Ricky-Lee Anderson Acoustics and Musical Instruments UG3 CWK2.

2 Studio Design

Contents:
1. 2. 3. 4. 5. 6. 7. 8. Introduction Use Criteria Proposed Plan Room Dimensions, Modes and Reverb Time (Pre-Treatment) Final Room Plans HVAC and Power Considerations Conclusion References

1. Introduction
The 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 to create 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 Criteria
The 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.

3. Proposed Plan
With 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, Mix 3 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 Three: STC63 rated studio wall]

[Figure Two: Proposed Changes to TEE Studio Space]

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 roomto-room before any diffusion and absorption is put in place.

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 absorptive carpet; 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 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 [Figure Six: Frequency Attenuation of 50mm MDF door with going in and out of the rooms. Also, a cavity absorber, similar to bitumen insert, Rw value is EU version of STC] [4] the windows has been utilized to absorb stray cavity resonance.

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

[Figure Seven: Frequency attenuation for differing door frames and bracing][4]

help with the isolation even if by small amounts (1-3dB STC per BBC [4]). Overall the sound lock door system has 2 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: 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 and isolated by an acoustic walltie as pictured in Fig.8.

[Figure Nine: Gypsum wall structure showing internal self support][6]

[Figure Eight: Isolation of inner from outer wall][5]

[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]

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. J 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 made for 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 [Figure Thirteen: Initial Treatment for the ceiling under load] suspended ceiling has been decided to be used to avoid this affect. 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). [Figure Fourteen: The suspended ceiling panels, however will be Gyptone [7], which has suspended ceiling a similar mass to Gypsum, but slightly model] 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]

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 *Figure Sixteen: Green Glue used to join 5/8+ Gypsum/drywalls to prevent the chimney effect. Surface: Walls Floor Ceiling STC Rating: 63dB 60-63dB 63dB

[Figure Seventeen: Fire Stop building precaution]

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 effect of the gap between the base and the isolating strips. This should not be too significant.

4. Room Modes, Dimension and Reverb Time (Pre-Treatment)

[Figure Eighteen: Control Room Dimensions]

[Figure Nineteen: Large 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.

[Figure Twenty: Small Live Room Dimensions]

Control Room

[Figures Twenty One, Twenty Two: Mode Strength and Bonello graph of Control Room space]

[Figure Twenty Three: RT60 Calculator and results Control Room]

Large Live Room:

[Figure Twenty Four, Twenty Five: Room Mode Strengths and Bonello Graph Large Live Room]

[Figure Twenty Six: RT60 Calc and results Large Live Room]

Small Live Room:

[Figure Twenty Seven: Room Mode Strength and Bonello Graph Small Live Room]

[Figure Twenty Eight: RT60 Calc and results for Small Live Room]

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- - The reverberant field needs to be - The room is intended for vocal and 0.5s as room colouration is not relatively short/long to suit most Foley use, so a relatively dead room desirable [8]. types of music/testing/Foley etc is required, the RT60 is adequate for - a live-end dead-end (LEDE) - the existing RT60 is fairly short, so this with a few LF coincidental issues approach will be used so the room reflective panels will need to be an to be trapped can be used to mix option - All frequencies below the Schroeder - the existing time is excellent for Cut-off will be treated with testing and foley, perhaps a more absorption in the corners diffuse field can be considered - frequencies below Schroeder Cut-off will be treated with absorption 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

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 Twenty Nine: Control Room with treatment] [Figure Thirty: Bass Trap design for corner] Ref[17]

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 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 engineer dead end. Schroeder diffusion tuned to a wideband of mid/high frequencies using the well depth proportionality factor = n2modulo p Three have been joined at the back wall to increase the surface [Figure Thirty One: Sloped front wall absorption] Ref [16] area of the unit via repetition of diffuser number sequence, hence increase the diffusion creating a live end.

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.

[Figure Thirty Two: Large 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 bass trap 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

[Figure Thirty Three: Small Live Room Treatment]

6. HVAC and Power Requirements

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 be hoped 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

[Figure Thirty Four: Mains Breaker Box] Ref [12]

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].

