For projects in Vienna
Recording studio acoustics and soundproofing in Vienna
Two jobs that must not be confused: keeping the building out, and making the room honest inside. The first is mass and decoupling and has to be built first. The second is absorption and diffusion and can be tuned later. A strong classical and recording tradition means measured targets are expected rather than adjectives.
- Isolation
- A measured background level, agreed before anything is bought.
- Low frequency
- Corner and boundary absorption with real depth, not surface foam.
- Early reflections
- Controlled at the mix position, and only there.
- Quote
- From a plan and a section, within 48 hours
01 / What it is
The material, and what it actually does on a Vienna job
Two jobs that must not be confused: keeping the building out, and making the room honest inside. The first is mass and decoupling and has to be built first. The second is absorption and diffusion and can be tuned later.
A strong classical and recording tradition means measured targets are expected rather than adjectives.
Work reaching us from Vienna is mostly gründerzeit apartments, offices, studios, restaurants, clinics, schools, hotels.
- Timber floors between apartments Footfall travels down through the joists into the flat below. A resilient layer under the finish does far more than anything applied to the ceiling underneath.
- Gründerzeit rooms are tall and hard High ceilings and lime plaster hold sound for a long time. A room can look perfect and still be unusable for speech until something absorbent goes high on the wall or across the ceiling.
- Quiet hours are taken seriously Neighbour complaints here are not shrugged off. The isolation layer is what protects a home studio, a practice room or a late venue from becoming somebody else problem.
- Isolation A measured background level, agreed before anything is bought.
Full specification
Thickness, density, NRC by frequency, fire class, standard sizes and build-up detail for studio soundproofing are on the main product page. This page covers what that means for a project in Vienna.
02 / The build-up
What goes where, from the structure in
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Layer 1
Acoustic foam and BassBloc
Open cell foam shapes for high frequency control, and BassBloc, a high density absorber built for the low mid range where ordinary foam does nothing. In Vienna, mechanical ventilation with heat recovery in newer buildings, so duct-borne noise is the source.
Corner loading. Low frequency energy collects in corners, so absorber in the corners does more than the same area spread across a wall.
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Layer 2
SoundBlanket mass loaded vinyl
A limp, high density sheet that adds mass to a partition, floor or duct without adding depth. In Vienna, concert halls, church buildings and civic rooms are long-reverberation volumes where any intervention must be reversible.
Floor, floating. Membrane under a resilient layer and a floating deck, so impact energy is broken before it reaches the slab.
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Layer 3
Soundproofing materials
The blocking side of the range taken together: mass loaded vinyl, resilient layers, cavity absorption and the build-ups they belong in. In Vienna, school and university rooms are built to a high standard with hard surfaces, and lecture spaces need intelligibility over a long tail.
Resilient bar. Where a full independent leaf will not fit. Effective, and very easy to short circuit with one wrong screw.
For a Vienna practice, the useful thing is a detail you can put in a drawing set, not a brochure. See how we support architects.
03 / Local conditions
The Vienna conditions that change the answer
- Timber floors between apartments
Footfall travels down through the joists into the flat below. A resilient layer under the finish does far more than anything applied to the ceiling underneath.
- Gründerzeit rooms are tall and hard
High ceilings and lime plaster hold sound for a long time. A room can look perfect and still be unusable for speech until something absorbent goes high on the wall or across the ceiling.
- Quiet hours are taken seriously
Neighbour complaints here are not shrugged off. The isolation layer is what protects a home studio, a practice room or a late venue from becoming somebody else problem.
- Trams and the Ring
Ground level trams and traffic put low frequency into the structure. Panels on a wall will not touch it, and we will say so rather than sell them.
- The housing stock
Gruenderzeit blocks have solid masonry walls and timber joist floors, so footfall carries even where airborne noise does not. Newer stock is concrete and much harder inside.
- The studio and content scene
A strong classical and recording tradition means measured targets are expected rather than adjectives.
04 / Room by room
Where the money goes on a Vienna project
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Isolation
A measured background level, agreed before anything is bought. Footfall travels down through the joists into the flat below. A resilient layer under the finish does far more than anything applied to the ceiling underneath.
