Acoustical Instruments and Measurements May 2015

UNTREF

RECORDING STUDIO DESIGN

 
Lucas  Valentino  Fantini,    Fernando  Martin  Cobo  
Universidad  Nacional  de  Tres  de  Febrero,  Caseros,  Buenos  Aires,  Argentina  
[email protected]  
[email protected]  
 

Abstract - In the present work a design for a recording and mixing studio, stereo and surround 5.1
compatible, is proposed. The control room has external dimensions, 6.6m x 5.12m x 5 m, the recording
room has 4.87m x 7.47m x 5m. The documentation and the constructive details are explained and
attached to the present work, as the coating used for the acoustic isolation and the internal acoustic
treatment. The design involves the electrical installation, the HVAC, the audio installation, and the
equipment. The project involves an economic and financial budget in order to know its viability, and the
point of balance for the initial investment.

1. INTRODUCTION The natural light is very accepted in recording

studios because it connects people with the day
General requeriments hours. The proposed design foresees the
A recording studio should have: implementation of acoustic windows in the
The ability to work during the chosen hours of ceiling of the various spaces, playroom, rest
use (in many cases 24 ours per day) without room, apart from a fully glassed wall with view
disturbing, or being disturbed by anything or to the internal garden.
anybody in the local community.
The studio should inspire confidence in all the Artificial Light
personnel involved in any recording. The use of artificial light to create patterns or
The studio should be able to record musicians decorations can be good for the general studio
without delays or impediments to the needs of environment. It is important that the light
the musical performance. installation is in a different phase from the audio
The achievable quality of recording should not installation. The lights are halogen with 220v
be limited by the inadequacy of the studio design supplies, without transformers.
or installation. Even modest studio performing
optimally may well outperform a much more
Ease and comfort
elaborate one that has been poorly conceived and
It is important to preserve the order and clean
installed.
inside the studio. The musicians must not feel
The studio should always provide an adequate
uncomfortable, because a confortable musician is
supply of clean, fresh air, in a temperature and
a better playing one, the load and unload of the
humidity controlled environment.
studio must be easy and fast. It is also important
to count with a place to hold the flight cases.
2. THE STUDIO ENVIROMENT

Daylight HVAC system

It is important to count on natural light in the The mineral wool, being a great thermal isolator,
most of the studio areas. In the case of the generates great temperature inside the studio;
control room and the recording rooms, the therefore a good HVAC must be implemented.
treatment should be made without losing The air extraction must no be forced, it generates
isolation treatment, in order to prevent external a vacuum that is compensated when opening the
noise sources from reaching the microphones.

1  
 
  

doors, letting in all the dust, that can be harmful studio, the following TL must have form of
for the musicians, and equipment. figure 1.
There are 4 regions of interest in double wall
isolation, the first is the one of the normal modes
of the wall, the second follows the behavior of
the mass law, for a set of coupled walls. The
third region corresponds to the low frequency
resonance, which has an 18 dB/oct slope. The
fourth region responds to the TL of a simple
wall, which has a 12 dB/oct.
We achieve for with this design a 60 dB TL at 63
Hz, so it is assumed to be enough for the rest of
the frequency spectrum.

Fig.0: HVAC detail floor plan

Transmission  loss  
The HVAC system consists in an injection
TL  
80  
turbine that sends the fresh air to the interior of
the room through electrostatic filters. 60  
The ventilation system must shut down when TL  dB   40  
there's no one in the room, preventing in case of
a fire, the oxygen from feeding it. 20  
It is also implemented a thermostatic system to
shut down the ventilation when a defined 0  
63  
125  

