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Why build an isolation booth?

As a renter priced out of the housing market, I live in close proximity to others which makes it difficult to practice music without disturbing others.

While there are off-the-shelf solutions, they're either cost-prohibitive or of questional effectiveness (like having a big hole at the back). Since I live on the ground floor, I'm only worried about noise from the window and the ceiling.
Blackout curtains help somewhat with window noise, and throwing sound isolation batt above the dropped-ceiling tiles only dampens the noise from the TV above slightly.





Above the dropped ceiling are big pipes, blocking access to the floor joists above, so I can't attach an isolation system like this there.

Since I can't isolate the existing room, I'd need to set up an area within that room that can be isolated.

Some of the cost-prohibitive solutions are actually affordable if filing as a business and using a section 179 deduction to write off the expense.  However, recent changes to the tax code have made filing as a business more risky when it's not your primary income.

This leaves the best option as DIY, and luckily Rod Gervais' excellent Home Recording Studio: Build It Like the Pros book details exactly how to build a home studio. But, since renters can't rip out the existing Sheetrock, the advise kind of fizzles out into treat your room for sound reflection problems but "coordinate with your neighbors" for isolation, which isn't ideal.

However, it should be possible to fashion a booth out of fire-code Sheetrock, studs and Safe 'n Sound.  Taking a page from isolation booth makers like Studio Bricks and WhisperRoom, if this booth could be comprised of modular sections that are bolted together to form a free-standing assembly, then the result would be no different than a booth ordered from an off-the-shelf provider.

The remainder of this blog will detail the design, resources, materials, and decisions of how to build DIY isolation booth as a renter.

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Finishing touches

The sound was a little dead, so I added perforated MDF at ear-level to help restore some high frequencies. If I'm honest, it could probably use more. Finished interior Finished door. The headphone amp I mainly added because I was no longer sitting directly in front of my audio interface and this helps to span the gap. Since StudioOne allows for remote control by app (via WiFi), the plan is to control session via an Amazon Fire tablet that can double as a lyric sheet. I'm a little disappointed by the sound isolation achieve (definitely muffled, but by no means absolute), but maybe I just had unrealistic expectations. If I had to do it again, I would probably use more seals.  The next time I take it apart I will probably add a layer of isolation on top of the walls to help with the ceiling, and use seals on all joints. I finally got around to testing it by placing a mic outside the booth and playing the same (strummy) groove on acoustic guitar with the ...

Building the ceiling.

The basic idea for the ceiling was simple. Two interlocking tongue-in-groove slabs of Oriented Strong Board (OSB) with abutting sections of PSA-backed soundproofing composite attached to the underside. However, the PSA was a pain to work with, sticking to everything but the OSB (now the sheepish owner of a pair of inconveniently ass-less jeans). PSA is messy to work with. The finished ceiling.

Building the front

The front was fairly challenging, in that to keep things semi-airtight, my usual slapdash construction wouldn't do. But what the hell, it had gotten me this far. The main pickle was the fact that I needed a solid core door, and I couldn't find one less than 80” high and all the space I had to play with was 76".  However, I did find one that could have two inches trimmed from there top, and two from the bottom without damaging the core.  This was cutting it close, but I figured I could make up the difference, by cutting out a door-shaped hole in the bottom of the frame.  As it was thoroughly summer by this time, I wasn't worried about disturbing any groundhogs, their shadow should've been vanquished by now. I opted for a variation of the superdoor design mentioned in Rod's  book , but using a soundproofing composite instead of the lead sheet since this is mostly for vocals/acoustic guitar, and shouldn't have that many low frequencies to worry about. ...