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7/31/2019 Ricky-Lee Anderson - Acoustics UG3 - Studio Design
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Ricky-Lee Anderson
Acoustics and Musical Instruments UG3
CWK2.2 Studio Design
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Contents:
1. Introduction
2. Use Criteria
3. Proposed Plan
4. Room Dimensions, Modes and Reverb Time (Pre-Treatment)5. Final Room Plans
6. HVAC and Power Considerations
7. Conclusion
8. References
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1. IntroductionThe following studio design is based upon an existing
studio space in BCUs TEE Studios.
Exact structural information is not available at present,
so placeholder data will be used in order to propose an
idea that can be used within a limited space.
The current plan presents a large TV Studio space and a
small Mix 1 space for recording purposes. Two small
listening/control/mixing rooms called Mix 2 and 3 are
also present, partially framed by a corridor which is in
use by other teaching departments (albeit not very
often).
The proposed idea is to create a smaller version of the
TV studio, optimised for a music recording space, utilize
the shape of Mix 1 for a voice recording space and tocreate a good control room to utilize both recording
spaces.
A fresh build was assumed for this project, so structural
components can be suitably chosen.
[Figure One: Present TEE Studio Layout]
2. Use CriteriaThe studios need to be designed for the use of BCUs Sound Engineering students. The students will be using
these studios for a range of applications such as recording musical instruments, speech, singing, related
measurements, Foley, ADR and lessons.The range of musical tastes and preferred subjects (and their associated studio usage) will mean the studio will
need to accommodate a broad range of use and frequency/reverberation content.
The aspect of lessons in the studios also mean that visual orientation of the studios will be beneficial, i.e. being
able to see what is going on in each space from each room. This does mean that large monitors will also be
utilized for visual aid in DAW training which may lead to some acoustical issues.
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3. Proposed PlanWith the view in same orientation to Fig.1 we can see the
proposed floor plan. The TV studio has been shortened into a
Sepmeyer Room Ration (more to follow) and will be used as a
control room for the upper room top half of TV Studio, Mix3 and most of Mix 2 joined...this will be the main recording
space.
The old position of Mix 1 has been moved up to border with
the main recording space, the remainder of the original Mix 1
will be used to store equipment to facilitate the studios
instead of being stored one story down.
The outer shell of the whole structure has been constructed
of 8x16 concrete blocks, which have been plastered on
both sides. This gives a good Sound Transmission Class (STC)of 56dB
[1][2].
These have been lined with another layer of 2x 5/8 gypsium
board with 9 thick of rockwool. The studs are staggered or
given a 1 gap (so there is no contact between inner and and
outer shell).
This single layer of internal wall has a rating of between STC
46-52dB by itself[1]
giving extra STC on top of the concrete,
but also creating a more uniform absorption of the walls. [Figure Two: Proposed Changes to TEE Studio Space]
[Figure Three: STC63 rated studio wall]
The internal room-separating is illustrated in Fig.3
which is almost identical to the inner wall paired
with the outer shell, except it has its own outer
layer of another 2 x 5/8 gypsium.
This wall has STC 63dB rating according to Berger
and Roses Partitions article (1985)[3][1]
. Which
gives a generous amount of isolation from room-
to-room before any diffusion and absorption is put
in place.
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For the purposes of visual communication between musicians and
producer/engineer, as well as practical purposes for lessons within
the studio, internal windows have been proposed between all
rooms within the studio.
The trade-off is obviously changes in the uniformity of the wall
absorption coefficient area, wall STC rating, reflections and
different coincident effects.
Some of these issues have been considered by using alternate
thickness laminated glass panels (1/4 and 3/8) which will
bend/vibrate at different wavelengths of incident sounds (1372Hz
and 914.7Hz respectively). The resonance inside the airtight cavity
between the two glass panels has been considered by adding
absorptive material - with a cover for aesthetics. The glass panels
are also angled facing down, so early reflections will be deflected
downwards towards what is expected to be a fairly absorptivecarpet; this also creates a non-uniform cavity which decreases
isolation at its narrowest point. But the visual and light reflection
issues for artists and lessons have equal priority.
[Figure Four: Window Construction]
The window panes are bedded on 7 2/8 x 2 blocks, with thick 1x 1 (at least on bottom) securing trim. The
panes will rest in neoprene stops and be glazing taped around the edges to further enhance the seal, whilst
consideration has been kept to keep both sides of the wall from coupling to each other. Finally, silica gel could be
placed inside the cavity to prevent moisture/fogging issues.
The doors within the studio will need to prevent
noise from entering or exiting the rooms to
maintain integrity of recording and so as to not
interfere with other lessons.
[Figure Six: Frequency Attenuation of 50mm MDF door with
bitumen insert, Rw value is EU version of STC] [4]
[Figure Five: Studio Door Construction]
Fig.6 shows the performance of 2 x 25mm MDF layers with a
bitumen layer in the middle. This has been chosen for
performance and weight reasons so the frame does not need
to be specially adapted.
A double-door soundlock system, with 2 x weatherstrip seals
and a PVC Magnetic seal was chosen, this system has less wear
and tear than clipping or lifting and is easier to use for students
going in and out of the rooms. Also, a cavity absorber, similar to
the windows has been utilized to absorb stray cavity resonance.
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[Figure Seven: Frequency attenuation for differing door frames and bracing][4]
Fig.7 illustrates the differences in frequency
response for MDF versus Soft Wood door
frame. The MDF displays a more prominent
dip in 500-1kHz region coincidence effect,
so a soft wood frame has been chosen.
