From Utility to Engineered Performance: Comparing Armstrong® 1B Perforated Tiles Vs. HiPer Panels®

For decades, perforated acoustic panels have played an important role in shaping the sound of recording studios, broadcast facilities, civic buildings, and public spaces. While the iconic Armstrong® 1B perforated mineral fiber tile represented the standard for practical noise control throughout much of the twentieth century, modern acoustic engineering has transformed what perforated panels can accomplish. A comparison between the Armstrong® 1B and today’s Acoustics First® HiPer Panel® family illustrates just how far acoustic technology has advanced.

Perforated Armstrong® 1B tiles – drilled random (left) and straight (right)

The Armstrong® 1B tile was designed as a utilitarian acoustic treatment. Manufactured from thin mineral fiber, the 1′ x 1′ panels featured either linear or random perforation patterns that allowed sound energy to enter the porous material for absorption – which increased the NRC of these tiles to a 0.55-0.60. Originally developed during WWII and used in military barracks and installations, these tiles eventually found their way into countless municipal buildings, schools, government facilities, and even legendary recording environments such as RCA and Sun Recording Studios. Their modest absorption characteristics, ease of installation, and economical construction made them a practical solution for reducing reverberation in a wide variety of spaces.

The Million Dollar Quartet (left-to-right – Jerry Lee Lewis, Carl Perkins, Elvis Presley, & Johnny Cash) at Sun Studios (Memphis, TN) with Armstrong 1B straight-drilled tiles on the wall. (1956)

Despite their historical significance, the Armstrong® 1B tiles were fundamentally simple acoustic absorbers. The mineral fiber substrate behaved much like compressed fiberboard or heavy paper, relying solely on the porous material itself for sound absorption. While the perforations exposed more surface area to incoming sound, there was no engineered reflective face, no constrained barrier layer, and no intentional diffusion characteristics. Their primary function was simply to absorb a portion of the reflected sound energy.

Modern critical listening spaces demand considerably more sophisticated performance.

The Acoustics First® HiPer Panel® family builds upon decades of acoustic research using high-performance fiberglass substrates and engineered panel construction. Rather than functioning as simple absorbers, HiPer Panels® are carefully designed hybrid acoustic devices that combine broadband absorption with controlled reflection and diffusion. Where the Armstrong tiles had an NRC of 0.55 – 0.60, the HiPer panels increase this to a 0.90 NRC – but they also introduce tuned absorption and diffusion.

The original HiPer Panel®

The original laminated HiPer Panel® incorporates a perforated fiberglass bonded to a constrained barrier septum layer. This engineered assembly allowed portions of the sound spectrum to be reflected while some acoustic energy passed into the fiberglass absorber, creating a more balanced acoustic response than a conventional porous panel. The result is an environment that maintains clarity, spaciousness, and natural musical energy instead of becoming acoustically “dead.”

The HiPer Panel® Impact

The Hiper Panel® Impact takes a slightly different approach by utilizing a durable perforated reflective face over the fiberglass core. Its optimized perforation pattern and reflective surface are specifically engineered to provide controlled diffusion on top of tuned absorption, making it well suited for performance venues, mastering rooms, critical listening spaces, and recording studios where preserving acoustic life is just as important as controlling excessive reflections. This tuned absorption allows the low frequencies to be absorbed, while leaving the high frequencies so that the diffusion characteristics of the device (over 4Khz) will be more effective in creating a feeling of openness in the room.

Graph showing the sound absorption coefficients of the HiPer Panel® Impact. Note that the high-frequency absorption decreases to allow the diffusion to be more effective in the listening space.

The differences between these products extend well beyond appearance. While both feature perforated surfaces, the Armstrong 1B’s small perforations simply exposed a thin mineral fiber absorber. By contrast, the HiPer Panel® systems use perforation geometry, reflective facings, engineered barrier layers, and high-density acoustic fiberglass to create a far more efficient and balanced acoustic device. Instead of merely reducing reverberation, they help shape the acoustic character of a room.

More than fifty years after their introduction, Armstrong® 1B perforated tiles remain recognizable symbols of an earlier era of architectural acoustics. Many continue to serve in municipal offices, schools, police interview rooms, and other institutional settings where functional noise control is sufficient. In modern recording studios, listening rooms, and performance spaces, however, engineered systems like the Acoustics First® HiPer Panel® and Hiper Panel® Impact represent the evolution of acoustic treatment—combining advanced materials, acoustic science, and carefully tuned performance to meet the demands of today’s most critical listening environments.

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Acoustic Transformation at New Harmony: Preserving Art, Improving Sound

In New Harmony, Indiana, there is a former Odd Fellows Lodge repurposed as a private residence—the main hall doubles as an event and performance space. Measuring 80 by 40 feet with a 14-foot ceiling, the room features a mezzanine, raised stage, large windows, and an extensive collection of artwork. While visually striking, the space presented serious acoustic challenges.