1000  
2000  
4000  
8000  
250  
500  
temperature is reached. The air speed inside the
room must be less than 1,5 m/sec, this way we
Frequency  Hz  
avoid turbulence noise due to the exit of the
airshaft. The air circulates at 10 volumes per Fig.1: Minimum transmission loss for every wall
hour.
The humidity control is very important, a low 4. RECORDING ROOM ISOLATION
humidity can dry the singer's throats, and make
instruments crunch, while a high humidity can be For the recording isolation, the choice was to use
uncomfortable for the habitants and corrosive for , as shown in figure(1) , a combination of
the equipment, the right value is between 60 and concrete and regular bricks, for the outside box
70 percent. 20x20x40 cm concrete bricks, followed by a 10
cm air gap filled with mineral wool, to reduce the
3. SOUND ISOLATION Q at the critical frequency gap. The inside box
was made with a regular masonry brick 5x11x23
The isolation is an essential requirement in the cm. The inner walls shall not be plastered, in
recording studio design, so that the recording and
listening within the rooms is not altered by order to add diffusion to the acoustic field of the
external sources, obtaining a desired NC 15. recording room.
Also the isolation must assure the legal levels on We achieve with this design a 60 dB TL at 63
the outside, determined in the case of Buenos Hz, so it is assumed to be enough for the rest of
Aires, by the 1540 law, which specifies a level the frequency spectrum.
permitted in dBA for every hour.
The constructive solution in the present work is a
box in a box system, for both the control and the
recording room.
The urban noise level outside the studio is
considered to be 85 dB in all frequency bands;
therefore to achieve a NC15 level inside the

2  
 
  

6. FLOOR AND CEILING ISOLATION

Fig.: Floor and ceiling detail

For the floor and ceiling isolation, the inner box

shall be mounted over a 10 cm concrete floor,
mounted over a 10cm high density mineral wool,
such as ISOVER Panel PF.
To fulfill the isolation requirements the ceiling
must be a 10 cm reinforced concrete with a 260
Fig.2: Double Wall detail Kg/m2 superficial density.

7. ROOM ACOUSTICS
TL  recording  studio   Acoustic volume
TL   The room's volume depends on the use it is going
200   to have, the Parallelepiped must have the so
called "golden ratio" (1:1.28:1.54 for instance),
150  
which guarantee a good modal distribution, and
TL  dB  

100   most of all a predictable one.

50   The shroeder frequency separates the modal
zone, from the raytraceble zone, below this
0   frequency the room is a parallelepiped, above
63  

1000  
1600  
2500  
4000  
6000  
100  
160  
250  
400  
630  

this frequency the irregularities of the room start

being less transparent.
Frequency  Hz  
Fig.3 Tl expected for recording studio
𝐹𝑙 = 𝐾 𝑅𝑇60/𝑉 (1|)

5. CONTROL ROOM ISOLATION

Fl= Schroeder frequency
K=2000
The isolation for the control room is a 20 cm
V= room volume [m3]
concrete block, with a 10 cm air gap filled with
RT60= apparent reverberation time for 60 dB
mineral wool, then two plaster boards joint with
decay.
vinilical membrane.

The flutter echo is the name given to the audible

resonance that is generated when sound reflects
TL  Control  room   from two parallel walls with a low absorption
coefficient. Depending on the time between
200   TL   reflections, a distinctive echo can be heard.
150   The flutter echo should be eliminated with a
TL  dB  

100   proper design, and absorptive materials, a 10º

difference between walls is enough to solve the
50  
problem.
0  
63  

1000  
1600  
2500  
4000  
6000  
100  
160  
250  
400  
630  

Frequency  Hz  

Fig.4 Tl expected for the recording room

3  
 
  

Fig. 7: Bonello analysis for control room

According to the bonello criteria, this is a good

modal distribution.
The ROOM EQ Wizard software, provides a tool
for modal simulation, Figure x shows the transfer
function of the sweet spot, for the main
stereophonic system (Genelec 1038a).
Fig.5: Ray trace simulation of control room

Using the online tool at amray.andymel.eu , the

pdf plot from AutoCAD can be exported and the
imported for raytracing simulation, in order to
optimize the RFZ (reflexion free zone). For
instant in the picture above, the angle of the
doors that connect to the machine room and the
rest of the studio, don't have the sufficient angle,
the proposed solution is to attach a 1D QRD7 Fig.8: Control room sweet-spot transfer function
diffuser to each door, and making the frame an
every other part very absorptive. The tool doesn't provide a multichannel
simulation, so it was implemented a
superposition of transfer functions.
8. ROOM MODES
9. REVERBERATION TIME

For the estimation of reverberation times, the

criteria used was the Sabine /Eyring which
throws more precise results, due to the irregular
absorption of the room. Accordingly to the good
constructive practices provided by the BBC, for
Fig.6: Room modes distribution recording studios the preferred reverberation
time for the control and recording room volumes
A room mode analysis was made using the results.
online AMROC tool, and Room Eq Wizard to
estimate the behavior of the room below the
Schroeder frequency.
The bonello criteria was chosen to analyze the
distribution of room modes.
Fig.9: BBC recommended reverberation times in
octave bands

4  
 
  

are solved by using some sort of light fabric, or a

highly perforated panel.
The panels chosen were designed by the BBC
engineers type A1, and broadly used in their
television and postproduction studios.

