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How would you like to get your very own Vocal Booth for 90 Days payment free?

 

Summer is just around the corner and for the voice actors, pod-casters, journalist, radio personalities – Even Doctors or lawyers who need to record their notes on the go! We now offer for a limited time 90 DAYS PAYMENT FREE! when you finance any of of Sound Booths from VocalBoothtoGo.Com!

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You will know in minutes if you are approved! After your approved we will ship the booth of your choice to you right away and you make NO payments for 90 days! How cool is that?! Enjoy the summer and have peace of mind knowing that if that spur of the moment inspiration comes or that audition you are hoping to get finally calls you’re ready with your one of kind quality portable sound booth by VocalBoothToGo.Com

 

 

 

 

 

PRINCIPLES OF SOUNDPROOFING

To create good sound insulation, one must utilize the following general principles:

Mass — use heavy materials

Air-tightness — cover the whole enclosure airtight

Flexibility — keep it limp, better to overlap, than stretch tight

Isolation — separate (decouple) from surrounding structure

 

Although each project has to be considered individually, the above principles are relevant in most cases.

MASS:

Massive, heavyweight barriers will block more sound energy than lightweight barriers. (Less noise will go through it.) This is because the high density of heavyweight materials suppresses sound vibrations inside the material, to a degree that the inside wall of a room, vibrates with less movement. Therefore, the amplitude of the sound waves re-radiated into the air inside the room, €œloudness€, is also minimized.

NOTE: Although a reduction in the amplitude of sound waves affects the €˜strength€™ or €˜loudness€™ of a sound, it does not affect the frequency (pitch) of that sound.

Mass Law

The Mass Law states that the sound insulation of a single-layer partition has a linear relationship with the surface density (mass per unit area) of the partition, and increases with the frequency of the sound.

Single-layer construction includes composite barriers such as plastered brickwork, as long as the layers are bonded together.

  • The heavier the barrier, the better the sound reduction.

In theory, for each doubling of mass sound insulation increases by 6 dB.

For example, the average sound reduction of a brick wall increases from 45 dB to 50 dB when the thickness is increased from 4 inch to 8.4 inch. This doubling of mass does not have to be achieved by a doubling of thickness, as the mass of a wall for sound insulation purposes is specified by its surface density measured in lbs per square foot (rather than per cubic foot). Similar sound reduction can be achieved by adding thinner, but heavier materials, like a layer of Mass Loaded Vinyl.

  • The higher the frequency the easier it is to block it.

Sound insulation increases by about 6 dB whenever the frequency is doubled.

Any doubling of frequency is a change of one octave. For example, a brick wall provides about 10 dB more insulation against 400 Hz sounds than against 100 Hz sounds. (100Hz = bass note, 400 Hz = Voice).  This change, from 100 to 200 Hz and then 200 to 400 Hz, is a rise of two octaves.  In extreme cases you might not even hear the sound but can feet the wall vibrating to the touch.
But increasing the mass alone is not enough. If you feel that Mass law does not work in your construction, that is because other factors such as air-tightness, rigidity and isolation have an effect.

AIR-TIGHTNESS:

Areas of reduced insulation or small gaps in the construction of a wall have a far greater effect on overall insulation than you might think. The effective soundproofing of a structure depends on air-tightness and uniformity

For example, if a brick wall contains a hole or crack which in size represents only 0.1 per cent of the total area of the wall, the average sound reduction of that wall is reduced from 50 dB to 30 dB by about 40% (!).

In general, ‘sound leaks’ should be considered as carefully as leaks of water.

Common air gaps: Wall€“floor gaps,  Gaps around doors, Poor window seals, Unsealed pipe runs, Unsealed cable runs, Porous barrier material (Cinder blocks)

Another aspect of soundproofing, that is often overlooked is consistency of the material€™s STC  (Sound Transmission Coefficient) used in construction.  Your construction is only as soundproof as its weakest point. For example, an unsealed door occupying 25 per cent of the area of a half-brick wall reduces the average sound reduction efficiency of that wall from around 45 dB to 23 dB.

MEMBRANE FLEXIBILITY:

Rigidity is a physical property of a partition and depends upon factors such as the elasticity of the materials and the way the partition is installed. High rigidity of the barrier can cause loss of insulation at certain frequencies due to resonances and coincidence effects. These effects diminish the expected results according to the Mass Law.

Resonance

Loss of insulation by resonance occurs if the incident sound waves have the same frequency as the natural frequency of the partition. The increased vibrations that occur in the structure are passed on to the air and so the insulation is lowered. Resonant frequencies are usually low and most likely to cause trouble in the air spaces of cavity construction.

