Massimo,
What I would suggest is to have one hole in the wall for DC cables (and any wires carrying EEG signals out of the cage; a fibre optic would be preferable, but this depends on your EEG equipment) and one distant hole for any necessary AC cables. Putting a bit of distance between AC interference and EEG signal puts colomb's law on your side. Make both holes near the floor so cables don't have to be longer than needed. I've seen this work well in ETS Lindgren shielded rooms with IAC sound attenuation. Use a common ground for all electrical equipment. Avoid making induction loops through coils in long cables. Use sandbags to plug the holes when you have the wires in place.
T.
> Date: Wed, 5 Jun 2013 12:12:46 +0200
> From: Massimo Grassi <massimo.grassi@xxxxxxxx>
> Subject: Sound proof booth and EEG recording
>
> Dear list members,
>
> we are about to buy a IAC soundproof booth and, because here many people
> do EEG recordings, we were thinking to have the booth electrically
> shielded. The booth will be used to run psychoacoustics, cognitive
> science and neuroscience experiments.
>
> Here comes the problem. What is the best way to carry the EEG-signal
> from the inside of the booth to the outside of the booth?
>
> So far we thought two possible solutions.
> 1. Place a panel on the booth's wall that has (inside and outside) the
> specific plug of the signal cable that comes out of EEG amplifier. In
> practice, we interrupt the signal cable at the booth's wall.
> 2. Make a hole on the booth's wall. The hole starts high in the inside
> of the booth, runs downward inside the booth's wall and arrives low at
> the outside of the booth. I this way the booth is acoustically safe
> because the hole is not direct and the EEG-signal cable is not
> interrupted, but it needs to be very long (wild guess about 6/8 meters).
>
> Some of my EEG colleagues are unhappy with both solutions because:
> 1. You interrupt the signal cable and this interruption could introduce
> artefacts in the EEG-signal.
> 2. The cable is too long and this could introduce artefacts in the
> EEG-signal.
>
> Is there anybody out there that had this same problem and that can
> suggest me which is the best way to solve it?
>
> All the best,
> m
> --
> http://www.psy.unipd.it/~grassi/
> http://www.springer.com/978-1-4614-2196-2
> http://www.finveneto.it/nuoto_schedaatleta.php?id_atleta=73076
>
> ------------------------------
>
> Date: Wed, 5 Jun 2013 06:55:53 +0100
> From: =?iso-8859-1?Q?fr=E9d=E9ric_maintenant?= <fmaintenant@xxxxxxxx>
> Subject: Re: SV: RE: Perceptual basis of evolving western musical styles
>
> ---1690458260-1672112700-1370411753=:90110
> Content-Type: text/plain; charset=iso-8859-1
> Content-Transfer-Encoding: quoted-printable
>
> Sorry to interrupt again. Would you see any difference in the evolution of =
> western musical style between 1960s and 1980s? or 1900s and 1920s? FM=0A=0A=
> =0A=0A=0A=0A________________________________=0A De=A0: Pablo Hern=E1n Rodri=
> guez Zivic <elsonidoq@xxxxxxxxx>=0A=C0=A0: AUDITORY@xxxxxxxxxxxxxxx =0AEnvo=
> y=E9 le : Mardi 4 juin 2013 14h33=0AObjet=A0: Re: SV: RE: Perceptual basis =
> of evolving western musical styles=0A =0A=0A=0AHi David,=0A=0AThank you!=A0=
> =0AI'm glad that both, Eric has a concern about my analysis, and you don't.=
> Otherwise, there would be no discussion :).=0A=0AWith respect to the selec=
> tion bias of the corpus, it may be. However, if you look in the Supporting =
> Information, we did a control by projecting another corpus (the Alicante's =
> 9GDB) into the factors, and we found very similar results. However, I don't=
> exactly recall how the projection values where for the 9GDB corpus with re=
> spect to the IR principles.=A0=0A=0AYou are right with respect to the Baroq=
> ue overshoot. Yet, the end of the Baroque is a very arbitrary date as well,=
> since it's the year of Bach's death. So, it could be the case that for 20 =
> years after Bach died, similar music was still been written (maybe someone =
> who knows more about music history can tell me if this make sense).=0A=0AAn=
> yway, thanks for your comments!!=0A=0APablo=0A=0A=0A=0A=0AOn Mon, Jun 3, 20=
