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Kii Three, how to adapt studio acoustic treatment

Pattrn

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Hello everyone and thank you in advance for sharing your reflexions on this topic.
The purpose of this thread is purely on acoustic treatment of a room and more specifically how or what to change from a traditional studio design (without in-wall speakers) to a studio using Kii's.

I would like to share the current state of my reflexions with you and see what you think about it.

•Kii's (without BXT) broadly fire sound only to the front down to 80Hz. Below 80Hz they start to become pretty omnidirectional.
•Wavelength around 80Hz is approx 4 meters, placing them close to a wall is not a problem at all, on the contrary, the bouncing back wave will be pretty much in phase and help the front driver (i even think remembering Bruno Putzeys talking about this in an interview).
•Thomas Jouanjean (Northward acoustics) discovered through his years of work a more natural type of studio designs : FTB (front to back) that offers both clear and clean direct sound without room interferences (at the listening position) without the weird feel of too dead/anechoic rooms. These designs are praised worldwide as the offer bpth less ear fatigue and perfect sonic quality at the listening position.

Taking this into consideration wouldn't it be best when using Kii's in a studio to :
1) remove all acoustic treatment from the front wall (using "positive" SBIR to support the low end played by the speakers and hearing the sounds you as a human being produce, reflected by the front wall so the room doesn't feel dead like Thomas deisgns),
2) have the traditional absorption on the early reflexion spots (side walls, ceiling and back wall) maybe a little more to get the average RT60 below 0,3s (depending obviously on the room size)
3) fill the back wall with waveguide absorption/bass traps and maybe some extra tuned traps to the sides/corners to absorb the low end frequencies below Schroeder frequency and get the low end decay time match the rest of the room reverb length?

Asking this as in fact you can find many people talking about the benefits or bass directivity but i could not find a signe thread on how the shift of design from traditional to cardio has been taken into consideration for adjusting acoustic treatment.

WDYT?
 

dfuller

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Yes, that's how I'd do it pretty much regardless of cardioid or not. If you can't flush mount, that's your best bet.
 

Purité Audio

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The kiis have pretty much constant directivity, be careful with ‘first reflection’ absorption there is a possibility that you might actually be colouring the sound.
Keith
 

tomeh

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Hello everyone and thank you in advance for sharing your reflexions on this topic.
The purpose of this thread is purely on acoustic treatment of a room and more specifically how or what to change from a traditional studio design (without in-wall speakers) to a studio using Kii's.

I would like to share the current state of my reflexions with you and see what you think about it.

•Kii's (without BXT) broadly fire sound only to the front down to 80Hz. Below 80Hz they start to become pretty omnidirectional.
•Wavelength around 80Hz is approx 4 meters, placing them close to a wall is not a problem at all, on the contrary, the bouncing back wave will be pretty much in phase and help the front driver (i even think remembering Bruno Putzeys talking about this in an interview).
•Thomas Jouanjean (Northward acoustics) discovered through his years of work a more natural type of studio designs : FTB (front to back) that offers both clear and clean direct sound without room interferences (at the listening position) without the weird feel of too dead/anechoic rooms. These designs are praised worldwide as the offer bpth less ear fatigue and perfect sonic quality at the listening position.

Taking this into consideration wouldn't it be best when using Kii's in a studio to :
1) remove all acoustic treatment from the front wall (using "positive" SBIR to support the low end played by the speakers and hearing the sounds you as a human being produce, reflected by the front wall so the room doesn't feel dead like Thomas deisgns),
2) have the traditional absorption on the early reflexion spots (side walls, ceiling and back wall) maybe a little more to get the average RT60 below 0,3s (depending obviously on the room size)
3) fill the back wall with waveguide absorption/bass traps and maybe some extra tuned traps to the sides/corners to absorb the low end frequencies below Schroeder frequency and get the low end decay time match the rest of the room reverb length?

Asking this as in fact you can find many people talking about the benefits or bass directivity but i could not find a signe thread on how the shift of design from traditional to cardio has been taken into consideration for adjusting acoustic treatment.

WDYT?
Hello everyone.

A couple of observations for you around your thoughts;

1. As a studio owner my objective has never changed. I want/need to hear as clearly as possible my recording capture including the information from the room it was recorded in (effected by my choice of microphone positioning and polar patterns) and therefore make a good choice on my addition or not of reverbs while mixing.

2. My studio environment reflects some of your thoughts. An RT 60 of .250 s, handling of the primary room mode (36 feet, approx 15 hz and therefore all the harmonics) by replacing the Kii three output below 35 hz with four subs in mid wall configuration that tackles the primary modes <35 hz. An additional benefit is that by taking the workload off of the Kii Three's and using four subs lowers distortions in the sub sonic area greatly. Yes all this is verified through measurements.

3. I haven't bothered removing or moving previous absorption (before Kii Three's) but some observations here; My ceiling is acoustic tiles, My floors carpet over cement, wall behind the monitors is household drapes 4.5" from the wall on 85% off the surface (does nothing for lower frequencies so any SBIR effect is unchanged), side walls have 2", 2'x4" panels on about 25%, Diffusion on back walls and a corner trap in one back corner.

4. When I record I want to choose a room with good characteristics to capture what I'm recording. I don't want to record a Heavy Metal band in a Gothic church or a string quartet in an arena. Don't people create a room that they want to listen to music in as part of the acoustic environment, unlike myself who is trying to listen to the capture with minimalistic but not anechoic conditions?


Great conversation.

Tom eh
 

Adi777

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An RT 60 of .250 s,
With such reverberation, isn't it too, um, dead when listening to music? Yes, I know, you work with music, isn't listening room.
 
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