Fig.10: BBC recommended reverberation times

The average RT (tm), for the bands between 200 Fig.12: Type A1 absorber panel
and 3k1 must fall around 0.2 - 0.25 seconds. For
these bands the value must fall around 0.8x tm to These are composed by a wooden drawer of 58
1.2 x tm. cm side times 18.35 cm height, internally
Between 50 to 200 Hz, the value of RT must fall subdivided. The finished surface has a 3mm high
between 0.8 x tm to 1.2 x tm. density mineral wool, and a 3 mm cotton fabric.
It is important to define a RT for the non-critical
areas; this is to control the internal ambience of
the studio. The design proposes a RT of 0.6 for
the common areas of the establishment.

Fig.13: Absorption coefficient for BBC

absorbers design note A1 absorption coefficient.

The equivalent absorption area needed for the

Fig.11: BBC tolerances for reverberation time bands from 200-5000 Hz with the A1 designed
absorbers for the recording room is 80 m2.
10. ABSORPTIVE MATERIALS
It is important to take into account the materials
The fixed modular panels have various involved in the treatment, in special the thermal
advantages, the first is that the hold system can expansion, this can be a problem when arranging
be designed beforehand, the treatment can be different materials, and this can generate
prefabricated outside the studio lowering costs, undesirable noises when subjected to thermal
and they can be arranged accordingly to their changes.
performance. The low frequency absorption is achieved with
The design involves the use of heavy state resonators designed by the BBC engineers, with
mineral wool, glass fiber and heavy fabric, to a high absorption from 60 to 200 Hz.
absorb the mid-high frequencies. The aesthetics

5  
 
  

by avoiding plaster over the masonry; regarding

the control room, the use of optimized diffusers
was used in the rear doors, and back wall, adding
diffuse reflections to the back of the listener
position, theoretically decreasing the Inter Aural
Cross Correlation, a magnitude related to the
perception of the apparent source width.

11. CONTROL ROOM

The control room design criterion initially

chosen was non-environment. This design
principle relies on a very reflective frontal wall
and floor, and very absorptive ceiling, side and
Fig.14: Type D2 absorber panel rear walls, to all frequency spectrum.
Introducing absorption to the walls and reducing
the amount of reflections, the ratio between
direct and reflected sound increases, achieving
reduction in the coloring levels of the room.
Then this philosophy has the advantage of
repeatability in its impulse response, respect to
other rooms with the same design principle.
Considering the level o absorption in the control
room, it is possible to reduce the impact of the
room to the sweet spot, allowing the mixer
engineer to listen to the ambience of the recorded
audio being played.
Furthermore this criteria simplifies the speaker
Fig.15: Absorption coefficient for BBC design, most of the good quality speakers in the
absorbers design market present a flat response on axis due to the
great degree of absorption that prevents the room
The absorbers will be 16 m2 type D2, and 64m2 front interfering. A short decay, special in the
type A1, disposed accordingly to the modal low frequencies prevents masking, allowing
distribution of the room, the corners will have more real bass, besides from minimizing the
more low frequency absorption density. timbre variation. Minimizing reflections allows a
For the control room the average reverberation more precise stereo image, and the detection of
time (Tm) it is expected to be around 0.2 sec, any anomalies due to audio processing.
according to non-environment design criteria.
12. EQUIPEMENT

The equipment was selected in order to obtain

high quality sound record and reproduction.
Studying the specifications of various equipment,
Estudiando las especificaciones de varios
dispositivos, se eligieron aquellos equipos con
Fig.16: TR Calculation las mejores características en cuanto a su figura
de ruido, sin dejar de atender a aquellos
A comment about diffusion; the use of diffusion dispositivos considerados por el mercado como
is not yet fully acoustically quantified, but it is estándares de calidad en todo estudio de
well known of its desirable qualities within an grabación.
acoustic designed space, therefor a diffusive
surface inside the recording room was generated, 13. ELECTRIC INSTALATION