- Acoustic foam and BassBloc, 1800 x 900 mm
- SoundBlanket mass loaded vinyl, STC 30, 5.25 kg per sq m
- Acoustic panels, Cut pattern in PET felt, adds visual rhythm without changing the absorber
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Low frequency
Corner and boundary absorption with real depth, not surface foam. High ceilings and lime plaster hold sound for a long time. A room can look perfect and still be unusable for speech until something absorbent goes high on the wall or across the ceiling.
- Acoustic foam and BassBloc, 20 mm
- SoundBlanket mass loaded vinyl, STC 34, 8.4 kg per sq m
- Acoustic panels, ASTM C423
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Early reflections
Controlled at the mix position, and only there. Neighbour complaints here are not shrugged off. The isolation layer is what protects a home studio, a practice room or a late venue from becoming somebody else problem.
- Acoustic foam and BassBloc, 100 kg per cubic metre
- SoundBlanket mass loaded vinyl, 12.6 kg per sq m, STC on request
- Acoustic panels, 9 to 24 mm, 1220 x 2440 mm standard, up to 2440 x 4270 mm, 1200 to 3600 GSM
For a Vienna interior where the finish leads, we will say plainly what each option costs you acoustically. See how we work with interior designers.
04 / Durability
The Vienna climate decides the material list
Vienna is cool and damp, with long heating seasons and cold external walls, and that narrows the material list before acoustics is discussed.
Cold wall build-ups and long heating seasons mean interstitial condensation is a real risk behind any lining. PET felt is unaffected by damp air and will not feed mould where a fabric-faced mineral product would.
The failure we design against here is condensation behind linings in older, poorly insulated stock.
Consultants get the raw data, not a sales sheet. That is the whole of our side of the job, and it is set out under working with acoustic consultants.
06 / Worth knowing
Where this kind of project usually fails
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Buying foam to solve an isolation problem
This is the one that comes back as a second fit-out rather than a snag.
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Treating the room before the shell is isolated
It sounds like a small detail until the room is finished and the complaint arrives.
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Killing the room completely and calling it controlled
More absorption is not better absorption. Past the target the room goes flat and people raise their voices to compensate.
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Treating it as a generic Vienna job
Footfall travels down through the joists into the flat below. A resilient layer under the finish does far more than anything applied to the ceiling underneath.
05 / Supply
Getting it to Vienna, with real dates
| Ships from | Palwal, Haryana, India |
|---|---|
| Arrives at | Koper or Hamburg, then rail and road into Vienna |
| Dispatch | 4 to 7 working days |
| Freight | Sea via Koper or Hamburg |
| Support | Drawings, build-ups, BOQ and material that arrives complete |
Standard items dispatch in 4 to 7 working days. Grooved panels and custom colours take longer, and we say so before you order, not after.
Sea freight into Koper or Hamburg, then rail and road into Vienna. Air freight for samples and urgent quantities.
Questions from Vienna projects
What makes recording studio acoustics and soundproofing different in Vienna?
A strong classical and recording tradition means measured targets are expected rather than adjectives. High ceilings and lime plaster hold sound for a long time. A room can look perfect and still be unusable for speech until something absorbent goes high on the wall or across the ceiling.
Where should the budget go first on a Vienna project?
Isolation. A measured background level, agreed before anything is bought. Low frequency. Corner and boundary absorption with real depth, not surface foam.
Do you have an office or installation team in Vienna?
No. We manufacture in India and supply into Vienna. We give you drawings, build-ups, a BOQ and material that arrives complete, and we will tell you plainly when a job needs a local contractor we cannot be.
How does material get to a Vienna site?
ships from: Palwal, Haryana, India, arrives at: Koper or Hamburg, then rail and road into Vienna, dispatch: 4 to 7 working days. Standard items dispatch in 4 to 7 working days. Grooved panels and custom colours take longer, and we say so before you order, not after.
What goes wrong most often on this kind of project?
Buying foam to solve an isolation problem. Treating the room before the shell is isolated.
What do you need from us to quote?
A plan, a section through the critical partition or ceiling, and what the room is for. From that we can give a build-up and a BOQ rather than a price per square foot.
Next step
Send the drawings, get a straight answer
Send what you have. We will give you a layer by layer build-up, a bill of quantities and a date material lands, and we will flag anything in the brief that will not achieve what you want.