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Title: Acoustical Design Criteria for Surround Sound Control Rooms
Author: John Storyk, Dirk Noy, Walters-Storyk Design Group, Inc., Highland, NY 12528, USA Presented at: 106th AES Convention Munich, May 8-11, 1999
AES Preprint Number: 4939 (N4)
ABSTRACT:
This paper presents an examination of issues involved in the architectural and acoustical design of audio control rooms equipped with a multichannel monitoring system used for music, post-production, sound design and multimedia soundtrack creation and mixing. Consideration has been given to international recommendations regarding multichannel sound, including placement of acoustical materials and defining design goals for surround sound environments. Particular attention has been given to issues concerning the reworking of a room from a stereo environment to a multichannel monitoring environment.
Title: Design, Construction and Testing of a College Rehearsal Hall
Author: John Storyk, Walters-Storyk Design Group Inc., Highland, NY 12528, USA Presented at: 95th AES Convention New York, October 7 - 10, 1993
AES Preprint Number: 3779 (A4-AM-1)
ABSTRACT:
Several year ago, Community College of the Finger Lakes (CCFL) wanted to expand their small music department. One of the rooms that was required and subsequently constructed was a large (approximately 2,200 sq. ft.) multi-purpose music rehearsal room - programmatically integrated with other acoustic rehearsal and recording spaces within the music department. The design parameters, construction detailing and final room tests are shown in this paper. Due to a scheduling delay during construction we were able to get some test measurements in the RT60 domain of the completed shell space without final acoustic surface treatments added. (This "before and after" information is particularly interesting and can be compared to calculated RT60 values for the space).
The paper will discuss:
1. Basic architectural and acoustical design goals for the music complex of the school. 2. HVAC and resulting NC ratings for two of the rooms in the complex. 3. Extensive testing of RT60 values before and after acoustic treatment in the large Rehearsal Room.
Title: Design, Construction and Testing of Critical Listening Environment
Author: John Storyk, Walters-Storyk Design Group Inc., Highland, NY 12528, USA Presented at: 92nd AES Convention Vienna, March 24-27, 1992
AES Preprint Number: 3328 (3AA1.04)
ABSTRACT:
Most large record companies today are required to have within their premises at least one room - designed to serve as conference room as well as a critical listening room. Due to the conference room requirement (necessity to incorporate a large table and seat no less than 20 people for meetings), making these environments compatible to other industry listening environments can cause interesting design conflicts as well as solutions. This paper is a discussion of one such room - Conference Room 48 - Mercury Records Corporate Offices, New York City.
Title: Design, Construction and Testing of A Large Recording and Postproduction Audio Facility
Author: John Storyk, Walters-Storyk Design Group Inc., New Paltz, NY 12561, USA Presented at: 93rd AES Convention San Francisco, October 1-4, 1992
AES Preprint Number: 3410 (K-4)
ABSTRACT:
A discussion dealing with design theory; construction implementation; and acoustic treating of a large recording complex - constructed during 1991-1992 in New York City - JSM Music, Inc. The recording complex involves very low NC level; high STC ratings between rooms due to the inter-client nature of the room usage. The paper will discuss:
1. Detail wall construction profiles and measured STC results. This data is peculiar to the multiple usage programming of certain acoustic spaces - resulting in unusually high STC values for these systems. 2. HVAC design and measured NC levels for major acoustic spaces. 3. The use of an acoustic ray trace software (CART - computerized acoustic ray trace) - showing the various proposed designs and, of course, the final solution for the Control Room and major Studio Rooms. 4. Measured Energy Time Curves ( ETC's) and resultant RT60's for certain critical acoustic spaces.
Title: Application of Varying Architectural and Programmatic Requirements to Audio Recording Studio Acoustic Design
Author: John M. Storyk, John M. Storyk Inc., New York, NY, USA Presented at: 87th AES Convention New York, October 18-21, 1989
AES Preprint Number: 2880 (W3/3-H)
ABSTRACT:
Very rarely do two recording studios or media facilities (audio, video, radio, etc.) end up being the same in terms of architectural/acoustical design. This brief paper is an attempt to identify how some varying architectural and programmatic requirements contribute to this seemingly never ending universe of varying architectural/acoustical designs. Architectural differences in facilities will naturally make designs different. Trained as an architect and having practiced architecture for twenty years, I would love to discuss this at length - this is not the paper to do so. Natural differences in architecture for radio stations vs. video post production rooms vs. audio production suites, etc. etc. will result in different designs.
I will discuss specifically how architectural and programmatic requirements have effected three specific audio recording studios - each with slightly varying functional differences but with similar acoustic goals. Their architectural and programmatic requirements are indeed what generates their acoustical differences.
Acoustics is an equal partner to ergonomics and architectural programming in studio design. In many instances (those that are to be discussed) acoustics simply react to this programming. To demonstrate, I will use three specific installation examples that I have designed in recent years. All three have similar acoustic philosophies (specifically in the control room designs), yet have interesting differences caused for the most part by varying architectural and programmatic requirements. The three examples are: 1. Private home recording studio for Whitney Houston, Mendham, New Jersey - completed 1988. 2. Howard Schwartz Recording, New York City, New York - completed 1985. 3. Full Sail/Platinum Post, Orlando, Florida - completed 1989. |
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