Soundproof Your Studio

SOUND ISOLATION DESIGN · SPYS DESIGNS Depth Follows Fascination: Why Sound Isolation Is Rarely a Specialist's Specialty If you are building a home theater, a listening room, or a recording space, you will almost certainly end up with more than one expert on your project. An architect. An acoustic designer. An AV integrator. Structural and mechanical engineers when the building calls for them. And, if the room has to keep sound in or keep it out, a sound isolation designer. It is natural to wonder who should lead, and whether one person could cover all of it. After years of working alongside these specialists, my honest answer is a kind one. The strongest teams I see are made of people who each do less. Several experts, all starting at once One thing that surprises homeowners is that these specialists do not work in a neat line. The architect is drawing, the acoustic designer is thinking about how the room will sound, the integrator is planning cable paths, and the engineers are checking loads and ventilation, all in the same few weeks. That overlap is normal. It is also the reason no single person can be excellent at every part of it. That is not a flaw in anyone. It is simply how expertise works. My goal here is to make the hiring conversation feel lighter. Who does what Architect: layout, structure, ceiling heights, code, and the space the mechanical systems need. Acoustic designer: how the room sounds inside, including reflections, absorption, diffusion, and bass behavior. AV integrator: equipment selection, cabling, wiring sequences, and control, across hi-fi, theater, and studio rooms. Structural and mechanical engineers: the loads the building carries and the ventilation and air systems the room needs. Sound isolation designer: keeping sound from leaving or entering the room, through walls, ceilings, doors, and every penetration. Ensuring the mechanical/HVAC design is quiet. Depth follows fascination Here is the idea I keep coming back to. People go deep on what fascinates them, and nobody has unlimited hours. Sound isolation is not a topic most people find exciting. I say that with love, because I find it endlessly interesting. But if you are building a business around room acoustics, your evenings go to room acoustics. If your passion is AV, you spend your spare time on AV. So most specialists learn sound isolation well enough to do their own job well, and then put their remaining attention where their curiosity lives. That is a sensible use of a limited life. People go deep on what fascinates them, and nobody has unlimited hours. I should be clear that this is an observation, not a rule. It is the pattern I have noticed, and there are always exceptions. It also explains something about the best firms. As a design firm gets better, its experts tend to do less and less. They know they can only reach a very high level by focusing on one thing, maybe two, and certainly not five to ten. It runs in both directions I am the same way. I know enough about room acoustics to know when to bring in a specialist, and not enough to do that person's job at their level. The same is true for AV. My focus is sound isolation, and that is where my hours and my curiosity go. It is the reason I coordinate with the specialists on your team instead of trying to become them. A ceiling as one small example Here is a small, general example of how focus shows up in practice. Imagine someone wants to hang acoustic treatment from a ceiling. That treatment has weight, it needs hanger locations, and it often needs backing built into the framing. The isolation design needs to know all of that early, because it shapes how the ceiling is framed. A specialist whose attention is on how the room sounds will not always think about ceiling framing, because it is not where their attention lives. Nobody did anything wrong. The information simply has to travel between specialists, and everyone is working at the same time, so the answer is early conversation more than any perfect order of operations.   When the gap matters, and when it does not For many rooms, a generalist's working knowledge of sound isolation is plenty. The gap shows up when the stakes are high: a drum room, a theater beside a bedroom, a recording space with close neighbors, or a hi-fi room where silence is part of the performance. If your room has to perform at that level, it is worth bringing in someone who has gone deep, and bringing them in early. What we do At SPYS Designs we design sound isolation, and nothing else. We coordinate with the specialists you already have, and when a project needs a structural or mechanical engineer, we help you find one. That focus is the whole point. Planning a room that has to perform at this level? Start with a Sound Isolation Site Assessment. It is the clearest first step for a theater, listening room, or recording space. soundproofyourstudio.com/plan Wilson Harwood Sound Isolation Designer and Principal, SPYS Designs  

SOUND ISOLATION DESIGN · SPYS DESIGNS The Lab Rating Is a Ceiling, and Four Details Decide Whether You Reach It Every sound isolated wall starts with a number. Somewhere, an assembly was built in a lab, measured, and given a rating, and that rating is real. It is also the best that assembly will ever do. The wall that gets built on your property, with several trades working around it, does not get lab conditions. It gets whatever its details allow. In the video behind this article, I walk through four details from one of our projects, drawn in Revit and followed through with a gated inspection checklist. This is one of our anonymous projects, so the drawings appear without any identifying information. The wall is the example here, but the same logic applies to ceilings, floors, and every penetration in the room. What the Lab Number Actually Tells You A lab rating describes an assembly that was built perfectly, with nothing connecting it to the structure around it and no air paths through it. That is useful, because it tells you what the design is capable of. It does not tell you what a crew will build. A single rigid connection across a decoupled assembly, or one unsealed path for air, can pull the result far below the tested number, and nobody will see it once the drywall is up. That is why we treat the rating as a ceiling, not a promise. Reaching it is a job of details, and details only work when they are drawn, explained to the builder, and checked before they are covered. Detail One: A Quarter Inch at the Ductwork A sound isolated room still needs fresh air, so ducts have to pass through the isolated ceiling. On this project, four ducts carry the ventilation and dehumidifier air through the assembly (we call these ducts chimneys), and each one is framed independently from the ceiling it passes through. The drawing leaves a quarter inch between the chimney and the ceiling drywall, filled with backer rod and acoustical sealant. That quarter inch is the whole point. If the chimney touches the ceiling drywall, the decoupled ceiling is connected to the rest of the building and the isolation is gone. The chimneys are built from 3/4 inch plywood and 5/8 inch drywall and sealed airtight on the inside. In most builds the ducts are simply left open to the building, which is where breakout noise gets into the cavities and lowers the rating of the ceiling or wall around it. Here the duct is enclosed and sealed, so that noise has nowhere to go.   Detail Two: Where One Wall Meets Another Most walls get built the same way. A second wall runs into the first, the two are tied together for strength, and the drywall goes on afterward. The drywall that breaks at the intersection is the mass layer, and a break in the mass layer weakens the wall at exactly the point where it meets another. We draw it differently. The partition wall stays separate from the isolation wall, with a gap between the framing so no stud ties the two together, and the two layers of drywall on the isolation wall run continuous past the intersection. The mass layer never stops, so the wall keeps the performance it was designed for.     