my point i s to get closer to anechoic space, i just feels so good absorbing more and more. then the rom disappears and becomes more and open space, like outside.

How do u calculate the width and spacing of the slats? I would appreciate the answe !

@@hamooddyy Same question. It looks like the "random" patterns used for skyline diffusers. Each slat is a resonator so you probably don't want the slats to be the same or in harmonic intervals.

@@digidope to be honest my room is now fully treated and i have coaxial design monitors (genelecs 8341) and they dont need the reflections for accurate monitoring, and i dont get crazy or anything because i only use the studio for studio work and dont chill in it

@@chinmeysway It's not about other people not listening to music in a treated room. The purpose of the treated room is to create as clear an image of your mix as possible so that it translates consistently to any other system- So that what you are hearing from your speakers is as accurate as possible, allowing you to make good mixing decisions.

@@drewseaver4531 to add to this: recording acoustic instruments or anything mic'd in an untreated room can lead to a lot of issues. for years i blamed my "boomy" acoustic guitar, then my "cheap boomy mic", then my interface, then my lack of preamp, until i realised that the root cause of such issues is due to the acoustics within the room not being treated properly. and by boomy i do not mean i just needed to cut 200-300hz a little, i mean it'd sound fine until i played certain notes on the guitar that resonated with my rooms untreated modes, and would then sound incredibly boomy and woolly to the point where no amount of eq or soothe type plug-ins or studio trickery can make it sound as good as just treating the room and recording it at the source properly instead of having to "fix" it in post. acoustic treatment and room acoustics may not be the most fun thing to deal with, but it's one of the foundations of getting it right at the source. when it's right at the source, mixing becomes much less of a battle and is a much quicker process. even if you make electronic music with no mics, as drew says, treatment cleans up the room sound and makes it so you can actually hear what you are doing when you are mixing. there is a reason professional studios all have it.

Thanks! This a precious information you add here man! I exactly wanted to point this out as well :D There's a French dude called Andy Mac Door who did an entire set of tutorials on the Helmholtz resonator he built. He shows a lot of measurements as well and the setup seems really efficient... But time consuming and taking a loooot of space!

When the gaps are vertical, they work on the horizontal plane. That's why they're mostly (always) vertically aligned.

One issue at play here is SBIR, which is the effect of the energy wrapping around the cabinet and reflecting back toward the listener. Genelec's recommendations; If the face of the speaker is under 2' (60cm) you largely avoid the negative effects of SBIR nulling out vital bass freqs. If it's bass managed with a sub system, then that changes to either flush mounted in walls, or no closer than 43" (1.1m). Of course this is for studio monitoring... for HiFi use, sub or no sub, huge amounts of spacing off the front wall always benefits the experience. My monitors, w/sub support, are about 9 feet (2.7m) out into the room, they perform and measure great.

@@FOH3663 thanks for the reply! That’s good info.

Especially with front ported speakers in a small room, I would prioritise the listening position and prefer having them pretty much touching the front wall. If you can't avoid having bass bouncing off the front wall, it's better to have the reflection in phase and EQ it out IMO. If your monitors have the ports in the rear, I can actually recommend stuffing a sock in there, worked wonders for me. If you found the best listening position (by measuring) and can afford to have your monitors about 60 cm (for 8" woofers) off the front wall while keeping them at a reasonable distance from each other and your ears (between 1,50m and 2m), then I suggest keeping the speakers away from the wall and put thick absorption behind them. Otherwise, stick them to the walls with no absorption right behind the speaker (you actually want as much reflection as you can get) and concentrate your absorption on the early reflection points and corners.

Just for testing purposes, try adding an absorber panel on your desk and test again with REW. The destructive dips at those frequencies might be due to reflections from your desk. Just a guess, but definitely worth trying.

What you hear is natural reverb. Sounds like you over-absorbed the high frequencies in your room. Too much thin foam maybe? That bathroom is not a diffusor, it's a resonator if anything. I suggest capturing that as an impulse response first and then (re)moving some of the acoustic treatment in your room.