Coincidence

Loss of insulation by coincidence is caused by the bending flexural vibrations, which can occur along the length of a partition. When sound waves reach a partition at angles other than 90°, their transmission can be amplified by the flexing inwards and outwards of the partitions. The sound-wave frequency and the bending-wave frequency coincide at the critical frequency. For several octaves above this critical frequency the sound insulation tends to remain constant and less than that predicted by the Mass Law. Coincidence loss is greatest in double-layer constructions, such as cavity walls or hollow blocks.

Flexible (limp) materials, combined with high mass, are best for high sound insulation. But even if you get the flexible high mass material such as Mass Load Vinyl, it needs to be installed in a way that keeps it limp: for example attached only at the top and allowed to hang freely, or installed in a loose wave-like manner, especially if sandwiched between two rigid surfaces, to keep its limp properties.

ISOLATION:

Sound transfers through any medium air, structural elements of buildings such as floors, walls.  As the sound converts to different wave motions at the junction of different materials, energy is lost and an incremental amount of insulation is gained. This is the principle behind the effectiveness of air cavities in windows, of floating floors, of carpets and of resilient mountings for vibrating machines. Decoupling of elements of construction can be effective in reducing the transmission of sound through a structure. Some broadcasting and concert buildings, and acoustic labs, achieve very high insulation by using completely discontinuous construction of a double structure separated by resilient mountings and rested on a springy support mounts.

Sound isolation can be easily ruined by strong flanking transmissions through rigid links, even by a single nail. Cavity constructions must be sufficiently wide for the air to be flexible, otherwise resonance and coincidence effects can cause the insulation to be reduced at certain frequencies. In small air gaps in conjunction with rigid walls air gaps couples with the walls and separation effect gets lost.

Soundproofing and sound isolation need to be looked at as an integral complex approach where all principals are observed.  Even an incremental increase in sound isolation can have a great effect on how it is being perceived.Because sound levels are measured using a logarithmic scale, a reduction of nine decibels is equivalent to elimination of about 80 percent of the unwanted sound.

CARRY-ON VOCAL BOOTH PRO SET UP INSTRUCTIONS

Here is the instruction for Carry-On Vocal Booth Pro Set up
The Carry-On Vocal Booth Pro Set up Instructions

Folded in Travel Case: Width: 23 inches; Length: 22 inches, Thickness: 4 inches.TIONS
(including support table, light and brackets)

Weight: 12 lbs

PACKAGE INCLUDES

1) Sound absorption booth

2) 2 support arches

3) 3 straight support rods

4) Support arches base strap

5) Outer durable nylon case with support table compartment

6) Support table with bracket

7) Mini boom for microphone mounts

8) 6 inch light (batteries not included)

9) 2 Velcro tie ups


TIONS:

Step 1: Place the pocket side down and with the handles (or the top of the bag) facing you and then unzip the Carry-On Vocal Booth Pro.

Step 2: Reach inside with one hand and pull the base-arch support strap towards you — to the front of the booth. The booth will open up.

Straighten-up the material, and you are ready to work!

Tip: If you are not working on a leveled surface you might want to fix the support arches by side Velcro holds.

FOLD DOWN INSTRUCTIONS:

Step 1: Push the base strap back inside of the Carry-On Vocal Booth Pro. The booth will then collapse.

Step 2: Tuck the material inside as tight as possible and zip the bag close.

You are ready to go!

Tip: We also provided a releasable buckle lock for a quick closing option. If you just have seconds to spare, you can collapse the booth and then use the buckle straps instead of closing with the zipper

USE INSTRUCTIONS:

Carry-on Vocal Booth Pro is intended to create an acoustically beneficial environment for audio recording on the go. Specifically to cut out echo and reverberations and dampen the surrounding noise level. It is NOT soundproof.

CoVB can be used in variety of settings, which makes it superior to any other available product out there — you can plant it on desk, car, picnic table – any surface to support its weight. It can be placed on your lap or it can be used hanging off a hook or a tree branch. Anything.

For voice over actors, we provided an option to have the CoVB mounted on a microphone stand. The specially designed support table and the bracket fit standard microphone stand poles.

MICROPHONE-STAND MOUNTING INSTRUCTIONS:

NOTE: To prepare the microphone stand for miounting the boot, first please remove a limiting washer ( a small screw-on washer at the top of the pole)

Step 1: Lay the CoVB Pro on a flat surface with the table pocket facing up. Open the flap and make sure you can see the bracket slot at the base of the table.

Step 2: Without taking the table out of the pocket, open the flap in the middle and slide the bracket into the special slot at the bottom of the table. Make sure that the opening of the bracket slot is facing the same direction as the opening in the table slot. The picture on the bottom shows how it should be positioned.Step 3: Keep the bracket in the slot and flip the CoVB over the microphone stand pole. Match the pole with the opening and insert the pole into the hole going through the openings in the cover and the inside the booth.

Step 4: Adjust the height and tighten the mounting bracket on the Mic Stand.