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]
[Figure Thirty Five: Duct Coupling] Ref[1] Ref [1]

Also, bends and joins contribute to air-turbulence which 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 Large Live Room Small Live Room Surface Area: 1152.492 Surface Area: 464.86ft2 Floor/Surface Area: 280.512 Floor/Surface Area: 178.94ft2

Control 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

***[Author note: I have ran out of time to complete this assignment. Please be kind, towards what I have completed, thanks!]***

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 at http://www.nesolite.com/blockspec.htm on 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.pdf on 16/04/2012 [5] Mason UK Ltd: Vibration Control Products and Acoustic Floor Systems, sourced at http://www.masonuk.co.uk/acoustically-isolated-walls.asp on 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+wall on 26.04.12 [8] Sound On Sound: Practical Acoustic Treatment Pt3, sourced at http://www.soundonsound.com/sos/sep98/articles/acoustic_3.html on 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.pdf on 26.04.2012 [11] DIYData, Understanding Domestic Lighting Cicuits (2000-2012), sourced at http://www.diydata.com/planning/electric_lights/electric_lights.php on 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 at http://support.apple.com/kb/HT2836 on 26.04.2012 [14]Control 24 Product Sheet, sourced at http://akmedia.digidesign.com/products/docs/Control_24_13285.pdf on 27.04.2012 [15] NS-10.net: Fan Page for Yamaha NS-10, sourced at http://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 1 0 0 0 1 0 1 1 0

f 34.3 40.7 53.2

Type Axial Axial Tangential

All Modes nx ny nz 1 0 0 0 1 0 1 1 0

f 28.0 40.7 49.4

Type Axial Axial Tangential

0 2 1 0 2 0 1 1 2 3 2 0 2 1 3 3 0 2 1 3 0 3 1 0 4 0 2 1 1 4 3 2 4 2 0 2 4 1 4 3 0 3 1 2 3 5

0 0 0 1 1 2 1 2 0 0 1 2 2 2 1 0 3 2 3 1 0 2 0 1 0 3 3 1 3 1 2 0 0 1 2 3 1 2 2 3 4 0 4 2 1 0

1 0 1 1 0 0 1 0 1 0 1 1 0 1 0 1 0 1 0 1 2 0 2 2 0 1 0 2 1 0 1 2 1 2 2 1 1 2 0 0 0 2 0 2 2 0

65.1 68.6 73.6 76.8 79.7 81.4 84.1 88.3 94.6 102.9 103.0 104.3 106.4 109.8 110.6 121.7 122.1 124.8 126.8 128.4 130.3 131.2 134.7 136.5 137.1 138.4 140.1 140.7 142.6 143.0 146.5 147.2 151.8 152.7 153.6 154.5 157.2 157.4 159.5 159.7 162.8 166.0 166.4 168.2 170.9 171.4

Axial Axial Tangential Tangential Tangential Axial Oblique Tangential Tangential Axial Oblique Tangential Tangential Oblique Tangential Tangential Axial Oblique Tangential Oblique Axial Tangential Tangential Tangential Axial Tangential Tangential Oblique Oblique Tangential Oblique Tangential Tangential Oblique Tangential Oblique Oblique Oblique Tangential Tangential Axial Tangential Tangential Oblique Oblique Axial

2 0 2 1 0 0 1 3 2 1 3 2 2 0 3 1 4 3 3 2 4 0 1 4 0 1 3 2 4 0 4 0 1 5 1 2 5 2 3 2 4 0 5 3 1 5

0 0 1 0 1 2 1 0 0 2 1 1 2 2 0 2 0 1 2 2 1 3 3 0 0 0 2 3 1 1 2 3 1 0 3 0 1 1 3 3 2 2 0 0 2 1

0 1 0 1 1 0 1 0 1 0 0 1 0 1 1 1 0 1 0 1 0 0 0 1 2 2 1 0 1 2 0 1 2 0 1 2 0 2 0 1 1 2 1 2 2 1

55.9 65.1 69.2 70.9 76.8 81.4 81.7 83.9 85.8 86.1 93.2 95.0 98.8 104.3 106.2 107.9 111.8 113.7 116.9 118.3 119.0 122.1 125.3 129.4 130.3 133.2 133.8 134.3 135.7 136.5 138.3 138.4 139.3 139.8 141.2 141.8 145.6 147.5 148.1 149.3 152.9 153.6 154.2 154.9 156.1 159.5

