Slat walls are necessarily resonators?

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So you say it wont make much of a difference weather i choose the MLS or the 534. i'll just pick one then.

Out of curiosity, maybe you do know something about the sequence in the link i posted. here are three of the ones in there:



It looks like a QRD sequence, do you know how they converted the QRD sequence from something like QRDude to this design?

As you can see, the slats get wider from A to C, what does slat width effect?

Also, should i consider horizontal slats instead of vertical?

Thanks for a good straightforward response.So you say it wont make much of a difference weather i choose the MLS or the 534. i'll just pick one then.Out of curiosity, maybe you do know something about the sequence in the link i posted. here are three of the ones in there:It looks like a QRD sequence, do you know how they converted the QRD sequence from something like QRDude to this design?As you can see, the slats get wider from A to C, what does slat width effect?Also, should i consider horizontal slats instead of vertical?

It is just simply more attractive to create varying slat widths than a boring design with all the same width slats........

in my typical designs I use a 4- 6- 8 slat pattern - with slots aligned in particular widths (slot width varies based on the room your in) but all of the slots are exactly the same width simply because it is easier from both a design and construction point of view.........

I could (however) take the total area of exposed slot width and vary it within the space - in the end achieving exactly the same acoustic effect.

One could also take my pattern and use exactly the same slot width and switch the slat pattern from the alternating widths to all 1x6 and (again) have exactly the same effect when the work was finished........

In the case of my totally wood finish rooms - you are starting with 100% absorption on walls ceilings - (The depth and density of that I am not going to discuss if you don't mind - some things I prefer to keep to myself.)

Board spacings are then determined by room type and size......

Typically very tight spacings for string rooms and vocal booths - with soft ceilings in vocal booths - and slot/slat patterns for the ceilings of string rooms - with an even tighter slot width at those ceilings.......

Wide slots on walls in drum/rhythm rooms - with even wider slots on the ceilings above.......

Main room slot patterns are also wider on the walls than they are on the ceilings........

As far as the question of diffusion - this is an added benefit - and (quite honestly) one I do not even bother to calculate seeing as it is not the primary treatment for the space - however I am not aware of how one could go about altering the equation for a QRD sequence to calculate this - in fact I don't believe it's possible.

A QRD sequence is based (to the best of my knowledge) on wells of varying depths - if you take the well depths and make them all the same there is no way the equation will work - and no way I can see to alter it so that it will......

These are very Very different concepts at work.

BTW - I don't know anything about the units you linked to - but you can build HH traps - sealed units - that are movable - based completely on the normal calculation - don't know why you would want to try to figure them out with some modified QRD formula.

Rod

This is more about the total area desired of reflective surface to absorptive surface than anything else......... in other words I want a ratio of "X"% hard surface to "Y"% absorption.It is just simply more attractive to create varying slat widths than a boring design with all the same width slats........in my typical designs I use a 4- 6- 8 slat pattern - with slots aligned in particular widths (slot width varies based on the room your in) but all of the slots are exactly the same width simply because it is easier from both a design and construction point of view.........I could (however) take the total area of exposed slot width and vary it within the space - in the end achieving exactly the same acoustic effect.One could also take my pattern and use exactly the same slot width and switch the slat pattern from the alternating widths to all 1x6 and (again) have exactly the same effect when the work was finished........In the case of my totally wood finish rooms - you are starting with 100% absorption on walls ceilings - (The depth and density of that I am not going to discuss if you don't mind - some things I prefer to keep to myself.)Board spacings are then determined by room type and size......Typically very tight spacings for string rooms and vocal booths - with soft ceilings in vocal booths - and slot/slat patterns for the ceilings of string rooms - with an even tighter slot width at those ceilings.......Wide slots on walls in drum/rhythm rooms - with even wider slots on the ceilings above.......Main room slot patterns are also wider on the walls than they are on the ceilings........As far as the question of diffusion - this is an added benefit - and (quite honestly) one I do not even bother to calculate seeing as it is not the primary treatment for the space - however I am not aware of how one could go about altering the equation for a QRD sequence to calculate this - in fact I don't believe it's possible.A QRD sequence is based (to the best of my knowledge) on wells of varying depths - if you take the well depths and make them all the same there is no way the equation will work - and no way I can see to alter it so that it will......These are verydifferent concepts at work.BTW - I don't know anything about the units you linked to - but you can build HH traps - sealed units - that are movable - based completely on the normal calculation - don't know why you would want to try to figure them out with some modified QRD formula.Rod

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