6  
 
  

It is of most importance the right electrical For the general audio installation, a line filter is
installation, satisfying the local standards, prevented for the audio and data phase. The
referred to the use of grounding and phases. electrical installation cables must have a
The grounding logic must use different cables for sufficient section, in order to assure a good
each grounding, avoiding to share cables for long transient response of the monitor system.
distances.
14. STUDIO MONITORING

The studio monitors are the last choise making

interface between the studio and the engineer
ears, the quality and mounting conditions
determine the quality of the mix or recording.
When recording it is recommended to use a low
distortion and extended low and high frequency
response monitors, in order to perceive all the
noises or mistakes that must be resolved during
the recording process. In a processing or mixing
Fig.17: Ground distribution
stage, the quality of the speakers can be lower,
considering that the mayority of the consumers
The AC must be taken from the electrical source
do not own a high quality reproduction system,
avoiding other sources from destabilizing the
of course this depends on the music style
current flow.
consumer target, etc.
For this studio design, wich does not have a
special music style approach, the chosen studio
main monitors where the Genelec 1038b, in a
flush mounted configuration, for the stereo main
monitoring, and the Genelec 8020b as satellites
for the 5.1 and secondary stereophonic monitor
plus one Sub 7050b for the low frequency
response of the multichannel system.
The choice of the 1038b was the depth of the
technical specifications regarding, flush
mounting, acoustical axis, frequency response
Fig.18: Energy distribution considerations and calibration. The integrated amplifier can be
detached for a flush mount, in order to prevent
overheating inside the speaker cavity, which, as
being completely isolated with mineral wool, can
be a concern.

Fig.19: Energy distribution for the studio and Fig.20: Genelec 8020b specifications.
control room.

The audio and data equipment must be connected

to a phase, while the light and HVAC systems to
other , as the general wall sockets.

7  
 
  

Switzerland: International Organization for

Standardization, 2010.
[5] IEC 61672-1 Electroacustics- Sound level
meters - part 1, Geneva , Switzerland,
International Organization for Standardization,
2000.
[6] ISO 3382 Acoustics. Measurement of the
reverberation time of rooms with reference to
other acoustical parameters, Geneva,
Switzerland: International Organization for
Standardization, 2010.
[7] NEWELL P. “Recording studio design".

   
Fig.21: Genelec Flush mount specification for  
1038b
 
 
The choise of the Genelec 8020b was made  
considering mainly the low edge diffraction
effect, due to the monitor design, minimazing the
Speaker Boundary Interference Response.
 
15. CONCLUSIONS

In the present work, a Recording Studio was

designed attending to the Non-Environment
Control Room Criteria, the BBC standards where
followed regarding reverberation time tolerances
and modular acoustics treatment. The full budget
was annexed and detailed, incluiding equipment
costs, financial development and expected
income, for a two year period. Furthermore the
electrical and the HVAC instalations were
designed, considering the needs and tolerances of
a recording studio.

16. BIBLIOGRAPHY

[1] Barron R. “Industrial Noise Control and

Acoustics".
[2] Rayleigh S, “The teory of sound”, Dover
publications.
[3] ISO 3740 Acoustics - Determination of sound
power levels of noise sources, Geneva,
Switzerland: International Organization for
Standardization, 2000.
[4] ISO 3741 Acoustics - Determination of sound
power levels and sound energy levels of noise
sources using sound pressure, Geneva,