Axial Axial Tangential Tangential Tangential Axial Oblique Axial Tangential Tangential Tangential Oblique Tangential Tangential Tangential Oblique Axial Oblique Tangential Oblique Tangential Axial Tangential Tangential Axial Tangential Oblique Tangential Oblique Tangential Tangential Tangential Oblique Axial Oblique Tangential Tangential Oblique Tangential Oblique Oblique Tangential Tangential Tangential Oblique Oblique

4 3 0 5 2 0 1 1 5 4 3 5 2 4 5 2 3 4 4 0 1 0 5 1 3 0 6 4 3 1 2 0 6 5 2 1 0 4 0 1 2 5 6 1 5 2

2 3 4 1 4 3 4 3 0 3 2 1 4 0 2 3 4 1 3 0 0 1 2 1 4 5 0 2 3 5 0 4 1 3 1 4 2 4 5 2 5 0 0 5 1 4

1 1 1 0 0 2 1 2 1 0 2 1 1 2 0 2 0 2 1 3 3 3 1 3 1 0 0 2 2 0 3 2 0 0 3 2 3 0 1 3 0 2 1 1 2 2

172.3 172.4 175.4 176.2 176.7 178.6 178.7 181.8 183.4 183.6 184.9 187.8 188.3 189.1 189.8 191.3 192.6 193.5 194.8 195.4 198.4 199.6 200.6 202.5 203.3 203.5 205.7 205.9 206.1 206.4 207.1 208.5 209.7 210.5 211.0 211.3 211.7 212.9 213.7 214.4 214.8 215.3 215.8 216.4 219.1 219.5

Oblique Oblique Tangential Tangential Tangential Tangential Oblique Oblique Tangential Tangential Oblique Oblique Oblique Tangential Tangential Oblique Tangential Oblique Oblique Axial Tangential Tangential Oblique Oblique Oblique Axial Axial Oblique Oblique Tangential Tangential Tangential Tangential Tangential Oblique Oblique Tangential Tangential Tangential Oblique Tangential Tangential Tangential Oblique Oblique Oblique

3 5 3 0 2 1 4 6 4 2 6 5 3 0 4 1 4 0 6 1 3 2 6 5 6 2 4 5 3 5 0 7 5 3 1 6 4 0 7 1 2 0 1 7 2 6

1 2 3 4 2 4 3 0 0 4 1 2 2 4 1 4 3 3 0 3 4 4 1 3 2 3 2 0 4 1 0 0 3 3 0 2 4 1 1 1 0 5 5 0 1 3

2 0 1 0 2 0 0 0 2 0 0 1 2 1 2 1 1 2 1 2 0 1 1 0 0 2 2 2 1 2 3 0 1 2 3 1 0 3 0 3 3 0 0 1 3 0

160.2 161.8 161.8 162.8 163.5 165.2 165.6 167.7 171.7 172.2 172.6 174.4 175.0 175.4 176.4 177.6 177.9 178.6 179.9 180.7 183.2 184.1 184.5 185.6 186.5 187.1 190.0 191.1 194.4 195.4 195.4 195.7 196.7 197.3 197.4 197.5 197.5 199.6 199.9 201.5 203.2 203.5 205.4 206.2 207.3 207.5

Oblique Tangential Oblique Axial Oblique Tangential Tangential Axial Tangential Tangential Tangential Oblique Oblique Tangential Oblique Oblique Oblique Tangential Tangential Oblique Tangential Oblique Oblique Tangential Tangential Oblique Oblique Tangential Oblique Oblique Axial Axial Oblique Oblique Tangential Oblique Tangential Tangential Tangential Oblique Tangential Axial Tangential Tangential Oblique Tangential

6 5 3 6 2 4 2 3 4 3 5 0 6 3 1 3 5 3 4 6 7 2 0 4 7 6 1 0 5 4 1 6 5 6 7 4 2 7 4 3 0 7 2 4 0 1

1 3 0 2 2 4 5 1 3 5 2 3 2 4 3 2 4 5 0 3 0 3 5 1 1 0 5 6 4 5 6 1 3 3 0 4 5 1 2 3 6 2 6 5 4 6