Detail Three: Where the Wall Meets the Ceiling The ceiling on this project is independently framed with I-joists, separate from the roof above. Where it meets the isolation wall, the drawing leaves a quarter inch perimeter gap, filled with backer rod and acoustical sealant, so the ceiling drywall is never fastened to the wall framing. The drywall wraps around instead of tying in. The wall still has to stay upright, so the top of it is held by sway bracing, a clip called GenieClip LB. It is the only intended connection between the isolation wall and the structure beside it, and anything else that touches across that gap is a bridge. It is also visible only before insulation goes in, which is why it gets its own priority checkpoint.   Detail Four: The Roof Eave The eave is a place where an air barrier is easy to lose. Here the wall sheathing meets the roof sheathing, and the joint is taped and sealed with the weather resistive barrier, which gives the assembly mass and an air barrier at the same time. The attic floor is two layers of 23/32 inch OSB with its perimeter sealed with acoustical sealant, and closed cell spray foam goes at the roof deck. This is not a common detail, and it has to be designed carefully, so it was run past an engineer before it reached the builder. The sheet is covered in callouts for a reason. Each one tells the builder what goes where and what has to be sealed, because once the assembly is built, the chance to fix it is gone.   The lab rating is a ceiling. The details decide whether you ever reach it. Why Acoustical Sealant Shows Up Everywhere Look at the four drawings and you will see the same callout again and again: seal with acoustical sealant. The gaps are left on purpose, backer rod goes in first, and sealant goes over it.  Fireblocks are another example where details matter. Code requires them, and the design has to accommodate them, but a fireblock that is fastened, foamed, or caulked rigidly between two assemblies turns two independent walls into one. The fireblock is a fire barrier, not a tie. We specify approved acoustical sealants at these joints, never standard latex caulk or spray foam. Design It, Draw It, Inspect It A correct drawing and a buildable drawing are two different things, and neither protects a wall by itself. We design it, we show it on paper, and then we follow through with an inspection checklist. On this project the checklist has five gates. Work stops at each one until we have reviewed and approved the listed items, and the inspections happen by live video, with the contractor capturing the photos and video we ask for. Gate one comes after framing and before any insulation. That is where we verify the chimney clearance, the gap at the partition walls, the independent ceiling, and the sway bracing. Gate three comes after drywall and before taping, and that is where the sealant and perimeter gaps are checked on video, because everything verified at that gate becomes permanent. Why This Creates Coordination Problems None of these details live in a single trade. The framer builds the walls and ceiling, the insulator covers the clips, the drywall crew hangs the layers that make the mass, the HVAC contractor runs the ducts, and the electrician cuts the penetrations. A detail that is obvious to us can be invisible to a trade that has never built a decoupled assembly. The checklist resolves those conflicts before anything is covered. It also forces open questions into the open. On this project, the rooms next to the studio still needed an HVAC decision, and the checklist requires that decision in writing while the walls are open, because every duct and wire for those rooms has to be located before it can cross the isolated envelope. If you are planning a room that has to perform at this level, the details we covered today are not optional considerations. They are the difference between a room that works and one that does not. That is the standard we hold at SPYS Designs. READY TO PLAN A ROOM THAT PERFORMS? Start with a Sound Isolation Site Assessment, and we will look at what your project actually needs before you build anything. soundproofyourstudio.com/plan  

SOUND ISOLATION DESIGN · SPYS DESIGNS Two Rooms, Same Size, Very Different Price Tags Almost every conversation about the cost of a sound isolated room starts with the same question: how much per square foot? It is a reasonable place to start, and it is also the reason so many early budgets miss. Square footage tells you how much room you are building. It does not tell you how hard that room has to work, where it lives, or how much of the building has to change to support it. In the video behind this article, I ran three rooms through our budget calculator, one at a time, so you can see exactly which choices move the number and which ones barely do. You can follow along with your own room at soundproofyourstudio.com/calculator. What the Calculator Actually Uses The calculator is built around the two inputs that matter most at the budgeting stage: how big the room is, and whether it sits inside an existing building or stands on its own outside. Those two answers get you a realistic range quickly, which is what you need before you hire anyone or draw anything. It is a budgeting tool, not a design. It cannot see your joists, your mechanical system, or your neighbors. What it can do is keep you from planning around a number that was never real. Room One: A Small Vocal or Podcast Room Inside the House A small room inside an existing building is the simplest case. The structure, the roof, and the utilities already exist, so the budget goes into the room itself. That makes it the cleanest baseline. Enter the dimensions, read the total, and then change one input at a time to see what moves it.   Room Two: A Drum Room A drum room is a larger footprint, and larger rooms cost more in ways that are easy to underestimate, because there are more walls, more ceiling, and more air to condition. It is also a far louder source than a voice, which is one more reason to treat the calculator result for a room like this as a starting point rather than a finish line. Compare the two results, and then ask what the larger room is asking of its walls, its ceiling, and its air handling. The difference in size is only part of the story. Room Three: The Same Studio in the Backyard Now move the same studio outside. A room inside a house borrows the building around it. A backyard studio has to bring its own: foundation, structure, roof, weather barrier, power, and a way to keep the air comfortable. Flip that one input in the calculator and the new total tells the story. The room did not change, but what it takes to build it did.   This is where many backyard plans go sideways. People price the interior they imagine and forget that they are really pricing a small building. Square footage tells you how much room you are building. It does not tell you how hard the room has to work. A Word About Multi-Room Studios The calculator can accept a larger square footage for a multi-room studio, but it was not built to give you an accurate result for two or three rooms. Dividing the space adds walls, and every added wall adds materials. The HVAC system also becomes far more complex, because rooms that need to stay isolated from each other cannot simply share ductwork. If you are planning a multi-room studio, add a serious buffer to whatever number the calculator gives you. When the Budget Is Too Low for the Goal Sometimes the honest answer is that a budget and a goal do not match. If your number comes in under what the room requires, the worst move is to build a lesser version of the same plan and hope. Sound isolation behaves more like a switch than a dial, and a room that is almost there is often still audible. The better moves are to lower the goal, change where the room lives, phase the build in a sensible order, or wait until the budget can carry the plan. Any of those is a better outcome than spending real money on a room that cannot do its job. What Guessing Costs A guessed budget feels cheaper right up until it meets reality. The expensive surprises are rework after the walls are closed, HVAC retrofits for a room that was never designed to breathe, and a finished room that misses the isolation goal. Each of those costs more than the planning that would have prevented it. A $10,000 design fee that surfaces a $75,000 scope gap before construction starts is not an expense. It is the best money spent on the entire project. That is the thinking behind the calculator, and behind how we approach every room at SPYS Designs: get an honest number first, then decide with clear eyes. READY TO SEE YOUR NUMBER? Run your room through the budget calculator and see where your number lands before you spend anything. soundproofyourstudio.com/calculator    