> 13 at 7:50 AM, David Morris <dmorris@xxxxxxxxx> wrote:=0A=0AHi Pablo,=0A>=
> =0A>I don't share Eric's concern about a drawback and found this article de=
> finitely worthy of your shameless self-promotion. =A0Congratulations. =A0It=
> 's perplexing that the closure projection results for the Classical period =
> are so low. =A0I would have ex=E5ected them to be amongst the highest. =A0C=
> ould this relate to selection bias in the corpus, or does it have to do wit=
> h the definition (as per the Carol and Krumhansl reference which I should p=
> robably try and wrap my feeble mind around). =A0Also, on account of the two=
> deaths that occured, I think that the second year overshoots the end of th=
> e Baroque by 20 years, but that doesn't effect your analysis.=0A>=0A>All th=
> e best=0A>=0A>David=0A=0A=0A-- =0Ahttp://pablozivic.com.ar/
> ---1690458260-1672112700-1370411753=:90110
> Content-Type: text/html; charset=iso-8859-1
> Content-Transfer-Encoding: quoted-printable
>
> <html><body><div style=3D"color:#000; background-color:#fff; font-family:Co=
> urier New, courier, monaco, monospace, sans-serif;font-size:12pt"><font siz=
> e=3D"2">Sorry to interrupt again. Would you see any difference in the evolu=
> tion of western musical style between 1960s and 1980s? or 1900s and 1920s? =
> FM<br></font><font face=3D"Arial" size=3D"2"><br></font><div><span><br></sp=
> an></div><div><br></div> <div style=3D"font-family: Courier New, courier, =
> monaco, monospace, sans-serif; font-size: 12pt;"> <div style=3D"font-family=
> : times new roman, new york, times, serif; font-size: 12pt;"> <div dir=3D"l=
> tr"> <hr size=3D"1"> <font face=3D"Arial" size=3D"2"> <b><span style=3D"fo=
> nt-weight:bold;">De :</span></b> Pablo Hern=E1n Rodriguez Zivic <el=
> sonidoq@xxxxxxxxx><br> <b><span style=3D"font-weight: bold;">=C0 :<=
> /span></b> AUDITORY@xxxxxxxxxxxxxxx <br> <b><span style=3D"font-weight: bol=
> d;">Envoy=E9 le :</span></b> Mardi 4 juin 2013 14h33<br> <b><span style=3D"=
> font-weight:
> bold;">Objet :</span></b> Re: SV: RE: Perceptual basis of evolving we=
> stern musical styles<br> </font> </div> <div class=3D"y_msg_container"><br>=
> <div id=3D"yiv3572727833"><div dir=3D"ltr">Hi David,<div><br></div><div sty=
> le=3D"">Thank you! </div><div style=3D"">I'm glad that both, Eric has =
> a concern about my analysis, and you don't. Otherwise, there would be no di=
> scussion :).</div><div style=3D""><br>=0A=0A</div><div style=3D"">With resp=
> ect to the selection bias of the corpus, it may be. However, if you look in=
> the Supporting Information, we did a control by projecting another corpus =
> (the Alicante's 9GDB) into the factors, and we found very similar results. =
> However, I don't exactly recall how the projection values where for the 9GD=
> B corpus with respect to the IR principles. </div>=0A=0A<div style=3D"=
> "><br></div><div style=3D"">You are right with respect to the Baroque overs=
> hoot. Yet, the end of the Baroque is a very arbitrary date as well, since i=
> t's the year of Bach's death. So, it could be the case that for 20 years af=
> ter Bach died, similar music was still been written (maybe someone who know=
> s more about music history can tell me if this make sense).</div>=0A=0A<div=
> style=3D""><br></div><div style=3D"">Anyway, thanks for your comments!!</d=
> iv><div style=3D""><br></div><div style=3D"">Pablo</div><div style=3D""><br=
> ></div></div><div class=3D"yiv3572727833gmail_extra"><br><br><div class=3D"=
> yiv3572727833gmail_quote">On Mon, Jun 3, 2013 at 7:50 AM, David Morris <spa=
> n dir=3D"ltr"><<a rel=3D"nofollow" ymailto=3D"mailto:dmorris@xxxxxxxxx" =
> target=3D"_blank" href="">> t;</span> wrote:<br>=0A=0A<blockquote class=3D"yiv3572727833gmail_quote" st=
> yle=3D"margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">Hi P=
> ablo,<br>=0A<br>=0AI don't share Eric's concern about a drawback and found =
> this article definitely worthy of your shameless self-promotion. Cong=
> ratulations. It's perplexing that the closure projection results for ="">> the Classical period are so low. I would have ex=E5ected them to be a=
> mongst the highest. Could this relate to selection bias in the corpus=