8  
 
 ANNEX 1
Economic butget

Presupuesto económico
Mes 1 2 3 4 5 6 7
VENTAS Unidades 5 5 5 5 7 7 7
VENTAS $ 20.000,00 $ 20.000,00 $ 20.000,00 $ 20.000,00 $ 28.000,00 $ 28.000,00 $ 28.000,00
UT.BRUTA $ 20.000,00 $ 20.000,00 $ 20.000,00 $ 20.000,00 $ 28.000,00 $ 28.000,00 $ 28.000,00
GS.ADMINISTRATIVOS
AMORTIZACIONES $ -2.039,86 $ -2.039,86 $ -2.039,86 $ -2.039,86 $ -2.039,86 $ -2.039,86 $ -2.039,86
AMORT.GS.DIFERIDOS $ -2.608,33 $ -2.608,33 $ -2.608,33 $ -2.608,33 $ -2.608,33 $ -2.608,33 $ -2.608,33
SUELDOS $ -10.000,00 $ -10.000,00 $ -10.000,00 $ -10.000,00 $ -10.000,00 $ -10.000,00 $ -10.000,00
CG SOCIALES $ -2.300,00 $ -2.300,00 $ -2.300,00 $ -2.300,00 $ -2.300,00 $ -2.300,00 $ -2.300,00
OTROS GS ADM $ -2.000,00 $ -2.000,00 $ -2.000,00 $ -2.000,00 $ -2.000,00 $ -2.000,00 $ -2.000,00
ALQUILER $ - $ - $ - $ - $ - $ - $ -
UT.OPERATIVA $ 1.051,81 $ 1.051,81 $ 1.051,81 $ 1.051,81 $ 9.051,81 $ 9.051,81 $ 9.051,81
 ANNEX 1
Economic butget

8 9 10 11 12 13 14 15 16 17
7 8 8 8 10 10 10 10 15 15
$ 28.000,00 $ 32.000,00 $ 32.000,00 $ 32.000,00 $ 40.000,00 $ 40.000,00 $ 40.000,00 $ 40.000,00 $ 60.000,00 $ 60.000,00
$ 28.000,00 $ 32.000,00 $ 32.000,00 $ 32.000,00 $ 40.000,00 $ 40.000,00 $ 40.000,00 $ 40.000,00 $ 60.000,00 $ 60.000,00

$ -2.039,86 $ -2.039,86 $ -2.039,86 $ -2.039,86 $ -2.039,86 $ -2.039,86 $ -2.039,86 $ -2.039,86 $ -2.039,86 $ -2.039,86
$ -2.608,33 $ -2.608,33 $ -2.608,33 $ -2.608,33 $ -2.608,33 $ -2.608,33 $ -2.608,33 $ -2.608,33 $ -2.608,33 $ -2.608,33
$ -10.000,00 $ -10.000,00 $ -10.000,00 $ -10.000,00 $ -10.000,00 $ -10.000,00 $ -10.000,00 $ -10.000,00 $ -10.000,00 $ -10.000,00
$ -2.300,00 $ -2.300,00 $ -2.300,00 $ -2.300,00 $ -2.300,00 $ -2.300,00 $ -2.300,00 $ -2.300,00 $ -2.300,00 $ -2.300,00
$ -2.000,00 $ -2.000,00 $ -2.000,00 $ -2.000,00 $ -2.000,00 $ -2.000,00 $ -2.000,00 $ -2.000,00 $ -2.000,00 $ -2.000,00
$ - $ - $ - $ - $ - $ - $ - $ - $ - $ -
$ 9.051,81 $ 13.051,81 $ 13.051,81 $ 13.051,81 $ 21.051,81 $ 21.051,81 $ 21.051,81 $ 21.051,81 $ 41.051,81 $ 41.051,81
 ANNEX 1
Economic butget

18 19 20 21 22 23 24 A balance proyectado
15 15 20 20 20 20 20
$ 60.000,00 $ 60.000,00 $ 80.000,00 $ 80.000,00 $ 80.000,00 $ 80.000,00 $ 80.000,00
$ 60.000,00 $ 60.000,00 $ 80.000,00 $ 80.000,00 $ 80.000,00 $ 80.000,00 $ 80.000,00

$ -2.039,86 $ -2.039,86 $ -2.039,86 $ -2.039,86 $ -2.039,86 $ -2.039,86 $ -2.039,86

$ -2.608,33 $ -2.608,33 $ -2.608,33 $ -2.608,33 $ -2.608,33 $ -2.608,33 $ -2.608,33
$ -10.000,00 $ -10.000,00 $ -10.000,00 $ -10.000,00 $ -10.000,00 $ -10.000,00 $ -10.000,00
$ -2.300,00 $ -2.300,00 $ -2.300,00 $ -2.300,00 $ -2.300,00 $ -2.300,00 $ -2.300,00
$ -2.000,00 $ -2.000,00 $ -2.000,00 $ -2.000,00 $ -2.000,00 $ -2.000,00 $ -2.000,00
$ - $ - $ - $ - $ - $ - $ -
$ 41.051,81 $ 41.051,81 $ 61.051,81 $ 61.051,81 $ 61.051,81 $ 61.051,81 $ 61.051,81 $ 633.243,33
 ANNEX B
Investment budget

