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Many thanks to those who provided this information below. Our
institution is also considering purchasing a new Sound Booth
as well, and this information is very helpful.
Mary V. Andrianopoulos, Ph.D.
Dept of Communication Disorders
Lori Holt wrote:
I'm also on the market for sound booths. I've found Ellis Singer from
Industrial Acoustics Co. (IAC) to be extremely helpful. He will often
respond to my queries within the hour and he has been very prompt in
providing written quotes.
They have a website:
I have tried working with Acoustic Systems, but their service has not been
as helpful. For behavioral booths, Acoustic Systems prices are very similar
to those of IAC, so I'm planning to stick with Ellis and his excellent
Barry Arons wrote:
I donated all my Acoustical Society of America Journals to the MIT library
during my last move... I remember seeing some ads for sound booths in the
special issue they print twice a year for their conference. It might be a
place to start.
Keep in mind there are two considerations: sound absorption within the room
and sound transmission from outside the room. The first is primarily
handled by soft fuzzy stuff in the room; the second is best handled by
isolation and mass (i.e., put the room on rubber pads, and make the walls
William Treurniet wrote:
I use an Eckel audiometric room that we bought from Genie Audio in St.
Telephone: 514-856-9212 Fax: 514-856-9002.
The rooms can have single or double walls. We have a single wall chamber,
and its OK if the ambient noise level is low. It does not do a good job at
blocking low frequencies such as voices. The double wall room is said to
have 20 -30 dB more attenuation, but it comes at about twice the cost.
Dave Van Valkenburg
/\\ 2424 Arlington Blvd /\\
/()\ \ Apt. H3 /()\ \
/____\/ \ Charlottesville, Va /____\/ \
/ \ / 22903 / \ /
/________\/ (804)970-2732 /________\/
"Every note part of the large curve, so carefully patterned that for the first
time I appreciated the possibilities of a mind moving ahead of the instruments
in time and waiting with pleasure for them to catch up. I had never been aware
of that mechanistic pleasure, that trust."
Michael Ondaatje (Coming Through the Slaughter)