1 1 3 0 3 1 1 3 2 0 2 3 1 2 3 3 0 1 3 0 0 3 2 3 0 2 2 0 1 0 0 2 2 1 1 2 2 1 3 3 1 0 0 1 3 1

219.6 220.3 220.8 221.2 222.5 222.6 224.4 224.5 225.1 228.0 230.2 230.4 230.6 232.5 232.9 235.3 236.4 237.2 238.7 239.2 240.0 240.4 241.6 242.2 243.4 243.5 244.1 244.2 245.2 245.4 246.6 246.9 247.5 247.9 248.7 249.6 251.2 252.0 252.2 252.3 252.8 253.4 253.7 253.9 254.3 255.1

Oblique Oblique Tangential Tangential Oblique Oblique Oblique Oblique Oblique Tangential Oblique Tangential Oblique Oblique Oblique Oblique Tangential Oblique Tangential Tangential Axial Oblique Tangential Oblique Tangential Tangential Oblique Axial Oblique Tangential Tangential Oblique Oblique Oblique Tangential Oblique Oblique Oblique Oblique Oblique Tangential Tangential Tangential Oblique Tangential Oblique

5 4 0 7 1 4 2 0 7 6 3 1 0 5 1 2 6 3 6 2 3 2 7 8 5 3 4 5 8 6 3 4 3 0 7 1 4 8 6 7 8 4 2 8 7 4

2 4 4 1 4 3 5 2 2 0 0 2 5 4 5 4 1 1 3 2 5 5 2 0 4 4 0 3 1 2 2 1 5 3 3 3 5 0 4 0 1 4 3 2 1 2

2 1 2 1 2 2 0 3 0 2 3 3 1 0 1 2 2 3 1 3 0 1 1 0 1 2 3 2 0 2 3 3 1 3 0 3 0 1 0 2 1 2 3 0 2 3

207.7 208.0 208.5 210.2 210.4 210.7 211.1 211.7 212.0 212.4 212.6 213.5 213.7 214.6 215.5 215.9 216.2 216.5 217.5 218.9 220.1 220.9 221.7 223.7 224.3 224.8 225.1 226.8 227.3 227.4 227.7 228.8 229.6 230.4 230.7 232.1 232.2 232.9 233.8 235.1 236.5 236.6 237.1 238.0 238.6 239.4

Oblique Oblique Tangential Oblique Oblique Oblique Tangential Tangential Tangential Tangential Tangential Oblique Tangential Tangential Oblique Oblique Oblique Oblique Oblique Oblique Tangential Oblique Oblique Axial Oblique Oblique Tangential Oblique Tangential Oblique Oblique Oblique Oblique Tangential Tangential Oblique Tangential Tangential Tangential Tangential Oblique Oblique Oblique Tangential Oblique Oblique

1 6 5 0 7 2 6 3 1 5 2 0 3 1 5 4 7 2 5 6 5 6 2 3 0 7 5 8 3 1 7 0 7 8 4 1 3 4 2 8 0 3 6 1 8 7

4 2 0 0 2 6 4 5 0 1 4 1 6 1 5 3 3 0 4 4 2 3 1 6 2 0 5 0 4 2 1 6 3 1 5 6 0 6 2 0 5 1 0 5 1 2

3 2 3 4 1 1 0 2 4 3 3 4 0 4 0 3 0 4 2 1 3 2 4 1 4 2 1 0 3 4 2 2 1 0 2 2 4 0 4 1 3 4 3 3 1 2

256.6 256.7 259.9 260.5 261.7 261.9 262.3 262.6 262.8 263.1 263.4 263.7 265.0 265.9 266.1 268.1 269.3 269.4 269.9 270.3 272.4 272.4 272.4 272.9 272.9 273.1 274.0 274.3 274.3 275.1 276.1 276.8 277.0 277.3 277.8 278.9 280.1 280.1 281.4 281.9 282.1 283.0 283.7 284.2 284.8 284.9

Oblique Oblique Tangential Axial Oblique Oblique Tangential Oblique Tangential Oblique Oblique Tangential Tangential Oblique Tangential Oblique Tangential Tangential Oblique Oblique Oblique Oblique Oblique Oblique Tangential Tangential Oblique Axial Oblique Oblique Oblique Tangential Oblique Tangential Oblique Oblique Tangential Tangential Oblique Tangential Tangential Oblique Tangential Oblique Oblique Oblique

