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The study examines studio layout, adjustable elements, and typical recording setups, then relates these choices to room properties derived from impulse responses.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & Report",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/nagdaga-2009-rotterdam-a-comparison-of-the-variable-acoustics-of-two-foley-studios-for-sound-effects-recording/145690/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/nagdaga-2009-rotterdam-a-comparison-of-the-variable-acoustics-of-two-foley-studios-for-sound-effects-recording/145690.png","ImageObject",300,407,{"name":42,"@type":43},"\tWilliam","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-10-22","2026-08-26",true,{"@type":52,"interactionType":53,"userInteractionCount":55},"InteractionCounter",{"@type":54},"ViewAction",10,{"@type":57,"mainEntity":58},"FAQPage",[59,65,69],{"name":60,"@type":61,"acceptedAnswer":62},"Why compare the variable acoustics of two Foley studios?","Question",{"text":63,"@type":64},"To determine suitable room acoustical requirements despite limited literature on Foley studio design and the small number of studios available. The comparison targets how different studio designs enable varied acoustic outcomes.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"What acoustic design differences exist between the typical studio and the studio with a good reputation?",{"text":68,"@type":64},"The typical studio uses a perforated screen with partly sound absorption, curtains that can be opened remotely, and ceiling elements with adjustable reflective/absorbing sides. The good-reputation studio uses a fully sound-absorbing perforated screen, diffusion via large wooden half cylinders on other walls, and a triangular ceiling with added sound diffusion and some absorption.",{"name":70,"@type":61,"acceptedAnswer":71},"How are impulse responses used in evaluating Foley recording rooms?",{"text":72,"@type":64},"Impulse responses measured with a sound source and microphone inside the room characterize the loudspeaker-room-microphone system. They reveal the direct sound peak and early reflection regions, enabling analysis of room acoustical behavior that underpins the recording setups.","https://schema.org",{"og:url":32,"og:type":75,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":77,"canonical":32},"index,follow",{"doc_id":79,"site_id":7},145690,1787727244,{"code":4,"msg":82,"data":83},"success",[84,88,92,96,101,106,111,115,120,123,126],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":85,"show_sort_weight":86,"slug":87},"Story & Novel",90,"story-novel",{"id":26,"doc_module":4,"doc_module_name":25,"category_name":89,"show_sort_weight":90,"slug":91},"Literature",80,"literature",{"id":33,"doc_module":4,"doc_module_name":25,"category_name":93,"show_sort_weight":94,"slug":95},"Exam",70,"exam",{"id":97,"doc_module":4,"doc_module_name":25,"category_name":98,"show_sort_weight":99,"slug":100},5,"Comic",60,"comic",{"id":102,"doc_module":4,"doc_module_name":25,"category_name":103,"show_sort_weight":104,"slug":105},6,"Technology",50,"technology",{"id":107,"doc_module":4,"doc_module_name":25,"category_name":108,"show_sort_weight":109,"slug":110},7,"Healthcare",40,"healthcare",{"id":112,"doc_module":4,"doc_module_name":25,"category_name":29,"show_sort_weight":113,"slug":114},8,30,"research-report",{"id":116,"doc_module":4,"doc_module_name":25,"category_name":117,"show_sort_weight":118,"slug":119},9,"Religion & Spirituality",20,"religion-spirituality",{"id":118,"doc_module":4,"doc_module_name":25,"category_name":121,"show_sort_weight":118,"slug":122},"World Cup","world-cup",{"id":55,"doc_module":4,"doc_module_name":25,"category_name":124,"show_sort_weight":55,"slug":125},"Lifestyle","lifestyle",{"id":127,"doc_module":4,"doc_module_name":25,"category_name":128,"show_sort_weight":97,"slug":129},19,"General","general",{"code":4,"msg":82,"data":131},{"doc_id":79,"user_id":132,"nickname":42,"user_avatar":133,"doc_module":4,"category_id":112,"category_name":29,"doc_title":10,"doc_description":12,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":55,"is_deleted":4,"is_public":22,"is_downloadable":22,"audit_status":22,"page_count":33,"language":139,"language_code":8,"site_id":7,"html_lang":8,"table_of_contents":140,"faqs":141,"seo_title":142,"seo_description":12,"update_tm":80,"read_time":55},5909887254083,"https://ap-avatar.wpscdn.com/davatar_276721f389ce27ea32af1340a28f341c","NAG/DAGA 2009-Rotterdam  \nA Comparison of the Variable Acoustics of Two Foley Studios  \nfor Sound Effects Recording  \nR.H.C. Wenmaekers 1, C.C.J.M. Hak2  \n1 Level Acoustics, The Netherlands, Email: [r.h.c.wenmaekers@tue.nl](r.h.c.wenmaekers@tue.nl)  \n2 Eindhoven University of Technology, The Netherlands: [c.c.j.m.hak@tue.nl](c.c.j.m.hak@tue.nl)  \nIntroduction  \nThe sound effects and voices that are heard in motion pictures are often replacements or additions of sounds recorded in a Foley Studio. In this type of studio, named after Jack Foley, the pioneer in movie sound effects recording, many objects like wooden floors and doors are present to record sounds from (see figure 1) . These recordings need to sound as they are heard in the real world or even as an exaggeration of that world. Therefore it should be possible to create a lot of different acoustical conditions in a Foley Studio. The requirements are not very straightforward though, because there is few literature about Foley Studio design, also because there are few Foley Studios. To determine the proper room acoustical requirements, the variability of acoustical properties of two existing Foley Studios have been compared: one typical studio and one with a good reputation.  \nFigure 1: A piece of a wooden staircase inside a Foley Studio  \nThe Foley Studios  \nBoth studios have a rectangular shoe-box shape with a large projection screen for the video on one side and a small stage for the sound engineer on the opposite side. In between the stage and the screen, the Foley ‘stage’ is situated: in the sidewalls, different kinds of doors and windows are provided as well as a small sink, a bathtub, a kitchen and even half a car. On the floor, different kinds of materials are used like wooden plank, concrete, sand and straw for the Foley artist to walk on. Also, there is a table for all kinds of stuff that the Foley artist brings with him to record sounds from. From this point of view both studios are more or less identical.  \nIn both studios different acoustical provisions are introduced to control and vary the acoustics of the room (see figure 2):  \n-The typical studio with a volume of 385 m3 has a perforated screen with partly sound absorbing material behind it. In front of the three other walls, heavy curtains are hung that can be opened and closed by remote control. When the curtains are open, they are still exposed in the room. In the ceiling panels are provided with a reflective and absorbing side that can be turned by remote control as well.  \n-The studio with a good reputation has a volume of 340 m3. In this studio the perforated screen is fully sound absorbing. The three other walls are made sound diffusing by the use of large wooden half cylinders. In front of the sidewalls, heavy curtains are hung that can be opened and closed by remote control. When the curtains are open, they are still exposed in the room. The triangular shape makes the ceiling sound diffusing, some sound absorption is added to the ceiling as well.  \n|  | \u003Cbr>\u003Cbr>Turning panels: Sound absorbing or reflecting ceiling |  |\n| --- | --- | --- |\n\n\n| | |  |\n| --- | --- | --- |\n|  |  |  |\n\nFigure 2: Schematic acoustic design in floor plans (upper drawings) and sections (lower drawings) of the typical studio (left) and the studio a with good reputation (right)  \nTypical Foley recording setups  \nTo be able to investigate the acoustic properties of a Foley Studio, it is important to understand the use of the space by recording technicians. Some typical Foley recording setupshave been investigated:  \nA) In many movie scenes a sound is heard inside a room. In real life, reflections, echoes and reverberation are added to the sound generated by the sound source. To imitate this in a recording studio, one often records a mix of the direct sound and the diffuse sound (sometimes referred to as the dry sound and the ambient sound) . This is done by placing at  \nNAG/DAGA 2009-Rotterdam  \nleast one microphone close to ","cbCaiiI1jksP3TvA","https://ap.wps.com/l/cbCaiiI1jksP3TvA","pdf",441500,"English","# Introduction\n# The Foley Studios\n## Studio layout and available props\n## Adjustable acoustical provisions\n# Typical Foley recording setups\n## Close vs diffuse recording\n## Late reverberation processing\n## Outdoor-like voice recording with tent\n# Impulse response","[{\"question\":\"Why compare the variable acoustics of two Foley studios?\",\"answer\":\"To determine suitable room acoustical requirements despite limited literature on Foley studio design and the small number of studios available. The comparison targets how different studio designs enable varied acoustic outcomes.\"},{\"question\":\"What acoustic design differences exist between the typical studio and the studio with a good reputation?\",\"answer\":\"The typical studio uses a perforated screen with partly sound absorption, curtains that can be opened remotely, and ceiling elements with adjustable reflective/absorbing sides. The good-reputation studio uses a fully sound-absorbing perforated screen, diffusion via large wooden half cylinders on other walls, and a triangular ceiling with added sound diffusion and some absorption.\"},{\"question\":\"How are impulse responses used in evaluating Foley recording rooms?\",\"answer\":\"Impulse responses measured with a sound source and microphone inside the room characterize the loudspeaker-room-microphone system. They reveal the direct sound peak and early reflection regions, enabling analysis of room acoustical behavior that underpins the recording setups.\"}]","NAG/DAGA 2009-Rotterdam - A Comparison of the Variable Acoustics of Two Foley Studios - for Sound Effects Recording | PDF"]