@@Hamachingo thank you so the panels I have are 6 inches thick but it might be that too much of my high end are being absorbed and having thick carpet doesn’t help and I only had the thought because the bathroom would add another 5 feet to my room if the wall wasn’t there so it would be 20 feet long or 2 meters I think since 1 m is 10 feet I believe don’t quote me on that What do you think if I had a bigger size room with the same amount of panels that I could get rid of the problem of too much high-end absorption?

@@noahwallace3458 Well, your room will sound overly dry especially when compared to a bathroom with tiles all around, The harder the walls and surfaces, the more they reflect. And the denser the material, the more it reflects lower frequencies as well. Bass and lower mids go right through wood any drywall, but stick brick or concrete walls will reflect those frequencies back (making room modes quite the nightmare). I'd recommend moving those panels to the corners of the room so the higher frequencies can still ping pong along the walls. Then, if the carpet is glued in, try covering it with cardboard or similar to reflect the higher frequencies. If that makes it better, your carpet might be a problem. I honestly don't think your room is over-dampened though unless you have foam on the walls and ceiling. I used to have that in my old tiny bedroom studio. It made you feel uneasy right away as you entered, you could hear your organs and had to talk at least twice as loud. That's overdampened. If you have any condenser microphone, definitely download Room EQ wizard and look at the waterfall graphs. Measurement microphones are more accurate in the frequency response, but for decay times, any old condenser mic will do really.

Only making the calculations way more difficult. In short: don't angle them.

Definitely not square

Dolby has a guide on its website, where they give you all the technical criteria for a room. RT, measurements, speaker positioning, etc.

@@nestoroldman Thanks! I'll look it up.

@@digidope you are speaking nonsense..please check bogic petrovic rooms, he used 50/50 ration using slats..even J.Brandt use his design in room for transparenr diffusers..

@@digidope ha..but seems you know everything..please read some AES whitepapers with measuremnts and so..

That's a really good question. I wish he would respond.

Biology and human anatomy.

@@nestoroldman please explain

Many people do.

Headphones don't give "true" stereo. They put the left sound in your left ear and the right sound in your right ear. But with speakers, you get the overlap as well, with the right speaker sound being caught by your left ear as well, both directly as well as through indirect reflections. And vice versa for the left speaker sound in your right ear. So unless you use some sort of fancy algorithm that mimics the speaker and room effect in headphones (I thought Slate maybe had something like that?), they're definitely different beasts. That said, it's not impossible to mix fully in headphones, but be aware of what you're listening to.

As hunters, our ears evolved for survival. Our ears are asymmetrical in X and Y, for this reason we are able to identify sounds that come from the front, behind or left and right, not the ones that come from above (that's why I think ATMOS is a scam), this is possible thanks to the difference in time between the arrival of the sound between one ear and the other (actuallly its more complicated than that) and to the wearing headphones is depriving the brain of that positioning mechanism and ruining stereo depth and balance. 2, but just as importantly, designing good-sounding speakers is relatively easy, because in theory you can approximate actual listening conditions in an average room.(material of construction, measurements, etc) and present a measurement, either anechoic or in half space, and how in this you make sure that, objectively, your loudspeaker is going to have a similar performance in the real world. Things get complicated too much with headphones, since being so close to the ear the sound interacts differently, because factors such as the dimensions of the ear canal,the morphology of the ear, etc. play a fundamental role (with speakers todo) in how we perceive sound. As you can imagine, each person is substantially different in these aspects and no matter how a manufacturer measures their headphones, they will never have an idea of ​​how a specific person will hear through them, once again you can only make assumptioms, but as you can imagine, it is not the same to approximate the acoustic behavior of a concrete room than that of billions of different auditory systems. THE ONLY WAY YOU CAN USE HEADPHONES IS TO KNOW YOUR HEARING 100% AND EQUALIZE YOUR HEADPHONES TO TRY TO IMITATE THAT SOUND YOU PERCEIVE FROM THE SPEAKERS Get rid of the myth of the flat responde, FLAT IS NOT FLAT FOR EVERYONE.