SOUND ISOLATION DESIGN · SPYS DESIGNS The Most Realistic Sound Isolated Room Beats the Best Possible One I came to sound isolation as a working musician who taught himself acoustics. I had no background in construction besides some hands-on experience for a year building my own studio with my contractor. I really didn't understand how the whole design and construction industry worked as a system. I also didn't realize that I was entering a system that had been around for decades and had a lot of embedded dynamics. It took me a while to realize that I needed to adapt my textbook soundproofing designs to work more seamlessly with the systems that were built around safety, code compliance, energy efficiency, and the contractor's workflow for their own efficiency on the job site.    What follows is that specific realization through the lens of specifying an exterior window on a soundproof room and how a simple exterior window can become a massive design problem when it comes to sound isolation.   Construction already runs on a system A contractor wants to buy a window online, have it delivered, and install it the way the manufacturer says to install it. A code office wants a label on that window, an NFRC rated U-factor, so it can check the thermal performance of the building envelope. Anything that does not fit that path adds questions, risk, and labor. A custom window asks the contractor to become a fabricator, and asks the code office to accept something it has no way to verify.   Labor is the real cost of construction Buying a standard item saves money and saves labor. Most people do not realize that labor is the real cost of construction, and it is the number that moves a budget more than any single material. There is a second issue that has nothing to do with money. Even with a great set of plans, many clients worry that their contractor will not want to build a custom window, or will not be able to. That worry is reasonable. A design that depends on someone choosing to fabricate something unusual is a fragile design. The best possible sound isolated room and the most realistic one are not always the same room. What an exterior window actually has to do An exterior window is part of the building envelope, and code evaluates it that way. Soundproof Windows Inc. builds its windows for interior use, and the manufacturer is clear that they are not intended for exterior applications. In lab testing, a two leaf configuration with 5/8 inch glass and 8 inches between the leaves tested at STC 64 and OITC 53. That performance comes from the mass and the air space working together inside the building. Standard exterior windows are a different product with a different job. Marvin publishes STC and OITC ratings for its Ultimate Direct Glaze units in its Architectural Detail Manual, and the laminated glass entries list STC in the mid 30s and OITC around 30. One caution applies to any manufacturer: confirm that the exact glass makeup you want also carries the NFRC rating, because a performance table and a label do not always describe the same configuration.   Patching into the system This is why the design uses two windows in one wall. The exterior leaf is a standard, code compliant window that the contractor can order online and install per the manufacturer manual. The interior leaf is where the sound isolation lives, with a deliberate air space between the two. On one recent project that cavity measured about 11 inches. The exterior leaf satisfies the thermal value needed to pass codes and is designed to be used on the exterior of a building. The interior leaf delivers the sound isolation performance. To be clear, both windows are needed to create optimum sound isolation, but the interior leaf is the specialty sound isolation product. On the plans, the window schedule carries a basis of design note, and the manufacturer, glazing, and rough openings are verified by the contractor and dealer before anything is ordered.   Design for the room that gets built None of this lowers the standard. It moves the standard to where it can be met. A room that performs on paper and cannot be built performs at nothing. A room designed to fit the way construction already works gets built the way it was drawn. That is the discipline behind everything we do at SPYS Designs: start with the best possible room, then do the work of making it the most realistic one. Planning a room that has to perform at this level? Book a Sound Isolation Site Assessment and we will walk through your project, your constraints, and what it will take to build the room you are picturing. soundproofyourstudio.com/plan    

SOUND ISOLATION DESIGN  ·  SPYS DESIGNS Sound Isolation in a Detached ADU: Two Projects, Two Different Paths By Wilson Harwood, Sound Isolation Designer and Principal of SPYS Designs   Two clients came to me with nearly the same idea. Each wanted a detached building in the backyard with a high-performance sound isolated studio, a kitchen, and a bathroom. In other words, each wanted a detached accessory dwelling unit, usually called an ADU, that also happens to hold a room where they can create music. They approached it very differently, and the differences are useful if you are thinking about something similar. One project is a lesson in a single hard problem, a window that has to open. The other is a lesson in timing, designing everything now and building only part of it. Both are a lesson in how much the team around the sound isolation designer matters. Why a kitchen and a bath change the problem A studio by itself is a room with a door. Add a kitchen and a bathroom and it becomes a second structure on your property with different code implications and build complexity. Plumbing, drain lines, exhaust fans, more electrical load, and more heating and cooling all arrive at once. From the legal side of things, most jurisdictions have specific rules for buildings where someone could live versus a building just for work or hobbies. There is an investment side to this as well. In many markets, a fully functional unit appeals to a wider group of future buyers than a studio alone, and a growing number of states and cities have been loosening their ADU rules, which is part of why more people are building them. The details vary a great deal by state and by city, so check your own local rules before assuming anything. My scope matters here, so I will state it plainly. I designed the sound isolation envelope and the systems that support it. I did not design the kitchen or the bath, and I do not replace the people who handle codes, structure, and permits. Both of these projects worked because someone capable owned all of that.  A sound isolated room wants to be sealed. Code wants a way out. Client A: the window that has to open Client A needed an operable window for egress. Egress rules exist so a person can get out of a room in an emergency, and they are enforced locally, so the exact requirements depend on your jurisdiction. The trouble is obvious once you say it out loud. Everything else in the wall can be built as a sealed, massive assembly, but the one component that has to open is the weakest point in it. Client A, exterior elevation showing the location of the egress window.   The solution was two windows doing two different jobs. On the outside, the building uses a window selected to meet the local code requirement for hurricane conditions. That window handles weather and the building code, and it does not have to be an acoustic product. On the inside, I specified an operable sound isolation window from Soundproof Windows Inc. That window handles the acoustic job. Because there is an air space between the two, they behave as a separated system instead of one thin barrier, which is the same principle the rest of the isolation envelope relies on.    Client A, isolation plan. The studio sits inside its own isolated volume, with the kitchen and comfort room in the service area beside it.   Neither window had to compromise to do the other's job, and I think that is the real lesson. When two requirements collide, it is often cleaner and cheaper to give each one its own component than to look for a single product that does both.  Client A, building section. A heavy exterior wall, an air gap, and an independently framed interior wall and ceiling.   