There is negligible differences between
diagonal cross bracing and not. However in
the interest of safety due the door in this
studio will be diagonal cross braced.
Finally, another layer of bitumen is added
to the inner layers of the door to help with
the 2nd
Weather-stripping seal. This will also
help with the isolation even if by small amounts (1-3dB STC per BBC [4]). Overall the sound lock door system has2 x 40dB STC (plus the inner layer of bitumen each side) and a good sealing system. Absorptive compressed
Rockwool will be on the outside of the softwood frame, all sealed off by acoustic backing rods and acoustic caulk
sealant.
Isolation:
[Figure Eight:
Isolation of inner
from outer wall][5]
The studded walls keep
isolation (almost) from
themselves in their design,
Fig.9, and can support their
own weight.
They do however join at the
ceilings and floors, Fig.8
shows how isolation can be
achieved with angled head
strips and walls isolation
pads as pictured in Fig.10.
The Gypsum walls can also
be held in secure andisolated by an acoustic wall-
tie as pictured in Fig.8.
[Figure Nine: Gypsum wall structure showing internal self support][6]
[Figure Ten: Angled Head Strip and Wall Isolation Pad] [5]
For ease of design and due to lack of knowledge concerning the floor
construction of the existing TEE structures of Mix 1, 2, 3 and TV studio (the
floors differ), an assumption is made of a concrete base with no structural
load limitations.
With this in mind, the use of Mason UK Ltds isolation strips/pads will be
implemented. On top of the strips, 4 concrete slabs (STC 54dB) will be [Figure Eleven: Floor Isolating Strips][5]
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used the air gap in between the two layers is almost negligible
but may raise the STC to just above 60dB which matches the
wall STC ratings.
Illustrated, in Fig.12 is a cross section of the foundation, 4 slabs
and wall isolation using acoustic caulking and islolation strips. The
floor is surrounded by 2 x 6 wooden framing.
[Figure Twelve: Floor isolation from walls and
foundation]
Again, due to lack of knowledge and
ease of design, an assumption of a
standard type ceiling has been madefor TEE Studio.
Using the 2 x 10 joist of the ceiling,
with a decking/ tiles/carpet, a 9
layer of Rockwool and 2 x 5/8 Gypsum
board there is a case for a similar STC
of a the dividing walls. However the
joist couples the two membranes. So a
suspended ceiling has been decided to
be used to avoid this affect.
[Figure Thirteen: Initial Treatment for the ceiling under load]
[Figure Fourteen:
suspended ceiling
model]
Mason UK Ltd HD-B Ceiling hangers
will be used. The rubber element
decouples the two membranes.
The two membranes with 9
Rockwool layers, should produce an
STC rating similar to that of the
dividing internal walls (STC63).The suspended ceiling panels,
however will be Gyptone[7], which has
a similar mass to Gypsum, but slightly
higher absorption.
The height of 88 along where Mix 1,
2, 3 was will be restored to the same
height as TV studio for uniformity and
improvement of modes.[Figure Fifteen: Mason UK type suspended ceiling]
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Additional considerations:
Green Glue is to be used to bond all
of the 2 x 5/8 Gypsum boards
together, illustrated Fig.16.
All seams and cracks will be sealed
with acoustic caulking to ensure an
air tight seal. Fire Stop Blocks will be
installed in place on the tops of
Gypsum/drywalls to prevent the
chimney effect.
*Figure Sixteen: Green Glue used to join 5/8+ [Figure Seventeen: Fire Stop
building precaution]
Surface: STC Rating: The wall constructions can vary; depending on if they are internal dividers or paired with
the outer shell. However they roughly match, along with the ceiling...the differences
should be negligible. The floor may have a slightly higher rating, depending on the effectof the gap between the base and the isolating strips. This should not be too significant.
Walls 63dB
Floor 60-63dBCeiling 63dB
4. Room Modes, Dimension and Reverb Time (Pre-Treatment)
[Figure Eighteen: Control Room Dimensions] [Figure Nineteen: Large Live Room Dimensions]
[Figure Twenty: Small Live Room Dimensions]
Fig. 18, 19, 20 Illustrate the original dimensions of the room, minus
the area taken by the wall/floor/ceiling construction the room
dimension ratios used are in the black boxes.
Due to the extra space created by the ratio used in the Control
Room, the narrow width of the old Mix 1 space just could be
broadened to fit the smallest Sepmeyer Ratio, the length
extending back into the closet space marginally.
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Control Room
[Figures Twenty One, Twenty Two: Mode Strength and Bonello graph of Control Room space]
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[Figure Twenty Three: RT60 Calculator and results Control Room]
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Large Live Room:
[Figure Twenty Four, Twenty Five: Room Mode Strengths and Bonello Graph Large Live Room]
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[Figure Twenty Six: RT60 Calc and results Large Live Room]
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Small Live Room:
[Figure Twenty Seven: Room Mode Strength and Bonello Graph Small Live Room]
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[Figure Twenty Eight: RT60 Calc and results for Small Live Room]
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Schroeder Cut-Off Frequency = 2000
(RT60 was calcd in metric)
Control Room (0.33s) Large Live Room (0.36s) Small Live Room (0.2s)
148Hz 140Hz 186Hz
Desired Reverb Time
0.2-0.3s 1s
- This space needs to be around 0.3-
0.5s as room colouration is not
desirable [8].
