Open Forum

The suggestion to use "blue polystyrene sheet insulation" should be disregarded. This is a flammable material that is explicitly defined by the manufacturer to be used inside walls, not in an exposed environment.  This should not be used on stages, either, due to the flame and smoke characteristics.  Aside from the fire hazard the this foam presents, this particular material offers very little acoustical benefit.

This e-mail and any files transmitted with it are confidential and intended solely for the use of the individual or entity to whom they are addressed. If you have received this e-mail in error please notify the originator of the message. This footer also confirms that this e-mail message has been scanned for the presence of computer viruses. Any views expressed in this message are those of the individual sender, except where the sender specifies and with authority, states to be the views of Brazosport ISD.
 

I used Tectum Panels in both my Drama Studio on the walls in panels (now closed) and the architect used them also in our new Studio Theatre (covered with fabric — but I think they look fine uncovered and painted).

This e-mail and any files transmitted with it are confidential and intended solely for the use of the individual or entity to whom they are addressed. If you have received this e-mail in error please notify the originator of the message. This footer also confirms that this e-mail message has been scanned for the presence of computer viruses. Any views expressed in this message are those of the individual sender, except where the sender specifies and with authority, states to be the views of Brazosport ISD.
 

Tectum material, like any acoustic treatment, has a specific set of sound absorption values at different frequencies, so any product selection should be made according to the acoustic needs of the room.  The reverberation time (RT60) can be accurately calculated in advance based upon the room size, shape, and materials.  Incorrect material selection can result in a room that sounds 'boomy' or 'tinny' because the absorption of sounds at different frequencies is not proportionate.  For a film studio, the emphasis is typically on maximum absorption, rather than a balanced reverberant quality.

Tectum can be painted, but we recommend against it because it will get repainted, the repainted again, the repainted again . . . and eventually the paint clogs the porous facing and it ceases to provide the acoustical absorptive qualities that are needed.  I have seen Tectum used in Black Box theatres and when the product is installed down low on the walls where it will do some good, it gets banged into by scenery and carts, and the facing gets the black paint scraped-off, and it looks terrible.  The it gets repainted . . .

Covering it with fabric tends to keep it looking nice a bit longer, but doesn't completely solve the problem of equipment snagging the facing and creating an aesthetic issue.  There are some good durable open weave fabrics that can take the abuse pretty well and protect the acoustical material behind it.

Tectum, if it is the appropriate solution, usually works better long-term when it is installed on ceilings and up high on walls where it won't be subject to physical abuse.

This e-mail and any files transmitted with it are confidential and intended solely for the use of the individual or entity to whom they are addressed. If you have received this e-mail in error please notify the originator of the message. This footer also confirms that this e-mail message has been scanned for the presence of computer viruses. Any views expressed in this message are those of the individual sender, except where the sender specifies and with authority, states to be the views of Brazosport ISD.
 

Your post mentioned the the floor was echoing, so acoustic panels may not be the solution.  Your description seems to describe a condition with a wood floor that may be hollow underneath.  If this is the case, then it may be possible to deaden the floor my installing a dense rubber matting, but it is difficult to tell with out hearing the problem and knowing how the floor is constructed.  Sometimes you have to add additional decking to the floor to stiffen it, and sometimes you have to open-up the floor so acoustic damping material can be installed in the voids.

If the problem is just the foot-fall noise or voices echoing off of the hard walls of the room, then a soft vinyl rubber flooring will attenuate the foot-fall noise a bit, and adding some 1" thick acoustical panels (5-8 pound per cubic foot type material) to the room may help with both the foot-fall and the vocal echoes.  Most TV / Film studios are very acoustically dead spaces to keep the sound reflections from getting into the microphones.  Acoustic panels should be covered with FR701 type fire resistant fabrics.  You have to ask for this, it doesn't just naturally occur.  For studios, Black is typical so the walls don't affect the lighting, but a color neutral gray can also work if black is too cave-like.

Depending upon your budget, you may only have funds to do half of the room.  If so, do a pair of adjacent walls so they are opposite the remaining hard walls.  If further budget considerations are a constraint, target the walls with a 4 foot band from about 36" above the floor up to 84" above the floor, as this is where most of your vocal sounds originate and bounce-back.  Start your coverage at the corners and work towards the middle, as this will dampen the corner reflections which can be quite noticeable.

You can vary the amount of pick-up the mics get from the wall reflections by having the performers face the treated walls, or face the untreated walls.

The ceilings are typically covered with a similar material, except designed to fit into a tile grid (if you have one), or hang free (if no grid).  Don't block the air grilles, fire sprinkler heads, smoke detectors, or lights.

Feel free to contact me directly if you need more information.

Acoustic treatment for the room is the "right" way to go:

• provides the greatest utility and flexibility
• makes the room a better place in which to work and record.  

Starting with a "thick" carpet -- as your other contributor suggests -- is a great first step.  Beyond that, it gets complicated and potentially expensive.  

A different and complimentary approach is to use directional microphones, which are less prone to picking up ambient sound.  This too can get complicated, but hear are some simple guidelines.

1)  Use a shotgun mic on a boom:  

• A shotgun mic mounted on a purpose-built, lightweight mic boom is a great choice. However, you'll need a mic boom operator.  You've probably seen professionals using boom mics on TV.
• A good shotgun mic will pick up sound from the talent, and reject much of the ambient sound.  
• Have the recording tech position the mic as close as possible to the talent while remaining just OOF.
• Shotgun mics are great at picking up sound from the front, but they also pick up some sound from the rear; therefore, it's important to aim the front of the mic directly at the talent, (obvious) and the back at the quietest part of the room; e.g, up toward acoustic ceiling tiles.  In your case, having the back of the mic oriented toward the hard reflective floor would be a bad thing. 
• You may even find that mounting a small shotgun video mic directly on the camera is sufficient.  Consider the RODE VIDEOMIC.  Sennheiser makes a similar product.

2)  Conceal a miniature microphone on the talent: 

• Getting the mic VERY close to the talent is a great way to pick up rich, clear and detailed sound while minimizing ambient noise.
• Consider a wireless system if the talent moves about the studio during recording.

3)  Inexpensive acoustical panels are hard to come by; however, consider custom panels from ATS Acoustics. I've used them in our five theaters, and in my home studio.

• reasonably priced
• plenty of fabric and size options
• will treat the panel with flame retardant for a nominal fee (important consideration in a school setting)

Cheers!