Slat walls are necessarily resonators?

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So, you claim it won't significantly affect my choice between the MLS and the 534 models. I'll just go ahead and select one, then.

Out of curiosity, maybe you have insights regarding the sequence in the provided link. Below are three examples from it:



It appears to resemble a QRD sequence; do you know how they transitioned from a QRD sequence created in something like QRDude to this particular design?

As you can see, the slats widen from A to C; how does the width of a slat influence the overall outcome?

Should I also contemplate horizontal slats instead of vertical ones?

Thanks for your clear and concise response. So, you claim it won't have a major impact if I opt for the MLS or the 534 models. I'll just select one then. Out of curiosity, perhaps you have information on the sequence in the linked reference. Here are three examples from that source: It seems to mimic a QRD sequence; do you know how they adapted the QRD sequence from a tool like QRDude to this format? Furthermore, as shown, the slats widen from A to C; how does the width of the slat affect the overall acoustic properties? Should I also think about using horizontal slats instead of vertical ones?

Creating varied slat widths is undeniably more visually appealing than opting for a monotonous design featuring slats of uniform width...

In my typical designs, I employ a 4, 6, and 8 slat pattern with slots aligned in specific widths (the width of the slots varies depending on the specific room), but all slots maintain the same width for the sake of simplicity in both design and construction...

Nevertheless, I could utilize the total area of exposed slot width and vary it across the space—ultimately achieving identical acoustic results.

My pattern can also employ uniform slot widths, switching the slat arrangement from alternating widths to all 1x6 while still achieving equivalent outcomes once completed...

For my fully wooden-finished rooms, you begin with 100% absorption across walls and ceilings—(the specifics regarding depth and density will remain undisclosed, as some details I prefer to keep confidential.)

The spacing of boards is subsequently determined by the type and dimensions of the room...

Generally tight spacings work best for string rooms and vocal booths, incorporating soft ceilings in vocal booths—while having slot/slat configurations for the ceilings of string rooms, utilizing even tighter slot widths in those areas...

Expect wider slots on walls in drum and rhythm rooms, with even broader slots on the ceilings above...

Main room configurations tend to feature wider slots on the walls compared to those on the ceilings...

Regarding diffusion as an added benefit—I honestly don’t delve into precise calculations for this, as it's not the primary goal for treatment in the space—but I am unaware of methods to modify a QRD sequence equation for this purpose, and my understanding is that it’s not feasible.

QRD sequences are, to the best of my knowledge, founded on wells that differ in depth; if you standardize the well depths, it renders the equation ineffective—there is no way I discern to adjust it to function otherwise...

These are fundamentally different concepts at play.

By the way, I'm not familiar with the units you referenced, yet it is indeed possible to create HH traps—movable, sealed units—based entirely on conventional calculations. I’m not certain why you'd want to attempt to solve them with a modified QRD formula.

Rod

This discussion revolves more around achieving a desirable ratio of reflective surfaces to absorptive surfaces than any other aspect. To clarify, I strive for a balance of "X%" hard surfaces compared with "Y%" absorption. It's simply more visually exciting to implement varying slat widths, rather than opting for the generic look of equal width slats. In my usual designs, I utilize patterns with 4, 6, and 8 slats, with precise slot alignments (slot width adapts to the room's acoustics) while keeping all slots uniform in width for easier design and construction... Despite this, I could certainly modify the overall area of exposed slot width based on the spatial requirements, ultimately achieving the same acoustic effect. Alternatively, I can administer the same slot width while switching the pattern from the varying widths to all 1x6 and again attain the same end result... Within my entirely wooden finish rooms, you essentially begin with full absorption on walls and ceilings—I'm choosing not to go into the details of depth and density right now, as I wish to keep some information to myself. Board spacing is consequently determined by the room's classification and size. In general, very close spacing is typically reserved for string rooms and vocal booths, with soft ceilings for vocal booths—and an appropriate slot/slat configuration for the ceilings of string rooms, which has even tighter slot widths. Wider slots are designated for the walls in drum and rhythm rooms, paired with even wider slots on the ceilings. Similarly, main room slot patterns are also broader on walls than ceilings. As for the aspect of diffusion—though it provides an additional advantage, it isn’t something I quantify, as it is not the primary purpose of treatment for the space—also, I’m uncertain on how one could finetune a QRD sequence calculation for such purposes—at least to my knowledge, this appears impossible. A QRD sequence should be based on varied depth wells—if each well is uniform in depth, the original formula ceases to be applicable—and I see no adjustment to make it function differently. Consequently, these concepts operate on markedly different principles. By the way, regarding those units you linked, although I'm unaware of their specifics, movable sealed HH traps can be constructed entirely from standard calculations—I'm puzzled as to why one would seek to use a modified QRD formula here. Rod

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