- a live-end dead-end (LEDE)
approach will be used so the room
can be used to mix
- All frequencies below the Schroeder
Cut-off will be treated with
absorption in the corners
- The reverberant field needs to be
relatively short/long to suit most
types of music/testing/Foley etc
- the existing RT60 is fairly short, so
reflective panels will need to be an
option
- the existing time is excellent for
testing and foley, perhaps a more
diffuse field can be considered- frequencies below Schroeder Cut-off
will be treated with absorption
- The room is intended for vocal and
Foley use, so a relatively dead room
is required, the RT60 is adequate for
this with a few LF coincidental issues
to be trapped
-
Due to the nature of the STC63 walls with Rockwool (13 in total) they will absorb 1KHz freq, so diffusion
around this area needs to be achieved.
Bass energy is concentrated in the corners and at antinodes this must be considered[9]
In all rooms, for simplicity, only axial & coincidental tangential modes (up to 300Hz) have been considered,
see appendix A for full modes list
The Bonello curves for each room appear to follow the idea, and have no substantial flats, or any dips in the
response
5. Final Room Plans
[Figure Twenty Nine: Control Room with treatment]
Control Room:
- Bass traps in the corners tuned to wave length,
of 100Hz. As the bass trap becomes thinner
towards the edges so will the absorption of the
trap rise and will also cover up to the Schroeder
Cut-Off Frequency (this covers a range of lower
frequency issues terminating in the corner)
- The couch will also trap lower frequencies in the
corner
-
[Figure Thirty: Bass Trap design for corner] Ref[17]
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The bass traps are combined with wideband absorption panels fitted to the area surrounding the observation
window and the same panels are placed within the distribution angles of the studio monitors to absorb early
[Figure Thirty One: Sloped front wall absorption] Ref [16]
The front end of the room will also have a vertical slope of panels
installed; the panels and traps around the front end preserve the
reflection-free zone (keeping in mind the possible angles of
incidence of sound from monitors)for the engineerdead end.
Schroeder diffusion tuned to a wideband of mid/high frequencies
using the well depth proportionality factor = n2modulop
Three have been joined at the back wall to increase the surface
area of the unit via repetition of diffuser number sequence, hence
increase the diffusion creating a live end.
[Figure Thirty Two: Large Live Room Treatment]
Large Live Room:
- Again, the same build of bass trap has been used,
as well as there being a larger couch present.
- A point of note being is that while the couches in
both rooms help with LF absorption, so it provides
seating for students during the lesson.
- The treatment for this room, which has a low RT60
time for a live room(ideally this should be around
1sec ), is to create a diffuse sound field within the
LMF/MF/HMF area. Two different types of diffusers
have been used, three of the same on two walls and
a slightly lower tuned one on the wall hosting the
door.
- There are also two adjustable reflective/absorptive
panels next to the diffusers. Along with the HD
monitor panels and observation window, this should
create a fairly reflective option for the room if
required.
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[Figure Thirty Three: Small Live Room Treatment]
Small Live Room:
- Because of space restrictions the bass traps occupy
the same space as the larger rooms. The Schroeder
Cut-Off Frequency also is a little higher, so the basstrap has been tuned to length of 150Hz
- Broadband acoustic panels to absorb freq from
6kHz upwards have been distributed throughout the
room with the aim of reducing HF noise and keeping
the liveliest frequency area of 1-6KHz for
speech/vocal recording
- The main aim in treating this room was mainly to
deal with the minor issues of coincidence (Fig.27
shows no axial coincidences, only axial with some
tangential modes) at LF
6. HVAC and Power Requirements
[Figure Thirty Four: Mains Breaker Box] Ref [12]
In Fig.34 we can see a mains breaker box with the main
switch near the top, which is separated into a 13 ampere
line for switches [10], and 6 amps for lighting [11].
The aim is to keep the gear on one line, separate from the
other equipment. However the this cannot be customized in
an existing electrical system of TEE, the best that can behoped for is placing the whole studio on separate lines for
lighting and sockets.
Ideally a star/isolated grounding system should be used. This
could be achievable if we could create isolated ground
paths to a separate ground panel that then runs to the main, as well as a common ground line to the main [see
appendix B].
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[Figure Thirty Five: Duct Coupling] Ref[1]
A few basic considerations concerning
the air conditioning, firstly, not to
acoustically couple rooms together via
the ducts. The most sensitive room will
be the Large Live room (once noise
gets into a recording its permanent),
so this room will be coupled with the
closet space, and the control room
with the corridor. The small live room
will have its own vent-port. [Figure Thirty Six: Turbulence treatment]
Ref [1]
Also, bends and joins contribute to air-turbulencewhich is responsible for higher NCB ratings in the rumble
(R) region. This must be addressed with acoustic treatment or possibly expansion chambers/tuned silencers if
necessary.
BTU, Heat and Fresh Air Requirements
Control Room Large Live Room Small Live Room
Surface Area: 984.23ft2
Floor/Surface Area: 228ft2
Mac Pro: 285W Max [13]
C24 Desk: 140W [14]
NS-10 Monitors: 120W Max [15]
People: 141.48 * 15 = 2122.2
(avg person BTU with a max
capacity class assumed)
Total: 2667.2
Conversion (W * 3.4129) =
9102.89 BTU@hour
*This is a rough estimate, a deeper
enquiry will have to be made once
more decisions on equipment and
system power rating has been
done
Surface Area: 1152.492
Floor/Surface Area: 280.512
Surface Area: 464.86ft2
Floor/Surface Area: 178.94ft2
***[Author note: I have ran out of time to complete this assignment. Please be kind,
towards what I have completed, thanks!]***
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8. References
[1] Alton Everest, F; Pohlman, K. The Master Handbook of Acoustics 5th
Edition: Control of Interfering Noise, pg.