BIENES DE USO
Valor Residual
Qty Importes sin IVA IVA Vida Util años Amortiz Anual Amortiz Mensual Amortiz Cuatrim
2 años
Computadoras 2 $ 30.000,00 $ 6.300,00 3 $ 10.000,00 $ 833,33 $ 3.333,33 $ 10.000,00
SYMPHONY APOGEE 32/32 1 $ 63.750,00 $ 13.387,50 15 $ 4.250,00 $ 354,17 $ 1.416,67 $ 55.250,00
CRANE SONG AVOCET II 1 $ 2.550,00 $ 535,50 15 $ 170,00 $ 14,17 $ 56,67 $ 2.210,00
FOCAL TWIN 6Be 1 $ 37.400,00 $ 7.854,00 15 $ 2.493,33 $ 207,78 $ 831,11 $ 32.413,33
UAD OCTO CUSTOM 1 $ 19.125,00 $ 4.016,25 15 $ 1.275,00 $ 106,25 $ 425,00 $ 16.575,00
SHADOW HILLS MONO GAMA 1 $ 20.400,00 $ 4.284,00 10 $ 2.040,00 $ 170,00 $ 680,00 $ 16.320,00
HERITAGE 73 JR 1 $ 17.000,00 $ 3.570,00 10 $ 1.700,00 $ 141,67 $ 566,67 $ 13.600,00
AVEDIS MA5 1 $ 25.500,00 $ 5.355,00 10 $ 2.550,00 $ 212,50 $ 850,00 $ 20.400,00
CHANDLER GERMANIUM MKII 1 $ 20.400,00 $ 4.284,00 10 $ 2.040,00 $ 170,00 $ 680,00 $ 16.320,00
CRANE SONG SYREN 1 $ 21.250,00 $ 4.462,50 10 $ 2.125,00 $ 177,08 $ 708,33 $ 17.000,00
MILLENIA 1 $ 7.225,00 $ 1.517,25 10 $ 722,50 $ 60,21 $ 240,83 $ 5.780,00
PACIFICA A-DESIGNS (STEREO) 1 $ 22.525,00 $ 4.730,25 10 $ 2.252,50 $ 187,71 $ 750,83 $ 18.020,00
MANLEY CORE 1 $ 19.550,00 $ 4.105,50 10 $ 1.955,00 $ 162,92 $ 651,67 $ 15.640,00
AURORA AUDIO GTP8 1 $ 50.150,00 $ 10.531,50 10 $ 5.015,00 $ 417,92 $ 1.671,67 $ 40.120,00
DISTRESSOR 1 $ 59.840,00 $ 12.566,40 10 $ 5.984,00 $ 498,67 $ 1.994,67 $ 47.872,00
GERMANIUM TONE CONTROL 1 $ 37.230,00 $ 7.818,30 10 $ 3.723,00 $ 310,25 $ 1.241,00 $ 29.784,00
MANLEY PULTEC STEREO EQ (2u) 1 $ 30.600,00 $ 6.426,00 10 $ 3.060,00 $ 255,00 $ 1.020,00 $ 24.480,00
CRANE SONG FALCON 1 $ 22.100,00 $ 4.641,00 10 $ 2.210,00 $ 184,17 $ 736,67 $ 17.680,00
API 550A 1 $ 21.250,00 $ 4.462,50 10 $ 2.125,00 $ 177,08 $ 708,33 $ 17.000,00
ELYSSIA NVELOPE (2U) 1 $ 42.500,00 $ 8.925,00 10 $ 4.250,00 $ 354,17 $ 1.416,67 $ 34.000,00
CRANE SONG INSIGNIA 1 $ 22.100,00 $ 4.641,00 10 $ 2.210,00 $ 184,17 $ 736,67 $ 17.680,00
OVIE 1176 1 $ 11.900,00 $ 2.499,00 10 $ 1.190,00 $ 99,17 $ 396,67 $ 9.520,00
HEARBACK 1 $ 14.450,00 $ 3.034,50 10 $ 1.445,00 $ 120,42 $ 481,67 $ 11.560,00
AURICULARES audio technica 1 $ 10.710,00 $ 2.249,10 10 $ 1.071,00 $ 89,25 $ 357,00 $ 8.568,00