Step 5: Open the booth and straighten up the material.

Step 6 . Attach the light and enclosed miniboom to the microphone stand inside the booth.

CARRY-ON VOCAL BOOTH PRO USE TIPS:

1: Wires. You can run the external wires through the side openings. Just open the side Velcro seal and run the wires and reseal the Velcro.

2: Light: Attach light to the middle Arch with Velcro tie ups.

3: Miniboom: Use the miniboom to set the microphone to a most comfortable position. Attach miniboom onto the mic stand, then attach microphone mount to the Miniboom. It can be moved left, right , in or out. The way the miniboom is designed – even when it is attached into the mic pole — you can still use that same mic pole to attach a copy holder or another mic.

4: Acoustics: If you wish to let some live or ambient noise into the booth you can fold back the side flaps or fold down the hood or do both.

5: Travelling with CoVB: CoVB is not just an extra piece of luggage!Use CoVB as your travel case to carry your gear — microphones, scripts and even a microphone stand.

CARRY-ON VOCAL BOOTH PRO CARE TIPS:

Outer case can be wiped with soft wet cloth. The acoustic booth itself can be removed from the case and washed in a gentle cycle with regular detergent. Tumble dry on hot setting.

The History of Voice Acting

Voice acting has become a popular alternative to being in front of the camera, and it done professionally as well as for fun by hobbyists. Can you believe it’s been almost 110 years since what is regarded as the first ever voice over was recorded? Many wrongly assume that Walt Disney was the first voice actor, voicing Mickey Mouse in Steamboat Willie in 1928, but it was actually Reginald Fessenden in 1906 who holds this achievement.

On Christmas Eve 1906, Fessenden became radio’s first ever voice, although six years earlier, he had successfully reported on the weather during a test whilst working for the United States Weather Bureau.  Fessenden reported that on the evening of December 24, 1906 (Christmas Eve), he had made the first of two radio broadcasts of music and entertainment to a general audience, using the alternator-transmitter at Brant Rock. The broadcast consisted of Christmas messages and music.

Although this may not be considered today’s definition of voice acting, we can agree that radio programs did include a lot of voice acting. Radio hosts, as well as radio narrative programs, needed talented actors to relay                                                        their stories over the air.

Today’s definition of voice acting is usually related to actors that voice animated characters. And of course, of the most recognized early voice actors was none other than Walt Disney. Walt, together with his wife Lilly, his brother Roy’s wife Edna, and Ub Iwerks, inked the first Mickey Mouse cartoons in 1928. The first two cartoons he created with Mickey didn’t sell so he added synchronized sound and provided the voices to Mickey and Minnie to the third one, Steamboat Willie. Walt Disney continued to voice Micky and Minnie Mouse until 1946.

 

 

Another key voice actor also belonged in the cartoon industry. Mel Blanc worked for Warner Bros. and Leon Schlesinger Productions and quickly became one of the most prominent voice actors of the time. A former radio personality, Mel first joined Leon Schlesinger Productions in 1936 and earned himself the title, “The Man of a Thousand Voices,” one which, to this day, he is still referred to by.  Voicing some of the history’s most famous cartoon characters, including Bugs Bunny, Tweety Bird, Porky Pig, Daffy Duck and other Warner Bros. classics, Mel is accepted by many as the first outstanding voice actor who set the bar at an incredibly high level for others to follow in his footsteps over the forthcoming years.

Prior to Mel’s involvement with Leon Schlesinger Productions, voice artists were given no on-screen credit for their work; something which changed when the company refused to award him a pay rise. As a compromise, Blanc requested that his name be added to the credits. This did wonders for his career and quickly earned him a wealth of recognition. The question we must ask is, at what stage would voice artists have been credited had Mel not asked for, and been turned down, that pay rise?

Fast forward to the present and we now find that there’s often a very fine line between a big screen actor and a voice actor and, whilst there was once a clear divide, recent years have seen some of Hollywood’s most known names voicing animated characters in both film and TV.

We will continue to explore some of today’s voice actors for movies, TV, radio, and podcasts. Stay tuned to learn more about the most influential voice actors across the nation and in the world.

I Like Yours (portable vocal booth) The Best!

“Your design [Carry-On Vocal Booth] is lighter, easier to use, sounds better, and, in my opinion, far more functional than any other portable VO booth I’ve seen. Harlan’s booth uses Auralex pyramid foam, which does a good job of diffusing the sound, but does only a fair job of absorption . . .I like yours much better!”

TESTIMONIALS

Hello!

I just wanted to let you know that the blankets arrived and they are perfect!

I am delighted with the product and your help and service.

So much so that I’ve just ordered another three!

Many thanks,

Ian C.   Thursday, February 23, 2017 8:06 AM

( product ordered: VB73G(6)  Producer choice blankets.Set of Six)

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