7 5 4 0 6 1 5 0 6 3 1 8 5 2 7 2 5 9 0 5 1 0 7 8 9 5 3 1 4 6 3 8 2 9 2 0 6 8 1 7 8 9 0 6 9 7

3 0 5 5 4 5 1 6 3 3 6 2 5 5 2 6 4 0 6 2 6 4 4 3 1 5 5 4 3 0 6 0 6 0 4 0 1 1 0 4 3 1 1 5 2 3

1 3 1 2 1 2 3 0 2 3 0 1 0 2 2 0 2 0 1 3 1 3 0 0 0 1 2 3 3 3 0 2 1 1 3 4 3 2 4 1 1 1 4 0 0 2

239.7 240.2 241.2 241.6 242.7 243.3 243.7 244.2 245.0 245.2 245.8 246.8 246.9 248.0 248.8 250.6 251.0 251.6 252.8 253.7 254.3 254.3 254.6 254.8 254.9 255.4 255.8 255.9 256.1 257.5 258.2 258.8 258.9 259.9 260.4 260.5 260.7 262.0 262.0 262.8 263.0 263.1 263.7 263.7 264.5 264.9

Oblique Tangential Oblique Tangential Oblique Oblique Oblique Axial Oblique Oblique Tangential Oblique Tangential Oblique Oblique Tangential Oblique Axial Tangential Oblique Oblique Tangential Tangential Tangential Tangential Oblique Oblique Oblique Oblique Tangential Tangential Tangential Oblique Tangential Oblique Axial Oblique Oblique Tangential Oblique Oblique Oblique Tangential Tangential Tangential Oblique

0 2 8 6 1 5 4 0 4 6 1 7 2 3 0 6 2 8 1 4 6 3 2 5 6 4 7 5 7 2 8 3

7 6 2 1 7 3 6 3 4 5 3 4 5 2 7 4 7 2 7 0 2 6 3 5 5 1 4 6 3 7 3 5

0 2 0 3 0 3 1 4 3 0 4 0 3 4 1 2 0 1 1 4 3 2 4 2 1 4 1 0 2 1 0 3

284.9 285.2 286.1 286.6 287.0 287.2 287.6 287.7 289.0 289.4 289.8 290.0 290.3 291.7 292.3 292.9 293.1 293.4 294.3 294.4 295.2 295.3 295.8 296.3 296.6 297.2 297.2 298.4 299.1 300.2 300.2 300.3

Axial Oblique Tangential Oblique Tangential Oblique Oblique Tangential Oblique Tangential Oblique Tangential Oblique Oblique Tangential Oblique Tangential Oblique Oblique Tangential Oblique Oblique Oblique Oblique Oblique Oblique Oblique Tangential Oblique Oblique Tangential Oblique

1 4 3 2 6 3 4 5 2 6 8 6 9 0 3 1 4 7 8 3 0 4 1 2 5 7 9 5 0 7 2 9 4 1 8 0 6 3 7 8 9 1 4 9 2 0

1 5 6 0 4 4 6 3 1 2 2 5 2 2 0 2 6 0 4 1 6 4 6 2 5 1 3 6 5 5 6 0 0 5 4 7 3 2 4 3 1 7 1 3 5 3

4 2 1 4 2 3 0 3 4 3 2 1 1 4 4 4 1 3 0 4 2 3 2 4 2 3 0 0 3 0 2 2 4 3 1 0 3 4 2 2 2 0 4 1 3 4

265.2 266.3 266.3 266.5 267.6 267.8 268.6 269.5 269.5 270.1 271.3 271.7 272.4 272.9 273.7 274.4 276.4 276.5 276.6 276.7 276.8 277.8 278.2 278.6 279.2 279.5 279.7 281.4 282.1 282.3 282.4 283.3 283.5 283.5 284.2 284.9 285.0 285.5 286.0 286.2 286.2 286.3 286.4 287.2 287.6 287.7