297-301; McGraw-Hill (2009).
[2] Northeast Solite Corporation: Block Specifications, sourced athttp://www.nesolite.com/blockspec.htmon
14/04/2012[3] Berger, R; Rose, T: Partitions (1985); sourced at
http://mixguides.com/studiodesign/tips_and_techniques/partitions-studio-design-1085/on 14/04/2012
[4] Plumb, G; Clark, R; BBC R&D Report: The Sound Insulations of Studio Doors Part 1, BBC RD (1994) sourced at
http://downloads.bbc.co.uk/rd/pubs/reports/1994-14.pdfon 16/04/2012
[5] Mason UK Ltd: Vibration Control Products and Acoustic Floor Systems, sourced athttp://www.mason-
uk.co.uk/acoustically-isolated-walls.aspon 16/04/2012
[6] Waterman, T. Walls and Ceilings: Musical Instruments and Acoustics, lecture notes SEP UG3 (2012).
[7] Gyproc Saint-Cobain website: Gyptone Acoustic Ceilings, sourced at
http://www.gyptone.com/products/acustic+wallon 26.04.12
[8] Sound On Sound: Practical Acoustic Treatment Pt3, sourced athttp://www.soundonsound.com/sos/sep98/articles/acoustic_3.htmlon 26.04.2012
[9] Alton Everest, F; Pohlman, K. The Master Handbook of Acoustics 5th
Edition:Acoustics of Listening Rooms, pg.
229-342; McGraw-Hill (2009).
[10] DTI Product Standards, Electrical Equipment: Requirement for Plugs and Sockets (2007), sourced at
http://www.bis.gov.uk/files/file38628.pdfon 26.04.2012
[11] DIYData, Understanding Domestic Lighting Cicuits (2000-2012), sourced at
http://www.diydata.com/planning/electric_lights/electric_lights.phpon 26.04.2012
[12] Bourbon, A, (2009). Electrics and HVAC. Lecture notes for BSc Sound Engineering.
[13] Mac Pro: Power Consumption and Thermal Output, sourced athttp://support.apple.com/kb/HT2836on
26.04.2012
[14]Control 24 Product Sheet, sourced athttp://akmedia.digidesign.com/products/docs/Control_24_13285.pdf
on 27.04.2012
[15] NS-10.net: Fan Page for Yamaha NS-10, sourced athttp://www.ns-10.net/category/specifications/on
27.04.2012
[16] Alton Everest, F; Pohlman, K. The Master Handbook of Acoustics 5th
Edition:Acoustics of Control Rooms, pg.
355-365; McGraw-Hill (2009).
[17] Alton Everest, F; Pohlman, K. The Master Handbook of Acoustics 5th
Edition:Absorption, pg. 179-222;
McGraw-Hill (2009).
X. Appendices
Appendix A:
Control Room Large Live Room
All Modes
nx ny nz f Type
1 0 0 34.3 Axial0 1 0 40.7 Axial
1 1 0 53.2 Tangential
All Modes
nx ny nz f Type
1 0 0 28.0 Axial0 1 0 40.7 Axial
1 1 0 49.4 Tangential
http://www.nesolite.com/blockspec.htmhttp://www.nesolite.com/blockspec.htmhttp://www.nesolite.com/blockspec.htmhttp://mixguides.com/studiodesign/tips_and_techniques/partitions-studio-design-1085/http://mixguides.com/studiodesign/tips_and_techniques/partitions-studio-design-1085/http://downloads.bbc.co.uk/rd/pubs/reports/1994-14.pdfhttp://downloads.bbc.co.uk/rd/pubs/reports/1994-14.pdfhttp://www.mason-uk.co.uk/acoustically-isolated-walls.asphttp://www.mason-uk.co.uk/acoustically-isolated-walls.asphttp://www.mason-uk.co.uk/acoustically-isolated-walls.asphttp://www.mason-uk.co.uk/acoustically-isolated-walls.asphttp://www.gyptone.com/products/acustic+wallhttp://www.gyptone.com/products/acustic+wallhttp://www.soundonsound.com/sos/sep98/articles/acoustic_3.htmlhttp://www.soundonsound.com/sos/sep98/articles/acoustic_3.htmlhttp://www.bis.gov.uk/files/file38628.pdfhttp://www.bis.gov.uk/files/file38628.pdfhttp://www.diydata.com/planning/electric_lights/electric_lights.phphttp://www.diydata.com/planning/electric_lights/electric_lights.phphttp://support.apple.com/kb/HT2836http://support.apple.com/kb/HT2836http://support.apple.com/kb/HT2836http://akmedia.digidesign.com/products/docs/Control_24_13285.pdfhttp://akmedia.digidesign.com/products/docs/Control_24_13285.pdfhttp://akmedia.digidesign.com/products/docs/Control_24_13285.pdfhttp://www.ns-10.net/category/specifications/http://www.ns-10.net/category/specifications/http://www.ns-10.net/category/specifications/http://www.ns-10.net/category/specifications/http://akmedia.digidesign.com/products/docs/Control_24_13285.pdfhttp://support.apple.com/kb/HT2836http://www.diydata.com/planning/electric_lights/electric_lights.phphttp://www.bis.gov.uk/files/file38628.pdfhttp://www.soundonsound.com/sos/sep98/articles/acoustic_3.htmlhttp://www.gyptone.com/products/acustic+wallhttp://www.mason-uk.co.uk/acoustically-isolated-walls.asphttp://www.mason-uk.co.uk/acoustically-isolated-walls.asphttp://downloads.bbc.co.uk/rd/pubs/reports/1994-14.pdfhttp://mixguides.com/studiodesign/tips_and_techniques/partitions-studio-design-1085/http://www.nesolite.com/blockspec.htm7/31/2019 Ricky-Lee Anderson - Acoustics UG3 - Studio Design
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0 0 1 65.1 Axial
2 0 0 68.6 Axial
1 0 1 73.6 Tangential
0 1 1 76.8 Tangential
2 1 0 79.7 Tangential0 2 0 81.4 Axial
1 1 1 84.1 Oblique
1 2 0 88.3 Tangential
2 0 1 94.6 Tangential
3 0 0 102.9 Axial
2 1 1 103.0 Oblique
0 2 1 104.3 Tangential
2 2 0 106.4 Tangential
1 2 1 109.8 Oblique
3 1 0 110.6 Tangential3 0 1 121.7 Tangential
0 3 0 122.1 Axial
2 2 1 124.8 Oblique
1 3 0 126.8 Tangential
3 1 1 128.4 Oblique
0 0 2 130.3 Axial
3 2 0 131.2 Tangential
1 0 2 134.7 Tangential
0 1 2 136.5 Tangential4 0 0 137.1 Axial
0 3 1 138.4 Tangential
2 3 0 140.1 Tangential
1 1 2 140.7 Oblique
1 3 1 142.6 Oblique
4 1 0 143.0 Tangential
3 2 1 146.5 Oblique
2 0 2 147.2 Tangential
4 0 1 151.8 Tangential
2 1 2 152.7 Oblique0 2 2 153.6 Tangential
2 3 1 154.5 Oblique
4 1 1 157.2 Oblique
1 2 2 157.4 Oblique
4 2 0 159.5 Tangential
3 3 0 159.7 Tangential
0 4 0 162.8 Axial
3 0 2 166.0 Tangential
1 4 0 166.4 Tangential
2 2 2 168.2 Oblique
3 1 2 170.9 Oblique
5 0 0 171.4 Axial
2 0 0 55.9 Axial
0 0 1 65.1 Axial
2 1 0 69.2 Tangential
1 0 1 70.9 Tangential
0 1 1 76.8 Tangential0 2 0 81.4 Axial
1 1 1 81.7 Oblique
3 0 0 83.9 Axial
2 0 1 85.8 Tangential
1 2 0 86.1 Tangential
3 1 0 93.2 Tangential
2 1 1 95.0 Oblique
2 2 0 98.8 Tangential
0 2 1 104.3 Tangential
3 0 1 106.2 Tangential1 2 1 107.9 Oblique
4 0 0 111.8 Axial
3 1 1 113.7 Oblique
3 2 0 116.9 Tangential
2 2 1 118.3 Oblique
4 1 0 119.0 Tangential
0 3 0 122.1 Axial
1 3 0 125.3 Tangential
4 0 1 129.4 Tangential0 0 2 130.3 Axial
1 0 2 133.2 Tangential
3 2 1 133.8 Oblique
2 3 0 134.3 Tangential
4 1 1 135.7 Oblique
0 1 2 136.5 Tangential
4 2 0 138.3 Tangential
0 3 1 138.4 Tangential
1 1 2 139.3 Oblique
5 0 0 139.8 Axial1 3 1 141.2 Oblique
2 0 2 141.8 Tangential
5 1 0 145.6 Tangential
2 1 2 147.5 Oblique
3 3 0 148.1 Tangential
2 3 1 149.3 Oblique
4 2 1 152.9 Oblique
0 2 2 153.6 Tangential
5 0 1 154.2 Tangential
3 0 2 154.9 Tangential
1 2 2 156.1 Oblique
5 1 1 159.5 Oblique
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4 2 1 172.3 Oblique
3 3 1 172.4 Oblique
0 4 1 175.4 Tangential
5 1 0 176.2 Tangential