Acoustics veteran, John Gardner was engaged to address these issues after experiencing a VIP performance tied to a blues festival. The goal was clear: improve the sound without disturbing the artwork or compromising the room’s aesthetic.

The Challenge: Excessive Reverberation and Harsh Reflections

Initial assessment and measurements revealed a highly reverberant and reflective environment:

  • Reverberation times:
    • ~3.5 seconds at 500 Hz
    • Over 4 seconds at 1 kHz
  • A pronounced “chatter” or flutter echo that degraded clarity
  • Strong reflections from walls, mezzanine face, and windows
  • Poor intelligibility for both speech and live music

Further analysis showed:

  • Extended decay times in mid frequencies
  • A rising frequency response:
    • +12 dB from 63 Hz to 6.3 kHz
    • High-frequency roll-off beginning near 8 kHz
  • Noticeable slap-back echoes from rear wall surfaces

The Solution: Integrated, Art-Conscious Treatments

Given the requirement to preserve the room’s visual identity, all treatments were carefully selected and adapted to blend seamlessly into the environment.

Sonora® Panels were made to the exact size of existing artwork and installed behind them to increase absorption without disrupting the aesthetic of the space.

Key treatments included:

  • Mezzanine Face – Diffusion
    • Installed a series of ArtDiffusor® Model F diffusors
    • Arranged in a continuous matrix across the mezzanine face
    • Positioned against existing molding for a clean, intentional look
    • Purpose: break up reflections and reduce flutter echo without deadening the space
  • Rear Wall – Absorption
    • Installed Tone Tiles®
    • Artist-painted to match the room while maintaining acoustic performance
    • Purpose: reduce slap and high-frequency reflections
  • Reflective Wall Treatment – Absorption + Aesthetic Matching
    • Covered a large reflective wall with Sound Channels® wall fabric
    • This material is acoustically absorptive, not transparent.
    • Original paintings were reinstalled over the treated surface
  • Artwork Enhancement – Distributed Absorption
    • Added Sonora® panels (1-inch thick) behind existing canvas artwork
    • Turned each piece into a functional absorber
    • Created slight diaphragm damping effect due to the air gap behind canvases
    • Maintained full visual integrity of the collection
  • Window Treatment – Removable Absorption
    • Installed custom-fit Sonora® panels within window frames
    • Panels secured with minimal hardware and used only during performances
    • Addressed reflections from large glass surfaces near the stage
ArtDiffusor® Model F were installed in a large array across the mezzanine face.

Results: Balanced Acoustics Without Visual Compromise

Post-treatment measurements showed clear improvement:

  • Reverberation reduced to:
    • ~2.1 seconds at 500 Hz
    • ~3.4 seconds at 1 kHz
  • Reduced flutter echo and slap-back reflections
  • More controlled and even frequency response

Performance Outcome: Proven in Practice

The ultimate validation came during the following year’s festival:

  • The returning headline performer commented on how good the room sounded
  • Performers were able to clearly hear themselves on stage
  • Audience members and owners noted significantly improved clarity and warmth

Conclusion

The New Harmony project highlights how thoughtful acoustic design can coexist with architectural and artistic priorities. By using targeted solutions like ArtDiffusor® Model F Diffusors, Tone Tiles®, Sound Channels®, and Sonora® panels, John Gardner successfully transformed a challenging space into an acoustically balanced performance environment—without compromising its character.

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Autism Spectrum Disorder and Acoustics

People with Autism Spectrum Disorder (ASD) frequently report different sensory experiences, especially with sound. Many experience hypersensitivity (overreaction to stimuli like noise or light) or hyposensitivity (reduced response, requiring stronger input). Unlike most individuals, they may not adapt to constant background noise, which can remain overwhelming. Tools like noise-canceling headphones and stim/fidget toys can help manage stress and support self-regulation.

Some autistic individuals also experience auditory processing disorder (APD), where sounds are heard but not easily understood. This can make following speech in noisy environments—like classrooms—especially difficult, even if other auditory skills remain strong.

Research on autism has often focused on traits, causes, and treatments, sometimes framing autistic individuals as the problem. A more balanced, modern, view considers how environments and nonautistic people contribute to disabling experiences. Under the social model of disability, society shares responsibility for reducing these challenges. Recent perspectives expand beyond individual traits to include social attitudes, accessibility tools, inclusive education, and building design.