The architect on Client A's team Client A hired an architect. An architect is not necessary unless local law requires one, so I never treat that as a given, but on this project it was a real asset. The architect handled local codes and structural engineering, designed the front porch, and took over every part of the building that had nothing to do with sound isolation and everything to do with good design judgment. That freed me to stay focused on the isolation design, and the result is a building that reads as a considered piece of architecture instead of a sound room with a kitchen attached. Client B: design it now, build it later Client B took a different path and made a decision I respect. The whole building is being designed now, kitchen and bath included, but only the studio is being built in the first phase. The kitchen and bath will be built later, from drawings that are already finished. That does two things. It lowers the budget needed on the front end, and it avoids a redesign down the road. The part that deserves care is what has to be decided now so the later work does not damage the isolation. Where the wet wall sits, how the drain lines will route, where the penetrations will go, the path for exhaust, and the capacity for electrical and HVAC all need answers on paper today, because they are cheap to settle in a drawing and expensive to fix in a finished room.  Client B, floor plan. The kitchenette and toilet sit in a service strip beside the studio.   I will also be honest about what is not settled. Whether a phase one building is treated as a dwelling unit, and how phasing affects permitting, depends on the local jurisdiction, and it should be confirmed with the local building department. I would rather say that than pretend the answer is universal. Client B, exterior elevation.   Someone has to own everything that is not sound isolation. It matters less who it is than that it is someone. The design-build firm on Client B's team Client B hired a design-build firm, and it has been invaluable. The firm pulled together the engineering, the local code work, and the design of the kitchen and the bath. Just as important, they are local. When we had a question about permits or code along the way, there was someone close to the project who knew how that jurisdiction actually works. That is knowledge I cannot supply from Nashville, and it let me stay focused on the isolation design. Client B, interior section looking east.   What the two plans share Put the two floor plans side by side and the same move shows up. In both, the kitchen and the bath sit in a service area beside the studio instead of inside it. Keeping the wet zone outside the isolated volume means plumbing and drain lines do not have to cross the walls that matter most, and it is part of what makes a phased approach realistic for Client B. The team structures were different, and neither is better. An architect worked well for one project and a design-build firm worked well for the other. The right answer depends on the project and the local rules. Before you break ground Decide how the room will be used. The isolation targets follow from that decision, and everything else follows from the targets. Decide who owns codes, engineering, and permits. It could be an architect, a design-build firm, or another arrangement, but someone has to own it. Bring in a sound isolation designer while changes are still cheap, before the plans are finalized. Planning a room that has to perform? If you are planning a detached building that needs to perform at this level, the first step is a Sound Isolation Site Assessment. It is how we figure out what your project actually requires before anyone commits to a design. soundproofyourstudio.com/plan    

SPYS DESIGNS  ·  SOUND ISOLATION DESIGN Who Designs the Mechanical System for a Sound Isolated Room? I am working on a project right now with three sound isolated rooms: a live room, a production room, and a vocal booth. Each one is framed independently inside a larger building, airtight, and heavily insulated. On paper, heating and cooling three small rooms should be the easy part of the job. It has turned out to be the hardest part. When I reached out to the client's longtime HVAC contractor to bring him in early, his answer was one sentence: this needs a mechanical engineer, and he installs to engineered plans. He was right. The client, understandably, was frustrated. How can three small rooms need more engineering than an entire house? This article is my answer. The three rooms: a live room, a production room, and a vocal booth, each isolated independently. How Residential HVAC Normally Gets Designed In typical residential construction, the architectural set includes floor plans, elevations, and sections. It usually does not include a mechanical design at all. The HVAC contractor sizes the equipment and routes the ductwork in the field, using standard residential assumptions about how many people live in the house and where the heat comes from. For a house, that works well. The equipment on the market, the load calculation habits, and the installer training are all built around houses. The problem is that a sound isolated room breaks almost every one of those assumptions, and in residential construction, nobody is specifically assigned to notice. The Insulation Solved the Wrong Problem The first surprise came from the load calculation. In a house, a large share of the cooling load comes from the weather: sun on the roof, heat through the walls, hot air leaking in. In the live room on this project, our design stage estimate put heat through the walls, ceiling, and floor at only about ten percent of the cooling load. The isolation construction had already solved that problem as a side effect. What was left was everything inside the room. Eight musicians, guitar and bass amplifiers, lighting, and the fresh air the room has to bring in. A house is sized around the weather. This room is sized around the people and the gear inside it, and a standard residential load calculation does not assume a band. A house is sized around the weather. This room is sized around the people and gear inside it. Temperature and Moisture Are Two Different Jobs Every cooling load has two parts. The sensible load is temperature, the part a thermostat can measure. The latent load is moisture, and a thermostat cannot see it at all. In a house, the system that cools the air also removes enough moisture along the way, so most people never have to think about the two separately. In this live room during a session, roughly a third of the load is moisture from people breathing and from humid outdoor air. Typical cooling equipment spends only about a fifth to a quarter of its effort removing moisture. So the room reaches seventy degrees, the thermostat is satisfied, the system shuts off, and the water stays in the air. The room feels cool and clammy, and in a sealed room that is the beginning of swollen drum shells, drifting instrument tuning, and mold in cavities no one can open. When Moisture Piles Up There are two moments that matter most. The first is during a session, when a room full of people and fresh outdoor air adds moisture faster than cooling equipment removes it. The second is the shoulder season, those mild and rainy spring and fall days when the room needs almost no cooling. The equipment barely runs, but the fresh air coming in is still full of water, and nothing is taking it out. That is where a dedicated dehumidification strategy earns its place, even for a client who has never needed one at home. Why My First Instincts Did Not Hold Up My first sketch for this project was reasonable, and several parts of it failed for different reasons. Wall mounted ductless units in the live room and production room would have been audible at the fan speeds needed, and the refrigerant flow noise they make is exactly the kind of sound a condenser microphone picks up. Turning them off during takes does not solve it either. By our estimate, the live room would warm several degrees an hour with the band playing and the system off. One take survives that. A three hour session does not. Tying the vocal booth into the main house system would have turned a shared duct into a sound path around all of the isolation work, and a small booth with a singer inside is very hard to hold at a steady temperature from a branch of a much larger system. And my plan for a separate ventilator and dehumidifier in every room was simply overbuilt. The instinct underneath it, handling fresh air and moisture on their own path apart from cooling, turned out to be exactly the right one. The Space It Takes This is the part that surprises clients most. Silenced ducts need slow air, which means larger ducts. Baffle boxes need depth, which on this project meant moving them into the attic above both ceiling layers, so every duct passes through two isolated layers that each need their own detail. Air handlers, a ventilator, and a dehumidifier all need somewhere to live, and ducts running through a hot attic need insulation and vapor control so they do not sweat onto the ceiling below. A small room can end up with a surprisingly large mechanical system.   