2 4 0 176.7 Tangential0 3 2 178.6 Tangential
1 4 1 178.7 Oblique
1 3 2 181.8 Oblique
5 0 1 183.4 Tangential
4 3 0 183.6 Tangential
3 2 2 184.9 Oblique
5 1 1 187.8 Oblique
2 4 1 188.3 Oblique
4 0 2 189.1 Tangential
5 2 0 189.8 Tangential2 3 2 191.3 Oblique
3 4 0 192.6 Tangential
4 1 2 193.5 Oblique
4 3 1 194.8 Oblique
0 0 3 195.4 Axial
1 0 3 198.4 Tangential
0 1 3 199.6 Tangential
5 2 1 200.6 Oblique
1 1 3 202.5 Oblique
3 4 1 203.3 Oblique
0 5 0 203.5 Axial
6 0 0 205.7 Axial
4 2 2 205.9 Oblique
3 3 2 206.1 Oblique
1 5 0 206.4 Tangential
2 0 3 207.1 Tangential
0 4 2 208.5 Tangential
6 1 0 209.7 Tangential
5 3 0 210.5 Tangential2 1 3 211.0 Oblique
1 4 2 211.3 Oblique
0 2 3 211.7 Tangential
4 4 0 212.9 Tangential
0 5 1 213.7 Tangential
1 2 3 214.4 Oblique
2 5 0 214.8 Tangential
5 0 2 215.3 Tangential
6 0 1 215.8 Tangential
1 5 1 216.4 Oblique5 1 2 219.1 Oblique
2 4 2 219.5 Oblique
3 1 2 160.2 Oblique
5 2 0 161.8 Tangential
3 3 1 161.8 Oblique
0 4 0 162.8 Axial
2 2 2 163.5 Oblique1 4 0 165.2 Tangential
4 3 0 165.6 Tangential
6 0 0 167.7 Axial
4 0 2 171.7 Tangential
2 4 0 172.2 Tangential
6 1 0 172.6 Tangential
5 2 1 174.4 Oblique
3 2 2 175.0 Oblique
0 4 1 175.4 Tangential
4 1 2 176.4 Oblique1 4 1 177.6 Oblique
4 3 1 177.9 Oblique
0 3 2 178.6 Tangential
6 0 1 179.9 Tangential
1 3 2 180.7 Oblique
3 4 0 183.2 Tangential
2 4 1 184.1 Oblique
6 1 1 184.5 Oblique
5 3 0 185.6 Tangential
6 2 0 186.5 Tangential
2 3 2 187.1 Oblique
4 2 2 190.0 Oblique
5 0 2 191.1 Tangential
3 4 1 194.4 Oblique
5 1 2 195.4 Oblique
0 0 3 195.4 Axial
7 0 0 195.7 Axial
5 3 1 196.7 Oblique
3 3 2 197.3 Oblique1 0 3 197.4 Tangential
6 2 1 197.5 Oblique
4 4 0 197.5 Tangential
0 1 3 199.6 Tangential
7 1 0 199.9 Tangential
1 1 3 201.5 Oblique
2 0 3 203.2 Tangential
0 5 0 203.5 Axial
1 5 0 205.4 Tangential
7 0 1 206.2 Tangential2 1 3 207.3 Oblique
6 3 0 207.5 Tangential
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6 1 1 219.6 Oblique
5 3 1 220.3 Oblique
3 0 3 220.8 Tangential
6 2 0 221.2 Tangential
2 2 3 222.5 Oblique4 4 1 222.6 Oblique
2 5 1 224.4 Oblique
3 1 3 224.5 Oblique
4 3 2 225.1 Oblique
3 5 0 228.0 Tangential
5 2 2 230.2 Oblique
0 3 3 230.4 Tangential
6 2 1 230.6 Oblique
3 4 2 232.5 Oblique
1 3 3 232.9 Oblique3 2 3 235.3 Oblique
5 4 0 236.4 Tangential
3 5 1 237.2 Oblique
4 0 3 238.7 Tangential
6 3 0 239.2 Tangential
7 0 0 240.0 Axial
2 3 3 240.4 Oblique
0 5 2 241.6 Tangential
4 1 3 242.2 Oblique
7 1 0 243.4 Tangential
6 0 2 243.5 Tangential
1 5 2 244.1 Oblique
0 6 0 244.2 Axial
5 4 1 245.2 Oblique
4 5 0 245.4 Tangential
1 6 0 246.6 Tangential
6 1 2 246.9 Oblique
5 3 2 247.5 Oblique
6 3 1 247.9 Oblique7 0 1 248.7 Tangential
4 4 2 249.6 Oblique
2 5 2 251.2 Oblique
7 1 1 252.0 Oblique
4 2 3 252.2 Oblique
3 3 3 252.3 Oblique
0 6 1 252.8 Tangential
7 2 0 253.4 Tangential
2 6 0 253.7 Tangential
4 5 1 253.9 Oblique0 4 3 254.3 Tangential
1 6 1 255.1 Oblique
5 2 2 207.7 Oblique
4 4 1 208.0 Oblique
0 4 2 208.5 Tangential
7 1 1 210.2 Oblique
1 4 2 210.4 Oblique4 3 2 210.7 Oblique
2 5 0 211.1 Tangential
0 2 3 211.7 Tangential
7 2 0 212.0 Tangential
6 0 2 212.4 Tangential
3 0 3 212.6 Tangential
1 2 3 213.5 Oblique
0 5 1 213.7 Tangential
5 4 0 214.6 Tangential
1 5 1 215.5 Oblique2 4 2 215.9 Oblique
6 1 2 216.2 Oblique
3 1 3 216.5 Oblique
6 3 1 217.5 Oblique
2 2 3 218.9 Oblique
3 5 0 220.1 Tangential
