words. If you don't listen to the old man, you will lose money in front of you.
Thirteen, the sound space should consider the reverberation time problem?
What is the reverberation "reverberation" English is Reverberation, and Chinese is also called reverberation or reverberation. On the surface, the reverberation seems to be the same thing as the echo and the hall sound, but it is not. Echo means that when a sound is emitted, we can hear another identical sound later, just as the sound comes out and comes back, so it is called echo. Ambicence refers to the enveloping atmosphere of music in a concert hall, which consists of the first reflected sound after the sound is emitted and the reflected sound later. By the time when the first reflection is transmitted back to the ear, we can roughly judge the size of the space. Reverberation has a strict definition.
As for the reverberation, as the name implies, it is of course a response that remains in space after the sound is emitted. However, it also comes with a strict rule: when a sound source emits a sound, the sound intensity is reduced to only the initial negative 60dB intensity, we call it the reverberation time. Note that no, the key figure is "negative 60dB intensity." This is what the average person calls RT-60.
What is the importance of the bottom reverberation time for listening to music? Although it does not represent everything that sounds perform, it has a great influence on the "quality" of sound. For example, the sound sounds warm or not, full or not, clear or not: or it is brighter, more gorgeous, and so on. In the modern concert hall design, the reverberation time is usually set at about 2 seconds. The reverberation time of the opera house needs to be relatively short, about 1.5 seconds. However, even with the same reverberation time, the sound characteristics of each concert hall will not be the same. This also shows that the reverberation time does not account for all the sound characteristics.
Having said that, I think you must understand that even in your own sound space, proper reverberation time is very important. Of course, because our sound space is small, there is no need for reverberation time as long as the concert hall. In the end, how much reverberation time do we need? The reverberation time of the general home audio space varies depending on the size of the space, and can usually be set between 0.2 and 0.5 seconds. The longer the reverberation time, the more gorgeous the sound, the shorter the reverberation time, and the thicker the sound. Reverberation time is difficult to calculate accurately.
Since we know how much reverberation time is required, how do we control and get the reverberation time we need? In theory, the reverberation time can be calculated by the formula. The earliest reverberation calculation formula was introduced by Sabine, and Eyring later made corrections based on Sabine. Basically, these formulas must first know the surface area of ​​the surface material of the indoor object, the sound absorption coefficient, the total indoor suction volume, the indoor volume, etc., and then bring it into the formula. The problem is that under the influence of many factors (directivity of the sound source, diffusivity, error of the sound absorption coefficient of the material, etc.), the calculated reverberation time is often inaccurate. Therefore, even if my generation of audio fans know how to calculate, it is not very useful.
Since the reverberation time is so important, we can't grasp it. What do we want to do? I think we can only rely on our own ears to mix various reflection, absorption and diffusion materials in the room. Here I have several principles to provide readers with reference: if speaking in the sound space is a little hard, it is too much sound absorption; the sound is slightly dry, that is, the reverberation time is not long enough; it sounds like a nasal sound, that is, there is sound in the middle frequency band. If the clap sound is crisp, the reverberation is slightly longer; the sound of the palm is full, and the sound is full.
Fourteen, sound insulation is very important, but helpless
Living in an apartment, the most feared by the audio fans is the noisy and noisy. Therefore, most audio fans will close the doors and windows when listening to music, so as not to mistake themselves. In addition to the noisy and noisy, sound insulation has a substantial meaning for listening to the sound, because the relative dynamic range is increased after the noise is reduced. For example, before the sound insulation is done, the indoor noise is about 60dB. After the sound insulation treatment, the noise value may be reduced to 50dB. This way, you increase the dynamic range by 10dB.
What is the soundproofing of the apartment? Usually, the window is the biggest noise channel. The easiest way is to change the double-layer aluminum window or the better airtight window. It does not cost much, but it works well, and it is the highest return on investment.
Then, is the sound space door to be soundproof?" I can tell you that if you want to make soundproofing for the door, it will cost a lot of money, which is very uneconomical. What's more, the family is noisy, they will forgive you. However, if your audio space is the living room, you should make some noise insulation for the door, otherwise the neighbors will inevitably complain. Usually, the door of the living room is almost no soundproofing, whether it is a gate or an iron gate. Known as the expensive iron door that can be soundproofed), the neighbor's conversation in the corridor can be heard clearly through the door. The more effective sound insulation method is to make a better soundproof door frame and door panel inside, but this kind of actual use will Very inconvenient. Therefore, if you really want to solve the problem of sound insulation in the living room door, the only way is to ask the professional to replace the entire door with the door panel. Instead, the real separation method is used. Ten thousand Taiwan dollars.
With so much money, can you guarantee that music is blocked in your own home? No! Your music will still pass to the neighbors through the vibration of walls, floors and ceilings, especially the low frequency is more difficult to block. So, can't you really make soundproofing? You can't make your own sound space like a studio for listening to music. The soundproofing of the studio is equivalent to building a suspended room in the room, which is consumed. The space and money are definitely not what you are willing to pay.
Fortunately, as I said before, you can put a layer of gypsum board in the sound space. The air layer between the gypsum board and the cement wall will block some sound waves. Plus double-layer windows or airtight windows, so you can already explain to your neighbors.
Keep in mind the principle that the structure of the double layer sandwich air layer is always more effective than the single layer structure for sound insulation. However, it should be noted that there should not be too many wires connected between the double plates, otherwise the vibration of the sound waves will pass from one side to the other through the wires.
Fifteen, even if there is a perfect space, look for equipment matching
Many people think that as long as the sound space is ideally arranged, you can use audio equipment. this is actually wrong. No matter how you arrange it, each sound space will inevitably have its own sound characteristics. These sound characteristics also need to find a suitable speaker to play the effect of safflower green leaves. We can only say that if the sound space is arranged as ideally as possible, our range of matching will be much broader. On the other hand, if the sound space is not ideally arranged, it will definitely cause a serious bias. At this point, we can only find a few equipment to adapt to such a biased space.
Moreover, each person's sound space is different in size. Different sizes of space should also be matched with speakers of different sizes. Usually, a small space with a large speaker, or a large space with a small speaker will increase the trouble. How do you find the most suitable speaker size for your sound space? I think it is impossible to have a lot of experience. Keep in mind that if the horn is too small, you will drive the horn too much, causing serious distortion of the horn. The horn is too large, and you will also get a headache for how to digest too much sound energy.
The audio fans who have never fine-tuned the sound by themselves, at best, are only generals on paper; the audio fans who have never made their own sound space, and the apples in the computer family, at best, only know it. The reason why the sound is fascinating is not only to let us enjoy the beautiful music. More importantly, it is to let the audio fans get the sense of accomplishment that they are constantly surpassing. Do you want to surpass yourself? Please start with the "New Sound Space Fifteen Code"!
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