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Posted in Uncategorized on January 24, 2020
Acoustics First® is pleased to announce the latest addition to our ArtDiffusor® family of products: ArtDiffusor® Nouveau™. In some ways, these diffusive boards are the logical extension of our ArtDiffusor® Trim line. In other ways, they are the logical successor to the Art Diffusor® Model W. These robust diffusive planks (2.75” thick x 11.25” wide, nominal) can be installed to create 2’x4’ wooden quadratic diffusers in both ‘convex’ and ‘concave’ formats. Also, for architectural type applications, boards can be installed in larger arrays to create a rolling effect. Art Diffusor® Nouveau™ is an excellent choice for anywhere that optimal acoustics and great design aesthetics are a must. Available now!
Here are a few new pics, courtesy of one of our longtime associates in New York. For this facility, they installed several arrays of our Sonora Ceiling Clouds, some of them in custom trapezoidal shapes! Sonora Ceiling clouds are often a great option in facilities with high ceilings, but limited wall space.
Have you ever found yourself enjoying delicious cuisine at a nice restaurant only to become frustrated and distracted by bad acoustics? The food is great, but you can’t hear the person sitting next to you.
It’s a common problem. Luckily, there’s a simple solution.
In the case of this Berkeley, California eatery, they installed a helping of our Sonora® Acoustical Panels directly to their ceiling to help tame their space. Sonora® Panels are an excellent option to help fix sound problems in various bar and restaurant situations, whether they are used on the walls or the ceiling.
And with dozens upon dozens of fabric colors and design options available, you can find something to complement or enhance virtually any décor.
When RPN magazine needed an article to teach readers how to improve their room acoustics, they turned to Acoustics First® to get the scoop.
YOUR ROOM’S ACOUSTIC SYSTEM – and How to Improve It
Ever wonder why some rooms sound better than others? What components contribute to
perception of sound in a space? What knowledge do you need to solve the sound problems that
When people read the heading “The System,” there will be a great number who assume I am
talking about the “sound system” in a room – the speakers, amplifiers, signal processors, and
other electronic components that generally produce sound in a space. This is only part of the
acoustic system that creates the soundscape we hear when we are exposed to sound in a space.
Yes, sound comes out of speakers, and they are important, but the source of sound isn’t what
gives us a perception of the space we are in – it’s the space itself!
The walls, ceiling, floors, seats, sculptures, drapes, artwork, construction, and even people in the
space are all contributing to how we perceive that sound source in any given acoustic
environment. I’m not saying that the speakers aren’t important – but they are just the source of
If you have a room with a 5-second reverb time, it doesn’t matter what type of speakers you
have, any sound they make is going to continue to be heard for five seconds – as is every sound
What does this mean? Even if you have the best speakers in the world in that room, it will sound
terrible (unless you are listening to Gregorian Chants…then it will sound awesome.)
However, if someone is speaking at a normal rate of speed, it will be unintelligible after the first 2
or 3 words – as those words will continue to bounce around with the sound of the next 15
words…like listening to 15 people all saying different things at the same time.
Your room is an acoustic system – from the sound source, to the ears of the listeners – as well as
everything in, around, and even outside of that room.
Have you ever watched an acoustical consultant begin the analysis of a new space? It’s
fascinating. You will undoubtedly see them walking around the room while making noises –
clapping their hands, snapping their fingers, whistling, even talking loudly, shouting, and singing.
It’s as if they are bats using different sounds to figure out the characteristics of the room they are
in. They are, in fact, analyzing the room’s acoustic system. Where does sound reflect? Are there
echoes or flutter? What is the character of the reverb? They look at the structure, materials,
corners, architectural elements, floors, carpets, walls, windows, doors, ceilings and more.
Note: They begin this analysis WITHOUT using the speakers.
Why? If the room is bad, your speakers will not fix it.
What are they doing? They are listening. That’s it. Nothing fancy here – just listening.
I will say that many acousticians have done this so many times, in so many different spaces, that
they have an idea of what the room is going to sound like, without even making a peep – just by
looking at it. What are they looking for? What are they listening to? What can you learn from this?
Time to Listen
Everyone has a room where they dislike the acoustics. Go in there. Clap your hands. What
happened? Clap again. Snap your fingers. Make some noise – but make sure to listen. Where is
the sound coming from? Turn around, clap again. Walk to another area…clap.
As you walk around, you will hear the sound change. Turn your head. Is the sound coming from
the corner, the ceiling, both? Angle your ears in between two corners. Maybe that’s where it’s
coming from. Is there a large open balcony or a curved wall? Ask yourself these questions as you
walk around and listen.
Are any of the surfaces hard? What about the floor? Is the sound lingering over your head up in
the ceiling? Is there a defined slap off the back wall when you clap your hands? Is there a ringing
noise? Does the echo wash over you and linger?
Sharpen your listening skills. Map the room with your ears.
What Are You Doing in the Room?
This is an important question. For most uses involving speaking and understanding speech, there
are some good general targets. For example, for most rooms over 100m3 (15’ cube), a 0.8 to 1.7
second reverb time is ideal for many different functions.
However, keep in mind, some spaces may have special reverb requirements. If you’re doing
Gregorian Chants, a three to five second reverb time is still great!
Now, How Do You Fix It?
Most rooms are going to benefit from reducing the acoustic energy in the space. Absorption is
the most direct and easy to understand method – add soft stuff.
This sounds overly simple, but the initial experiments on calculating absorption were done by
moving around seat cushions – simple, but effective.
Fabric-wrapped absorber panels are today’s high-tech equivalent to the seat cushions. Curtains,
blankets, carpets, and other soft materials will also help to reduce the acoustic energy of a space.
Treatments like diffusers help to reduce focused acoustic reflections by spreading the energy
around. When sound hits a surface that is not flat, it will cover the entire surface, bending
around the corners and curves, and then bounces off in different directions.
This reduces what we refer to as ‘specular’ reflections – or direct, mirror reflections – which are
responsible for slap echoes, ringing, and flutter.
However, some hard, reflective surfaces in the front of the room can be beneficial to help
reinforce acoustic sound sources, like speaking, singing, or acoustic instruments.
Treating corners with bass traps can help to reduce bass buildup, as well as corner reflections,
which can cause other clarity issues within the listening environment.
Don’t forget…look to the ceiling for rafters and other elements that cause sound to bounce
around and put some absorption up there.
Renovating a broadcast studio is a daunting task – technically, financially, and logistically. Amidst the chaos, it is possible for certain things to fall through the cracks – even important things. As the student run station at NC State University began their renovation, they were focused on doing it right, and not letting important elements go unaddressed.
When Jamie Lynn Gilbert, the Associate Director of Student Media and Adviser to WKNC 88.1, contacted Acoustics First they were finishing up an extensive renovation of the HD-2 studio and were looking for some Sonora® Acoustic Panels as the “final touch.” The end result was the frosting on the cake of this renovation, and the impact, both acoustically and aesthetically, was quite evident – even to their consulting engineer on the project.
So evident, in fact, that just a month later, Jamie was back in contact with Acoustics First® to get nearly identical treatment for their production studio as they completed its renovation as well…