Oblique Oblique Oblique Tangential Oblique Oblique Tangential Oblique Oblique Oblique Oblique Oblique Oblique Tangential Tangential Oblique Oblique Tangential Tangential Oblique Tangential Oblique Oblique Oblique Oblique Oblique Tangential Tangential Tangential Tangential Oblique Tangential Tangential Oblique Oblique Axial Oblique Oblique Oblique Oblique Oblique Tangential Oblique Oblique Oblique Tangential

7 5 1 3 7 5 2 0 2 1 6 3 9 4 5 6 8 3 2 5 4 3 9 8 7 8 Small Live Room All Modes nx ny nz f 1 0 0 54.1 0 1 0 65.9 0 0 1 75.1 1 1 0 85.3 1 0 1 92.6 0 1 1 100.0 2 0 0 108.2 1 1 1 113.7 2 1 0 126.7 2 0 1 131.8 0 2 0 131.9 1 2 0 142.5 2 1 1 147.3 0 0 2 150.3 0 2 1 151.8 1 0 2 159.7 1 2 1 161.1

2 6 3 6 5 4 7 7 3 7 5 5 2 2 0 6 0 7 7 1 6 3 4 1 3 5

3 1 4 2 1 3 0 1 4 1 2 3 2 4 4 0 3 0 1 4 2 4 0 3 3 0

288.3 288.8 289.1 289.2 289.8 290.2 290.4 292.3 293.1 293.6 294.2 294.3 294.8 295.0 295.7 296.3 297.0 297.0 297.6 298.4 298.5 299.7 299.7 299.8 302.3 302.4

Oblique Oblique Oblique Oblique Oblique Oblique Tangential Tangential Oblique Oblique Oblique Oblique Oblique Oblique Tangential Tangential Tangential Tangential Oblique Oblique Oblique Oblique Tangential Oblique Oblique Tangential

Type Axial Axial Axial Tangential Tangential Tangential Axial Oblique Tangential Tangential Axial Tangential Oblique Axial Tangential Tangential Oblique

3 0 2 1 3 3 2 2 3 2 0 0 1 1 3 0 4 1 3 3 0 2 4 2 4 3 1 0 2 4 1 0 2 4 1 3 3 2 0 4 0 4 1 3 1 5

0 1 2 1 1 0 0 2 1 1 3 2 3 2 2 3 0 3 0 2 0 3 1 2 0 1 0 1 3 1 1 3 0 2 3 3 2 1 2 0 4 2 2 3 4 0

0 2 0 2 0 1 2 1 1 2 0 2 0 2 0 1 0 1 2 1 3 0 0 2 1 2 3 3 1 1 3 2 3 0 2 0 2 3 3 2 0 1 3 1 0 0

162.4 164.1 170.6 172.8 175.2 178.9 185.2 186.4 190.7 196.6 197.8 199.9 205.1 207.1 209.2 211.6 216.5 218.4 221.2 222.2 225.4 225.5 226.3 227.3 229.1 230.8 231.8 234.8 237.7 238.4 241.0 248.4 250.0 253.5 254.2 255.9 257.5 258.6 261.1 263.5 263.7 264.4 266.7 266.7 269.2 270.6

Axial Tangential Tangential Oblique Tangential Tangential Tangential Oblique Oblique Oblique Axial Tangential Tangential Oblique Tangential Tangential Axial Oblique Tangential Oblique Axial Tangential Tangential Oblique Tangential Oblique Tangential Tangential Oblique Oblique Oblique Tangential Tangential Tangential Oblique Tangential Oblique Oblique Tangential Tangential Axial Oblique Oblique Oblique Tangential Axial

2 4 0 3 5 1 5 2 2 3 5 4 4 2 3 0 0

3 1 4 0 1 4 0 2 4 1 1 3 2 4 3 3 0

2 2 1 3 0 1 1 3 0 3 1 0 2 1 2 3 4

270.9 271.6 274.2 277.8 278.5 279.5 280.8 282.7 285.1 285.5 288.5 293.2 294.7 294.8 296.7 299.9 300.5

Oblique Oblique Tangential Tangential Tangential Oblique Tangential Oblique Tangential Oblique Oblique Tangential Oblique Oblique Oblique Tangential Axial

Appendix B:

- Basic geometry of a star grounding system, Ref [12]