2 5 1 220.9 Oblique
7 2 1 221.7 Oblique
8 0 0 223.7 Axial
5 4 1 224.3 Oblique
3 4 2 224.8 Oblique
4 0 3 225.1 Tangential
5 3 2 226.8 Oblique
8 1 0 227.3 Tangential
6 2 2 227.4 Oblique
3 2 3 227.7 Oblique
4 1 3 228.8 Oblique
3 5 1 229.6 Oblique
0 3 3 230.4 Tangential7 3 0 230.7 Tangential
1 3 3 232.1 Oblique
4 5 0 232.2 Tangential
8 0 1 232.9 Tangential
6 4 0 233.8 Tangential
7 0 2 235.1 Tangential
8 1 1 236.5 Oblique
4 4 2 236.6 Oblique
2 3 3 237.1 Oblique
8 2 0 238.0 Tangential7 1 2 238.6 Oblique
4 2 3 239.4 Oblique
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1 4 3 256.6 Oblique
6 2 2 256.7 Oblique
5 0 3 259.9 Tangential
0 0 4 260.5 Axial
7 2 1 261.7 Oblique2 6 1 261.9 Oblique
6 4 0 262.3 Tangential
3 5 2 262.6 Oblique
1 0 4 262.8 Tangential
5 1 3 263.1 Oblique
2 4 3 263.4 Oblique
0 1 4 263.7 Tangential
3 6 0 265.0 Tangential
1 1 4 265.9 Oblique
5 5 0 266.1 Tangential4 3 3 268.1 Oblique
7 3 0 269.3 Tangential
2 0 4 269.4 Tangential
5 4 2 269.9 Oblique
6 4 1 270.3 Oblique
5 2 3 272.4 Oblique
6 3 2 272.4 Oblique
2 1 4 272.4 Oblique
3 6 1 272.9 Oblique
0 2 4 272.9 Tangential
7 0 2 273.1 Tangential
5 5 1 274.0 Oblique
8 0 0 274.3 Axial
3 4 3 274.3 Oblique
1 2 4 275.1 Oblique
7 1 2 276.1 Oblique
0 6 2 276.8 Tangential
7 3 1 277.0 Oblique
8 1 0 277.3 Tangential4 5 2 277.8 Oblique
1 6 2 278.9 Oblique
3 0 4 280.1 Tangential
4 6 0 280.1 Tangential
2 2 4 281.4 Oblique
8 0 1 281.9 Tangential
0 5 3 282.1 Tangential
3 1 4 283.0 Oblique
6 0 3 283.7 Tangential
1 5 3 284.2 Oblique8 1 1 284.8 Oblique
7 2 2 284.9 Oblique
7 3 1 239.7 Oblique
5 0 3 240.2 Tangential
4 5 1 241.2 Oblique
0 5 2 241.6 Tangential
6 4 1 242.7 Oblique1 5 2 243.3 Oblique
5 1 3 243.7 Oblique
0 6 0 244.2 Axial
6 3 2 245.0 Oblique
3 3 3 245.2 Oblique
1 6 0 245.8 Tangential
8 2 1 246.8 Oblique
5 5 0 246.9 Tangential
2 5 2 248.0 Oblique
7 2 2 248.8 Oblique2 6 0 250.6 Tangential
5 4 2 251.0 Oblique
9 0 0 251.6 Axial
0 6 1 252.8 Tangential
5 2 3 253.7 Oblique
1 6 1 254.3 Oblique
0 4 3 254.3 Tangential
7 4 0 254.6 Tangential
8 3 0 254.8 Tangential
9 1 0 254.9 Tangential
5 5 1 255.4 Oblique
3 5 2 255.8 Oblique
1 4 3 255.9 Oblique
4 3 3 256.1 Oblique
6 0 3 257.5 Tangential
3 6 0 258.2 Tangential
8 0 2 258.8 Tangential
2 6 1 258.9 Oblique
9 0 1 259.9 Tangential2 4 3 260.4 Oblique
0 0 4 260.5 Axial
6 1 3 260.7 Oblique
8 1 2 262.0 Oblique
1 0 4 262.0 Tangential
7 4 1 262.8 Oblique
8 3 1 263.0 Oblique
9 1 1 263.1 Oblique
0 1 4 263.7 Tangential
6 5 0 263.7 Tangential9 2 0 264.5 Tangential
7 3 2 264.9 Oblique
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0 7 0 284.9 Axial
2 6 2 285.2 Oblique
8 2 0 286.1 Tangential
6 1 3 286.6 Oblique
1 7 0 287.0 Tangential5 3 3 287.2 Oblique
4 6 1 287.6 Oblique
0 3 4 287.7 Tangential
4 4 3 289.0 Oblique
6 5 0 289.4 Tangential
1 3 4 289.8 Oblique
7 4 0 290.0 Tangential
2 5 3 290.3 Oblique
3 2 4 291.7 Oblique
0 7 1 292.3 Tangential6 4 2 292.9 Oblique
2 7 0 293.1 Tangential
8 2 1 293.4 Oblique
1 7 1 294.3 Oblique
4 0 4 294.4 Tangential
6 2 3 295.2 Oblique
3 6 2 295.3 Oblique
2 3 4 295.8 Oblique
5 5 2 296.3 Oblique
6 5 1 296.6 Oblique
4 1 4 297.2 Oblique
7 4 1 297.2 Oblique
5 6 0 298.4 Tangential
7 3 2 299.1 Oblique
2 7 1 300.2 Oblique
8 3 0 300.2 Tangential
3 5 3 300.3 Oblique
1 1 4 265.2 Oblique
4 5 2 266.3 Oblique
3 6 1 266.3 Oblique
2 0 4 266.5 Tangential
6 4 2 267.6 Oblique3 4 3 267.8 Oblique