Could One System Serve Everything? Possibly. A central system could serve the studio as its own zone, with silencers on every branch and a whole house dehumidifier. Separate equipment for the studio is one good answer, not the only one. The real requirement is not a particular piece of equipment. It is that someone designs the building's mechanical system knowing how these rooms will actually be used. Either approach can work in the hands of that person. Neither works if nobody does it. Where My Role Ends On many single room projects, I work with the HVAC contractor directly. I specify the mini split requirements, ERV and Dehumidifier and they confirm my calculations and install the mechanical equipment. On a project like this one, the system needed was so complex a standard residential load calculation could produce a confidently wrong number, and my baffle boxes would be precisely sized around it. The HVAC contractor would also have to design the fresh air and satisfy latent loads. This is where the HVAC installer told me this is beyond his scope and to call a mechanical engineer.  So my deliverable is the requirement set: how many people, how much equipment, how much fresh air per person, the noise target for each room, air velocity limits, and a firm rule against shared duct paths between isolated rooms. A mechanical engineer turns those requirements into a working system, and the contractor installs it to those engineered plans. Bringing in another professional takes more time. On a project like this, it is time well spent. As I write this, the plans and requirements are with the engineers and I am waiting to hear back. I will share what they come back with. Planning a room that has to perform at this level? Start with a Sound Isolation Site Assessment. soundproofyourstudio.com/plan    

SOUND ISOLATION DESIGN  ·  SPYS DESIGNS Setbacks, Overlays, and Recorded Documents: What a Backyard Room Has to Clear Before It Can Be Designed Recently, two projects came to us with the same problem. Both clients wanted a room in their backyard, and both assumed the first step would be designing the structure. It was not. Before we could design a single assembly or sketch a floor plan, we had to confirm that each building could be built the way the client wanted it, where they wanted it. That confirmation is not a formality. It decides what we are allowed to design, and it is the part of a project almost nobody sees. This article walks through what that research covers and why someone has to own it. Sound isolation design starts before the first drawing Most people picture design as drawing: walls, ceilings, a floor plan. In practice, the first phase of a backyard room has nothing to do with CAD software. It is reading. We read recorded documents, zoning maps, overlay boundaries, and the adopted building code for the specific jurisdiction. Only after that do we know what envelope we are designing inside. A drawing set built on a wrong assumption does not get adjusted. It gets redone. What is recorded against the property Zoning tells you what a city allows. Recorded documents tell you what the property itself is bound by, and those can be stricter. Covenants, HOA documents, and easements attach to the land, and they can limit what you build even when zoning allows it. On one recent project, a recorded document tied to the property affected what could be built in the backyard. It was easy to miss. It was available through an online parcel viewer, and once we found it, the path forward was simple: a letter to a neighbor. Without that step, the client could have built without a clear understanding of where the property lines sat and what legally bound the land. Problems like that tend to surface later, when they are far more expensive to fix. Recorded documents are worth reviewing with the client’s attorney, and nothing here is legal advice. The point is that someone has to look. Overlays sit on top of zoning An overlay is an additional set of rules laid over the base zoning for a specific area, and a single lot can fall inside several at once. Examples include historic districts, flood zones, fire hazard severity zones, environmental overlays such as steep slope or tree protection, coastal zones, and airport overlays. These are examples, not a complete list, and which ones exist depends entirely on the location. Many cities publish overlays on a public map or GIS viewer, and the planning department can confirm which ones apply to a given lot. The building code is local The International Residential Code is a model code published by the International Code Council. It has no legal force until a state or local government adopts it, and each jurisdiction chooses an edition and adds its own amendments. That is why two neighboring towns can give different answers to the same question. Canada works in a similar way, with the National Building Code serving as a model that provinces and territories adopt and adapt. California shows how much this matters. It builds on its own state code, Title 24, the California Building Standards Code. Title 24 contains the state’s residential code, which is based on the IRC with California amendments, along with energy, green building, and fire provisions. The energy requirements in particular shape insulation, ventilation, and mechanical choices, and those have to be reconciled with sound isolation assemblies, which make their own demands on the same walls and ceilings. Wildfire rules add another layer. In designated wildfire zones, requirements can govern exterior materials, vents, and the vegetation and materials near the structure, which affects product selection across the building envelope. When setbacks shape the sound isolation design Setbacks and height limits define the buildable envelope on a lot. A sound isolated room needs physical depth. Decoupled walls, an independent ceiling, and the air space that makes them work all take room, and a restrictive code regulation can rule out a design before it starts. On another recent project, the setback and height rules were strict enough to change which designs were even possible. Had we not known them at the start, I could have designed something that could never be legally built. It would have been flagged during permitting, and the design work would have had to be redone. Finding that out at the beginning costs some careful reading. Finding it out at plan review costs the design. As a side note, an architect or local designer would be aware of the setback rules, but they would not understand how sound isolation affects those rules. This is one of the main reasons the sound isolation designer must oversee all aspects of the design process.Who owns the question of what is allowed On a project with an architect, this research is part of the architect’s front end work. When there is no architect, which is common with detached backyard buildings, nobody owns it by default. Clients often assume a project like this is simple, and that is a reasonable assumption, because very little of the process is visible until you see a set of construction plans. On our projects, I make sure the question of what is allowed gets asked and assigned before the first drawing. The process starts with an AI assisted research pass that builds a candidate list of the codes, overlays, and recorded documents that might apply. AI is good at building that first list. It can be wrong about which code edition is currently in force or what a city amended recently, so nothing on the list is trusted until it is confirmed. Confirmation comes from a call to municipal staff, from the recorded documents themselves, and ultimately from permitting. Code interpretation belongs to the jurisdiction, and recorded documents belong with the client’s attorney. My job is to make sure the right questions reach the right people early. I also walk the client through this sequence at the start, so they know what we are researching, who we are asking, and how the answers may affect the design. None of this is glamorous, and none of it involves a single sound isolation assembly. It is also the reason the assemblies we do design can actually be built. Start with the right questions If you are planning a backyard room and want to know where to begin, the Soundproof Site Assessment is where we start. Start the Soundproof Site Assessment  