The design of built environments plays a major role in comfort and performance, yet acoustics are often overlooked compared to lighting or air quality. Poor sound conditions—such as low signal-to-noise ratios—can hinder learning, particularly for children, people with hearing difficulties, or nonnative listeners. While accessibility standards address physical barriers, they rarely consider acoustic needs for autistic individuals. Studies show that high noise levels can increase distress-related behaviors in children living with autism. Both children and adults report that schools can be overwhelming due to noise, bright lights, and unpredictability, leading to fatigue and reduced learning.

To create more inclusive spaces, designers should focus on acoustics. This includes organizing layouts predictably, adding quiet “escape” areas, separating noisy and quiet zones, and using transitional spaces to ease sensory shifts. Effective sound isolation—through walls, windows, and floor/ceiling—is essential, as is reducing internal noise from building systems and other noise sources. Windows are often the weakest link through which sound can leak, but this can be mitigated with multi-pane window construction with an appropriately airtight and resilient joint sealant. The Sound Transmission Class (STC) and Outdoor-Indoor Transmission Class (OITC) of cavity wall systems can be improved with added mass, resilient layers and cavity absorption. Partitions should extend to their full height and be sealed to the structure of the roof deck or floor above. Penetrations through sound isolating partitions should be avoided. Wherever penetrations are unavoidable, they should be packed with insulation and sealed with a resilient joint sealant to minimize the leakage of sound.

Using sound-absorbing materials can further improve comfort.  Sound Channels acoustic wall fabric is often specified in classrooms and “escape” rooms as it a very durable and cleanable material that provides sound absorption within speech frequencies, reducing echoes and overall noise levels.

Overall, designing for acoustic accessibility requires recognizing the diverse sensory experiences of autistic individuals. Inclusive environments should be shaped through thoughtful design and collaboration with autistic individuals, ensuring their lived experiences guide meaningful improvements.

References:
Caldas, Fernanda; Underwood, Samuel; Masiero Bruno S. and Wang, Lily M. Autism and Indoor Sounds Acoustics Today 20 (2) 21-29.  

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Acoustics First­® releases new 3D Model Repository.

For those users who like to design visually, Acoustics First® has released a new 3D model repository at:

https://acousticsfirst.com/acousticsfirst-3d-model.htm

The 3D Model Repository allows users to easily preview and download 3D models for their projects.

Currently, the 3D models are available in .SKP and .GLB format for:

More models are coming soon. The repository is available at https://acousticsfirst.com/acousticsfirst-3d-model.htm or it is linked from any of the diffuser pages listed above.

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Joint ASA/ASJ Meeting – 2025 Recap

The joint meeting of the Acoustical Society of America (ASA) and the Acoustical Society of Japan (ASJ), held in Honolulu in December 2025, was a welcoming gathering for the international acoustics community. This joint congress happens only once every ten years, making it a rare opportunity for researchers, consultants, and students from both societies to come together, reconnect, and exchange ideas. Hosting the meeting in Hawaiʻi—literally and figuratively a bridge between the two countries—added to the collaborative and relaxed atmosphere.

Across the week, a wide range of ASA and ASJ technical committees organized sessions that showcased the diversity of acoustics research and practice. These included:

  • Architectural Acoustics
  • Noise
  • Physical Acoustics
  • Psychological and Physiological Acoustics
  • Speech Communication
  • Musical Acoustics
  • Computational Acoustics
  • Engineering Acoustics
  • Education in Acoustics
  • Structural Acoustics and Vibration
  • Underwater Acoustics
  • Signal Processing in Acoustics
  • Biomedical Acoustics
  • Animal Bioacoustics
  • Acoustical Oceanography

Together, these sessions reflected the breadth of the field—from fundamental physics to human perception, from engineered systems to the natural environment.

One such session was organized by the Architectural Acoustics Technical Committee and focused on the Advances in Absorption Measurement and Design. Presentations explored how these materials are evaluated in the lab, how they are specified and integrated into buildings, and how they ultimately shape the acoustic experience of everyday spaces. This session was co-chaired by Jim DeGrandis (Acoustics First Corporation) & Daniel Robinson (Sublime) from the ASA, as well as Toshiki Hanyu (Nihon University) and Tetsuya Sakuma (The University of Tokyo) from the ASJ.

Erin Nguyen (Penn State) presenting during the Architectural Acoustics session in Honolulu.

A highlight of the session was a three-part breakdown of a developing Japanese acoustics standard for general spaces—such as lobbies, sporting facilities, and multipurpose rooms. The proposed standard is being informed by the well-established German DIN 18041 room acoustics standard, with thoughtful adaptations for Japanese building practices and cultural expectations. The presentation sparked lively and friendly discussion, illustrating how international collaboration can help refine tools and standards that benefit practitioners worldwide.

Overall, the session captured the spirit of the once-a-decade ASA–ASJ meeting: technically rigorous, openly collaborative, and genuinely enjoyable.

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