Acoustic Transformation at New Harmony: Preserving Art, Improving Sound
Posted by Acoustics First in Absorption, Art Galleries, Articles, Customer Feedback, Diffusion, Multipurpose Rooms, Museums, Music Rehearsal Spaces, Product Applications on April 27, 2026
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.

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

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.
Autism Spectrum Disorder and Acoustics
Posted by Acoustics First in Classrooms, Product Applications, Products, School & Educational Facilities, Sound proofing, Teaching Rooms on March 25, 2026
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.
Acoustics First® releases new 3D Model Repository.
Posted by Acoustics First in Press Release, Products on February 25, 2026
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

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.
Joint ASA/ASJ Meeting – 2025 Recap
Posted by Acoustics First in Press Release, Uncategorized on January 23, 2026
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.

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.
Big vs. Bigger: 2′ vs 4′ Acoustic Diffusers
Posted by Acoustics First in Diffusion, Product Applications, Products on December 16, 2025
A couple common form factors in acoustics are based on building material sizes. Ceiling grids are a common place to install acoustic devices, and you will find that many are built to either work in a 2’x2′, 2’x4′, or 4’x4′ ceiling grid installation. This makes sense, but did you know that these devices also perform differently in some cases due to their dimensions? This is especially true with acoustic diffusers.
When you’re tuning a room—whether it’s a studio, theater, rehearsal space, or even a high-end listening room—acoustic diffusers are one of those rare tools that improve clarity without taking the life out of the space. Designs like the Double Duty Diffuser, Pyramidal Diffusers, and Quadratic Diffusers all share that same mission: redistribute sound energy so your room feels open, natural, and honest.
But while they may look similar in concept, their size changes the game. A 2’x2′ panel and a 4’x4′ panel both diffuse sound, but their effect—especially in the low-frequency and low-mid ranges—can be very different.
2’x2′ Diffusers — Compact Control
2’x2′ units are the most modular diffusers in the lineup. Their smaller footprint makes them ideal for:
- Breaking up mid and high-frequency reflections
- Treating small and medium rooms
- Sitting comfortably in grid ceilings or tight wall spaces
Because of their size, 2’x2′ diffusers don’t interact as much with the low-frequency energy in a room. Bass waves—being physically large—tend to wrap around smaller objects. The result? Excellent clarity improvements in the mids and highs, with a very predictable diffusion performance. The Double Duty Diffuser and Pyramidal diffusers have been a standard in breaking up planar surfaces for decades. While their diffusion in low frequencies is limited at this size, the air cavities do help control some upper bass frequencies through absorption.
The tuned mid frequency effects of the 2’x2′ quadratic, and the smooth performance of the Double Duty or Pyramidal diffuser are perfect for control rooms, edit rooms, drum booths, and anywhere you want accuracy without sacrificing sparkle.

4’x4′ Diffusers — Where Diffusion meets Bass Control
Now we get to the big ones.
A 4’x4′ diffuser is similar in concept to its smaller relatives, but the scale moves it into a different acoustic category. At this size, diffusers begin to influence longer wavelengths, which opens the door to something smaller diffusers often struggle with…
Low-frequency interaction
Large diffusers present enough depth, volume, and surface area to affect the bass spectrum. The extra size creates cavities which are tuned to reduce bass, and they have surfaces large enough to redirect those lower frequencies.
- Break up standing waves in the low-mid range
- Reduce modes and nodes common in rectangular rooms
- Add a sense of openness to the bass field
- Prevent buildup behind listening positions
In other words: same diffuser concept, very different low-end behavior.
Wide-area coverage
A single 4’x4′ panel can modify a huge portion of a wall, creating an even, spacious character that feels less like “treatment” and more like a room that’s naturally well-behaved.
These panels shine in larger studios, live rooms, and worship spaces—anywhere you need diffusion that reaches deeper into the frequency spectrum – and can break-up large, flat, specular surface reflections, which are responsible for flutter, echoes, bass buildup, and long reverb times.
Which do you need?
There are two main factors in the decision: space and performance requirements. In certain environments, it’s impractical or impossible to install large 4’x4′ or larger diffusers; It also may not be the best solution – even if it may appear to be on paper. While a single, large barrel diffuser may appear ideal, you may not have enough physical space to allow the diffusion to develop – where several smaller diffusers would be the better solution.
In short, your physical space and acoustic conditions will dictate which size elements will give you the most benefit in your environment.

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