SOUND ISOLATION DESIGN  ·  SPYS DESIGNS What a Sound Isolation Design Fee Actually Buys You A few months ago I was on a live video inspection, walking a client's build room by room before the walls closed up. In the wall, I caught something small that almost cost him a finished room he couldn't actually use. I want to walk through what that was, because it explains what a sound isolation design fee actually pays for better than any page of specifications could. The Catch The assembly in question has two parts that get confused constantly, even by experienced crews: the chimney and the baffle box. The chimney is a sealed, decoupled duct run whose only job is to carry air across an isolated wall without carrying sound with it. It needs to stay clear and airtight. The baffle box is a separate component downstream, and it is the part actually designed to absorb sound, which is why it is lined with acoustic duct liner on the inside. On this build, the duct liner had been installed inside the chimney where it was not supposed to be. It looked like a small, reasonable choice in the moment. Mechanically, it wasn't. Liner inside the chimney constricts the airflow path, which increases air velocity and turns the HVAC system itself into a noise source.If that had gone unnoticed, the room would have passed every visual inspection, looked finished, and still failed the one test that actually matters. The client would have moved in, turned on the HVAC, and heard the exact whoosh the entire design was built to eliminate. Plans Are the Floor, Not the Ceiling Most people evaluating a sound isolation designer are evaluating a set of construction plans. That is a reasonable place to start, and it is also the lowest bar in the entire process. Any designer can hand you a drawing set. Having reviewed a fair number of other firms' plans over the years, I can say plainly that a plan set alone is not much to be confident about. The plans are the starting point. What separates a design firm from a drawing service is everything that happens after the plans are issued, while the room is actually being built. The Communication Layer Nobody Talks About A sound isolated room only works if every trade touching it is working from the same understanding of the assembly, not just the same sheet of paper. That means active coordination between the electrician, the general contractor and subs, the architect, the structural engineer, and the HVAC technician, at every phase where their work intersects the isolation assembly. The HVAC example above is exactly this kind of intersection. The mechanical trade has its own scope, its own instincts, and its own shortcuts that make sense on a normal job. For an isolated room, some of those instincts are wrong, and someone has to be watching for exactly where that happens. How We Track It This part of the system is newer, and I want to be honest about where it came from rather than present it as something we always had figured out. It came out of necessity, project by project, and it was sharpened considerably by a client who happened to be deeply experienced in project management on his own side of a build. Watching how he tracked his own project shaped the checklist system we now run on every job. We don't claim to know the single best way to do this. What we do know is that the more projects we run through a documented, gated inspection process, the more issues we catch before they become part of a wall that has already been closed up. It is always cheaper to ask than to open a wall. What This Means If You're Evaluating a Designer If you are comparing sound isolation designers right now, the plan set is not the thing to judge first. Ask who is coordinating between your trades once construction starts. Ask whether anyone is walking the site, on video or in person, at defined points before things get covered up. Ask what happens when a mistake is caught. A firm with a real answer to all three has a real process. A firm with only a drawing set has a starting point. Sound Isolation Site Assessment If you are planning a room that has to perform at this level, start with a site assessment. We will tell you what your project actually requires before you commit to a design fee. soundproofyourstudio.com/plan  

SOUND ISOLATION DESIGN  ·  SPYS DESIGNS Redlining a Sound Isolation Plan Set: Which Cuts Are Free, and Which Ones Cost You A builder in Colorado sat down with a plan set we had spent months developing for a detached backyard studio and asked whether he could take some things out of it to bring the cost down. That is a normal conversation. It happens on most projects. What made this one worth writing about is that he was right about some of it, he improved the design in two places I had not thought of, and on one item I still am not fully convinced he is right. I made that change anyway. This is what that process actually looks like from the design side, and why the answer is almost never a clean yes or no.   What was on the sheets before the builder saw them The project is a detached studio in Colorado, Climate Zone 5. Low-slope shed roof. The isolation strategy runs on a deep, fully filled roof cavity and a heavy, sealed outer leaf, with the interior ceiling decoupled on clips. Roof, as drawn 24 gauge standing seam metal High-temperature, vapor-impermeable self-adhered underlayment Upper deck of 3/4" CDX plywood 2x4 sleepers at 24" O.C. forming a vented cavity above the primary deck Two layers of 3/4" CDX plywood as the primary deck 16" I-joists, BIBS netted fiberglass, full cavity fill, deck contact required INTELLO Plus variable vapor retarder across the underside GenieClip RST with two layers of 5/8" drywall Exterior wall, as drawn Two layers of 23/32" OSB as the outer leaf Fully adhered, vapor-permeable weather-resistive barrier 3/4" pressure-treated wood strapping at 16" O.C., forming a vented rain screen Siding, client to select Two layers of 5/8" drywall on the interior face   "The wall-to-roof connection as originally specified."   Everything on those lists is doing a job. The question a builder asks is which of those jobs the client is actually paying for. Cut one: the metal roof The builder asked to replace the standing seam metal roof with asphalt shingles. On a roof this size that is a meaningful number, and it was the largest single line item on his list. Two things are worth understanding before anyone celebrates the savings. First, the underlayment requirement does not disappear with the metal. At the slope this roof runs, asphalt shingles sit near the low end of their permitted range, which means continuous coverage across the deck is still required. What changes is that the underlayment no longer has to be rated for the temperatures a metal roof reaches. The savings is real, but it is a savings on the roofing, not on the roofing plus everything underneath it. Second, and this is the part that surprises people: this cut is acoustically neutral to slightly favorable. Architectural asphalt shingles weigh more per square foot than 24 gauge standing seam. Swapping them in makes the outermost layer of the roof heavier, not lighter. Mass on the outer leaf is generally working in your favor. Verdict: take it. This is a cut that saves real money and does not compromise the isolation strategy. Cut two: the rain screen The builder asked to delete the 3/4" pressure-treated strapping behind the siding. His reasoning was straightforward and came from experience: Colorado is dry, and he does not detail rain screens on the homes he builds there. Here is where I want to be careful, because the name of the assembly is misleading. The strapping is not primarily there to stop rain. It is there to create a vented gap so the wall can dry outward. Our own general note on the drawings says exactly that: the gap must remain open and unobstructed at the top and bottom of every wall, and it must not be filled, because that is the wall's drying path. There is a second consequence that is easy to miss. In this climate zone, a vented cladding assembly over wood structural panels is what supports using a Class III interior vapor retarder, which in this case is simply latex paint. Remove the vented gap and you have not just deleted a material. You have changed the reasoning that justifies the interior side of the wall. "The same detail after the builder meeting. Rain screen struck, roofing changed, ceiling drywall termination revised."   