4 6 0 268.6 Tangential
5 3 3 269.5 Oblique
2 1 4 269.5 Oblique
6 2 3 270.1 Oblique
8 2 2 271.3 Oblique
6 5 1 271.7 Oblique
9 2 1 272.4 Oblique
0 2 4 272.9 Tangential
3 0 4 273.7 Tangential1 2 4 274.4 Oblique
4 6 1 276.4 Oblique
7 0 3 276.5 Tangential
8 4 0 276.6 Tangential
3 1 4 276.7 Oblique
0 6 2 276.8 Tangential
4 4 3 277.8 Oblique
1 6 2 278.2 Oblique
2 2 4 278.6 Oblique
5 5 2 279.2 Oblique
7 1 3 279.5 Oblique
9 3 0 279.7 Tangential
5 6 0 281.4 Tangential
0 5 3 282.1 Tangential
7 5 0 282.3 Tangential
2 6 2 282.4 Oblique
9 0 2 283.3 Tangential
4 0 4 283.5 Tangential
1 5 3 283.5 Oblique8 4 1 284.2 Oblique
0 7 0 284.9 Axial
6 3 3 285.0 Oblique
3 2 4 285.5 Oblique
7 4 2 286.0 Oblique
8 3 2 286.2 Oblique
9 1 2 286.2 Oblique
1 7 0 286.3 Tangential
4 1 4 286.4 Oblique
9 3 1 287.2 Oblique2 5 3 287.6 Oblique
0 3 4 287.7 Tangential
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7 2 3 288.3 Oblique
5 6 1 288.8 Oblique
1 3 4 289.1 Oblique
3 6 2 289.2 Oblique
7 5 1 289.8 Oblique5 4 3 290.2 Oblique
2 7 0 290.4 Tangential
0 7 1 292.3 Tangential
2 3 4 293.1 Oblique
1 7 1 293.6 Oblique
6 5 2 294.2 Oblique
3 5 3 294.3 Oblique
9 2 2 294.8 Oblique
4 2 4 295.0 Oblique
5 0 4 295.7 Tangential6 6 0 296.3 Tangential
8 0 3 297.0 Tangential
3 7 0 297.0 Tangential
2 7 1 297.6 Oblique
5 1 4 298.4 Oblique
4 6 2 298.5 Oblique
3 3 4 299.7 Oblique
9 4 0 299.7 Tangential
8 1 3 299.8 Oblique
7 3 3 302.3 Oblique
8 5 0 302.4 Tangential
Small Live Room
All Modes
nx ny nz f Type
1 0 0 54.1 Axial
0 1 0 65.9 Axial
0 0 1 75.1 Axial
1 1 0 85.3 Tangential
1 0 1 92.6 Tangential0 1 1 100.0 Tangential
2 0 0 108.2 Axial
1 1 1 113.7 Oblique
2 1 0 126.7 Tangential
2 0 1 131.8 Tangential
0 2 0 131.9 Axial
1 2 0 142.5 Tangential
2 1 1 147.3 Oblique
0 0 2 150.3 Axial
0 2 1 151.8 Tangential
1 0 2 159.7 Tangential
1 2 1 161.1 Oblique
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3 0 0 162.4 Axial
0 1 2 164.1 Tangential
2 2 0 170.6 Tangential
1 1 2 172.8 Oblique
3 1 0 175.2 Tangential3 0 1 178.9 Tangential
2 0 2 185.2 Tangential
2 2 1 186.4 Oblique
3 1 1 190.7 Oblique
2 1 2 196.6 Oblique
0 3 0 197.8 Axial
0 2 2 199.9 Tangential
1 3 0 205.1 Tangential
1 2 2 207.1 Oblique
3 2 0 209.2 Tangential0 3 1 211.6 Tangential
4 0 0 216.5 Axial
1 3 1 218.4 Oblique
3 0 2 221.2 Tangential
3 2 1 222.2 Oblique
0 0 3 225.4 Axial
2 3 0 225.5 Tangential
4 1 0 226.3 Tangential
2 2 2 227.3 Oblique
4 0 1 229.1 Tangential
3 1 2 230.8 Oblique
1 0 3 231.8 Tangential
0 1 3 234.8 Tangential
2 3 1 237.7 Oblique
4 1 1 238.4 Oblique
1 1 3 241.0 Oblique
0 3 2 248.4 Tangential
2 0 3 250.0 Tangential
4 2 0 253.5 Tangential1 3 2 254.2 Oblique
3 3 0 255.9 Tangential
3 2 2 257.5 Oblique
2 1 3 258.6 Oblique
0 2 3 261.1 Tangential
4 0 2 263.5 Tangential
0 4 0 263.7 Axial
4 2 1 264.4 Oblique
1 2 3 266.7 Oblique
3 3 1 266.7 Oblique
1 4 0 269.2 Tangential
5 0 0 270.6 Axial
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2 3 2 270.9 Oblique
4 1 2 271.6 Oblique
0 4 1 274.2 Tangential
3 0 3 277.8 Tangential
5 1 0 278.5 Tangential1 4 1 279.5 Oblique
5 0 1 280.8 Tangential
2 2 3 282.7 Oblique
2 4 0 285.1 Tangential
3 1 3 285.5 Oblique
5 1 1 288.5 Oblique
4 3 0 293.2 Tangential
4 2 2 294.7 Oblique
2 4 1 294.8 Oblique
3 3 2 296.7 Oblique0 3 3 299.9 Tangential
0 0 4 300.5 Axial
Appendix B:
- Basic geometry of a star grounding system, Ref [12]