PRO TOOLS HD 1 $ 12.750,00 $ 2.677,50 10 $ 1.275,00 $ 106,25 $ 425,00 $ 10.200,00
LUNCHERA OVIE 1 $ 11.900,00 $ 2.499,00 10 $ 1.190,00 $ 99,17 $ 396,67 $ 9.520,00
COLES 4038 1 $ 31.025,00 $ 6.515,25 10 $ 3.102,50 $ 258,54 $ 1.034,17 $ 24.820,00
ROYER 121 1 $ 13.515,00 $ 2.838,15 10 $ 1.351,50 $ 112,63 $ 450,50 $ 10.812,00
WUNDER CM67 1 $ 37.825,00 $ 7.943,25 10 $ 3.782,50 $ 315,21 $ 1.260,83 $ 30.260,00
SHURE SM7B 1 $ 3.995,00 $ 838,95 10 $ 399,50 $ 33,29 $ 133,17 $ 3.196,00
ELECTRO VOICE RE20 1 $ 4.845,00 $ 1.017,45 10 $ 484,50 $ 40,38 $ 161,50 $ 3.876,00
SENNHEISER 441 1 $ 19.210,00 $ 4.034,10 10 $ 1.921,00 $ 160,08 $ 640,33 $ 15.368,00
SENNHEISER 421 1 $ 12.410,00 $ 2.606,10 10 $ 1.241,00 $ 103,42 $ 413,67 $ 9.928,00
NEUMANN 184 1 $ 16.575,00 $ 3.480,75 10 $ 1.657,50 $ 138,13 $ 552,50 $ 13.260,00
SHURE BETA 52 1 $ 2.210,00 $ 464,10 10 $ 221,00 $ 18,42 $ 73,67 $ 1.768,00
AKG D12 VR 1 $ 5.440,00 $ 1.142,40 10 $ 544,00 $ 45,33 $ 181,33 $ 4.352,00
AEA R84 1 $ 10.200,00 $ 2.142,00 10 $ 1.020,00 $ 85,00 $ 340,00 $ 8.160,00
AKG 414 XLS 1 $ 9.775,00 $ 2.052,75 10 $ 977,50 $ 81,46 $ 325,83 $ 7.820,00
WUNDER CM7 FET 1 $ 21.250,00 $ 4.462,50 10 $ 2.125,00 $ 177,08 $ 708,33 $ 17.000,00
MANLEY REFERENCE 1 $ 25.500,00 $ 5.355,00 10 $ 2.550,00 $ 212,50 $ 850,00 $ 20.400,00
TMS 1 $ 10.200,00 $ 2.142,00 10 $ 1.020,00 $ 85,00 $ 340,00 $ 8.160,00
CAJA DIRECTA J48 RADIAL 1 $ 5.950,00 $ 1.249,50 10 $ 595,00 $ 49,58 $ 198,33 $ 4.760,00
CAJA DE REAMP RADIAL 1 $ 5.950,00 $ 1.249,50 10 $ 595,00 $ 49,58 $ 198,33 $ 4.760,00
TOTAL $ 890.030,00 $ 45.302,25 $ 24.478,33 $ 2.039,86 $ 8.159,44 $ 166.768,33

Gastos de Lanzamiento y Organización

Importe sin IVA IVA Periodo Amortiz Anual Amortiz Mensual Amortiz Cuatrim Valor Residual
Comision Inmobiliaria $ 20.000,00 $ 4.200,00 $ 2,00 $ 10.000,00 $ 833,33 $ 3.333,33 $ -
pintura y arreglos $ 100,00 $ 21,00 $ 2,00 $ 50,00 $ 4,17 $ 16,67 $ -
papeleria y folleteria $ 27.500,00 $ 5.775,00 $ 2,00 $ 13.750,00 $ 1.145,83 $ 4.583,33 $ -
Tramites y gastos $ 15.000,00 $ 3.150,00 $ 2,00 $ 7.500,00 $ 625,00 $ 2.500,00 $ -
Total Gastos Diferidos $ 62.600,00 $ 13.146,00 $ 31.300,00 $ 2.608,33 $ 10.433,33 $ -