So what did I do? I made the change. He builds in that climate every week and I do not. Deferring to local experience is a defensible thing to do, and holding a line purely because it was my line is not a good reason to spend a client's money. What is not optional is documenting it. When the strapping came off the drawings, the general note describing the drying path had to come off with it, or the plan set would contradict itself. A drawing that says one thing and a note that says another is worse than either version on its own. I still think the gap earns its keep. I also think the person who builds in that climate every week gets a real vote. Both of those things can be true, and the plan set has to say which one won. Cut three: the variable vapor membrane The third item was the INTELLO Plus smart vapor retarder across the underside of the roof cavity. The membrane exists to limit how much interior moisture can reach the cold underside of the roof deck during winter, while still permitting the assembly to dry inward when conditions reverse. The client does not use a humidifier, has never used one, and does not plan to. Without an added winter moisture load, the risk this membrane manages drops substantially. On that basis, removing it is a defensible decision, and I agreed to it. But this cut is different in kind from the other two, and it is worth being precise about why. The metal roof decision changes a material. The rain screen decision changes an assembly. This one changes what the assembly depends on. After this cut, the roof's moisture safety margin rests partly on how the room is used rather than entirely on what is built into it. Habits change. Owners change. A future occupant who runs a humidifier through a Colorado winter is not doing anything unreasonable, and they will have no idea that a membrane was removed on the assumption that they would not. So this one goes in writing, with the condition attached to it. Not as a disclaimer, and not to protect myself. It goes in writing because the next person who owns this building deserves to know what the assembly assumes about them. "Original eave detail showing the INTELLO Plus membrane and the vented rain screen."     "The same eave after redlines. Membrane removed, rain screen removed, sheathing changed to Zip R6.6." Two changes that made the design better The parts of this meeting worth the most were not the cuts. They were the two places where the builder improved a drawing I had already signed off on. Extend the slab flush with the sheathing He asked us to run the slab out so its edge lands flush with the exterior sheathing rather than stopping short of it. His reasoning was practical: it gives him a clean, continuous surface to seal at the base of the wall, and it removes a small ledge where moisture and insects can find their way into the assembly. He was right. That is a better detail than the one I drew, and it came from someone who has sealed that junction in the field hundreds of times more than I have. Zip R6.6 sheathing on the walls outside the isolation system He also flagged that certain walls would not meet energy code as drawn, and asked for 7/16" Zip R6.6 insulated sheathing on those specific assemblies. This one is interesting because the answer depends entirely on which walls we are talking about. Insulated sheathing puts a compressible foam layer between the sheathing and the framing. On a wall that is part of the isolation system, that introduces a soft intermediate layer in the outer leaf, which is something you generally do not want. On the kitchenette and toilet walls, which are outside the isolation system entirely, it is simply the correct product for the code requirement. The builder scoped his request to exactly the right walls. That is not a coincidence. That is what happens when the person building the thing has read the drawings carefully. One drafting note that came out of it, because it matters more than it sounds like it should: 7/16" Zip R6.6 has an actual assembled thickness of one inch. It has to be modeled at one inch in Revit or every dimension that references that wall is wrong downstream.   "Building section as issued for the builder meeting."   "The same section after the meeting, including the slab extension and revised sheathing." The line that does not move Look at what actually changed across all five redlines and a pattern shows up.   CHANGE INSIDE THE ISOLATION SYSTEM? CALL Metal roof to shingles No — outer finish layer Accepted. Neutral to favorable acoustically. Rain screen removed Partially — affects the isolation wall's drying path Accepted with documentation. The one still under review. INTELLO membrane removed No — but changes what the roof depends on Accepted with a written condition on humidification. Slab flush with sheathing Adjacent — improves the base seal Accepted. Better than the original detail. Zip R6.6 on non-isolation walls No — deliberately scoped away from it Accepted. Correct product, correct walls.   The 16" roof cavity did not move. The full BIBS fill with deck contact did not move. The GenieClip RST ceiling assembly did not move. The double-layer OSB outer leaf did not move. The sealed perimeter details did not move. Not because I dug in. Because that is the part of the drawing the client is actually paying for. Everything else on those sheets exists to support it, and support layers can be argued about. The rain screen is the honest complication in that framing, and I am not going to pretend otherwise. It sits on the isolation wall, and removing it changes how that wall manages moisture over a span of decades rather than years. That is why it is the item I am still thinking about, and why it is documented rather than quietly deleted. A cut that saves money is not the same as a cut that is free. Part of the job is knowing which one you are being offered. Why this is the argument for bringing a designer in early Every decision described here was inexpensive to make while it was still a line on a drawing. At least two of them would have been expensive or effectively impossible to change later. The slab edge is poured once. The sheathing choice is buried behind siding and drywall within days of going up. If that meeting happens after framing instead of before it, the energy code gap becomes a correction notice, and the slab detail becomes a compromise that everyone lives with. This is also why the common assumption about what we do is wrong. Sound isolation design is not a layer added to the inside of walls that already exist. It determines framing depth, structural loading, roof assembly, vapor strategy, and where the slab edge lands. When it arrives at the end of a project, it fights the building. When it arrives during design, it shapes it. The most valuable version of this meeting is the one that happens before the drawings are final, with the builder and the isolation designer in the same room, going line by line and being honest about which lines are load-bearing and which are preferences.   Planning a room that has to perform at this level? Start with a Sound Isolation Site Assessment. It is a structured look at your project, your site, and your constraints, and it is designed to surface the expensive problems while they are still cheap to solve. soundproofyourstudio.com/plan     SPYS Designs  ·  soundproofyourstudio.com  ·  Nashville, TN