> , or does it have to do with the definition (as per the Carol and Krumhansl=
> reference which I should probably try and wrap my feeble mind around). &nb=
> sp;Also, on account of the two deaths that occured, I think that the second=
> year overshoots the end of the Baroque by 20 years, but that doesn't effec=
> t your analysis.<br>=0A=0A=0A<br>=0AAll the best<br>=0A<span class=3D"yiv35=
> 72727833HOEnZb"><font color=3D"#888888"><br>=0ADavid</font></span></blockqu=
> ote></div><br><br clear=3D"all"><div><br></div>-- <br><a rel=3D"nofollow" t=
> arget=3D"_blank" href="">> r/</a>=0A</div></div><br><br></div> </div> </div> </div></body></html>
> ---1690458260-1672112700-1370411753=:90110--
>
> ------------------------------
>
> Date: Thu, 6 Jun 2013 09:50:19 +0000
> From: "Faulkner, Andrew" <a.faulkner@xxxxxxxxx>
> Subject: Re: Sound proof booth and EEG recording
>
> Dear Massimo
> We had IAC UK install an adapted double wall booth for EEG a few years back=
> . They added some additional screening through having no window in the door=
> and by electrically bonding all the parts with braiding.=20
> We also had DC lighting installed and the facility to kill the ac power in =
> the room.
>
> For getting EEG/ABR data out of the room had a tube installed through the w=
> alls to an adjacent booth to take multicore cables. My understanding is tha=
> t thus tube acts as a waveguide and minimizes interference.
> In practice we don't actually use this. Instead we have a Biosemi setup wit=
> h the amplifier/converter located inside the room. This is battery powered =
> and connected through the wall by USB cabling to the PC outside. This kit =
> is working really well for us, for ABR as well as cortical responses.
>
> I am happy to get you more details if you are interested
>
> Dr Andrew Faulkner
> Head of Research Department of Speech Hearing and Phonetic Sciences
> UCL (University College London)
> Rm 314, Chandler House, 2 Wakefield St
> London WC1N 1PF
> tel 44 (0)20 7679 4075 (direct)
> Internal tel 24075
> Fax: +44 (0)20 7679 4238=20
> mailto:a.faulkner@xxxxxxxxx
> http://www.ucl.ac.uk/psychlangsci/staff/shps-staff/a_faulkner
>
> -----Original Message-----
> From: AUDITORY - Research in Auditory Perception [mailto:AUDITORY@xxxxxxxxx=
> ILL.CA] On Behalf Of Massimo Grassi
> Sent: 05 June 2013 11:13
> To: AUDITORY@xxxxxxxxxxxxxxx
> Subject: [AUDITORY] Sound proof booth and EEG recording
>
> Dear list members,
>
> we are about to buy a IAC soundproof booth and, because here many people do=
> EEG recordings, we were thinking to have the booth electrically shielded. =
> The booth will be used to run psychoacoustics, cognitive science and neuros=
> cience experiments.
>
> Here comes the problem. What is the best way to carry the EEG-signal from t=
> he inside of the booth to the outside of the booth?
>
> So far we thought two possible solutions.
> 1. Place a panel on the booth's wall that has (inside and outside) the spec=
> ific plug of the signal cable that comes out of EEG amplifier. In practice,=
> we interrupt the signal cable at the booth's wall.
> 2. Make a hole on the booth's wall. The hole starts high in the inside of t=
> he booth, runs downward inside the booth's wall and arrives low at the outs=
> ide of the booth. I this way the booth is acoustically safe because the hol=
> e is not direct and the EEG-signal cable is not interrupted, but it needs t=
> o be very long (wild guess about 6/8 meters).
>
> Some of my EEG colleagues are unhappy with both solutions because:
> 1. You interrupt the signal cable and this interruption could introduce art=
> efacts in the EEG-signal.
> 2. The cable is too long and this could introduce artefacts in the EEG-sign=
> al.
>
> Is there anybody out there that had this same problem and that can suggest =
> me which is the best way to solve it?
>
> All the best,
> m
> --
> http://www.psy.unipd.it/~grassi/
> http://www.springer.com/978-1-4614-2196-2
> http://www.finveneto.it/nuoto_schedaatleta.php?id_atleta=3D73076
>
> ------------------------------
>
> End of AUDITORY Digest - 5 Jun 2013 to 6 Jun 2013 (#2013-132)
> *************************************************************