SOUND ISOLATION DESIGN  ·  SPYS DESIGNS The Three Circles of Construction Cost Why a set of drawings is the only thing that meaningfully narrows the number, and why anyone who hands you a figure before that point is guessing.   A client called us about a sound isolated studio behind his house in Colorado. The number he had in his head was fifty thousand dollars. Eighteen months later he was holding a construction bid for $203,803. He signed off on it. I know how that reads. It reads like a designer took a fifty thousand dollar project and turned it into a two hundred thousand dollar project. That is a fair thing to think, and it is worth answering directly, because the answer explains something about construction that almost nobody talks about. Construction is one of the only industries where the price is not knowable until the work is done In almost every other transaction you make, the price exists before you buy. It is printed on the shelf, quoted on the invoice, listed on the site. You can compare it, reject it, or accept it, and once you accept it the number is settled. Construction does not work that way, and it is not because builders are misleading. It is because a building is not a product. It is a sequence of decisions made by a dozen different trades against conditions nobody can fully see in advance. Sub pricing moves between signing and framing. Cost of materials can change. A material that was available in March has a fourteen week lead time in June. Things can change after the plans have been delivered because the client wanted an extra add-on. So the honest way to think about construction cost is not as a number at all, but rather a range that gets narrower as you invest money to narrow it. Three stages, and they behave like concentric circles.     Circle one: the guess The outermost circle is the widest, and it is where almost every project starts. It is a number with no document behind it. It comes from one of two places. Either a contractor gives an off the cuff figure while walking the site, having never seen a drawing, or the owner works backwards from the balance in an account. Both feel like numbers. Neither one is priced, committed, or attached to anything real. Our client started at fifty thousand. He abandoned that himself before anyone challenged it, and revised his thinking to around one hundred thousand. That is the part worth paying attention to. He doubled his number, and he was still guessing. A bigger guess is not a better guess. It is the same circle with a different label on it. A bigger guess is not a better guess. It is the same circle with a different label on it. Circle two: the bid The second circle is dramatically smaller, and there is exactly one thing that moves you into it. Someone has to draw the building and specify it, and then a real contractor has to price that specific, drawn, written down scope. This is the part that gets misunderstood. The bid is not lower because the drawings made things cheaper. The bid is more accurate because the drawings removed the ambiguity a contractor would otherwise have to price around. A builder bidding a vague verbal scope has to protect himself against everything he cannot see, so he pads. A builder bidding a complete set is pricing a known quantity, line by line, with his assumptions written into the document. That is the difference between a number and a guess based on intuition at best.   How a construction bid is actually built If you have never read a full construction proposal, it is organized in divisions, roughly in the order the work happens. Plans and preliminaries. Site work. Utility connections. Foundation. Rough structure. Exterior finishes. Interior finishes. Wrap up. Contingency and fees. Two of those divisions tell you everything you need to know about how construction pricing works, and they sit at opposite ends of the document. The first line is design. It sits at the top, before a single material gets priced, because nothing underneath it can be priced without it. The architectural and engineering package is typically a single digit percentage of the construction cost. Sound isolation design sits alongside that package rather than inside it. Across all disciplines, design on a project of this kind commonly lands somewhere between ten and fifteen percent of construction cost. The last line is contingency. Usually ten percent, usually carried outside the stated total, unspent, released only if subcontractor pricing, material pricing, or labor pricing shifts between signing and framing. Read that second one again, because it is the most honest sentence in the entire construction industry and it is hiding in plain sight on the last page of nearly every proposal ever written. The builder is telling you, in writing, on the last page, that the number he just handed you is not the number you will pay.   He is not hiding the uncertainty. He is disclosing it as a line item. Most people simply never read that far.     The obvious question: why not just build it smaller? When the first bid came back, the obvious move was to shrink the building, so we drew a smaller version. I want to be precise here, because this is the part where it would be easy to overclaim. That smaller set was never competitively bid, so I cannot give you a verified savings figure. What I can tell you is that the builder looked at it and his read was that it would land in a similar place. The client and I made the call to go back to the original design. The reason that read was credible has nothing to do with intuition. It is arithmetic, and you can run it on any bid you are holding. Roughly half the cost of a small building is priced by the unit, the connection, and the permit rather than by the square foot. Building permit and plan review do not shrink. Zoning and use tax do not shrink. The sewer connection to the main house is the same trench. The water tie in is the same tie in. Staking, setback verification, open hole inspection, and the blower door test are flat fees. The isolation door assembly is one door. The baffle boxes are the same fabrication. The heat pump and the electrical subpanel are the same equipment. What actually scales with square footage is the lumber pack, the framing labor, the roofing, the siding, the insulation, the drywall, the flooring, and the paint. Real money, but a smaller share of a small building than most people assume. Half of a small building is priced by the unit, the connection, and the permit, not by the square foot.   What he actually decided He built what he wanted and phased what he could defer. Rough in the kitchen and bath now, finish them later when the money is there. That option only existed because both scenarios had been drawn. You cannot phase a building you have not documented, and you cannot value engineer a scope nobody has written down. The drawings did not get him a lower price. They got him a set of real choices, each one with a number attached to it. That is the actual product. Not certainty. Options with numbers on them. Circle three, and why it stays a circle The center of the diagram is not a circle at all. It is a dot, and it is the only number that was ever fully true: what the project actually cost when it was finished. Nobody can hand you that dot in advance. Not your architect, not your designer, not your builder, and not me. His project has not been built yet, so I cannot tell you where his dot lands. That is not a gap in this article. That is the honest shape of the thing. What I can tell you is how far he traveled. He went from a range that was off by somewhere between fifty and seventy five percent to a bid carrying a stated ten percent band. He did not overspend. He found out what the thing he wanted actually costs, early enough to make real decisions about it instead of discovering it halfway through framing. What this means for your project If someone has given you a number for a sound isolated room and no one has drawn it yet, you are in circle one. That is not a criticism. Everyone starts there. It just means the number you are holding is a starting point for a conversation, not a budget you can plan against. The single largest accuracy gain available to you comes from the smallest line in the whole project. Design is roughly ten percent of what you will spend, and it buys you about ninety percent of the accuracy. The last ten percent is contingency, and it stays uncertain until the day the job is done. Anyone who tells you otherwise is selling you a circle and calling it a dot.   Find out which circle you are actually in Our Soundproof Budget Calculator uses real data from actual bids we have gotten with our projects to help you find a more accurate outer circle. This is not meant to replace the bid from a plan set, but it is better than a guess. To use the calculator just click the link below. Use The Soundproof Budget Calculator