Posts Tagged diffusion

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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Big vs. Bigger: 2′ vs 4′ Acoustic Diffusers

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.

Compared to the 2’x2′ Double Duty diffuser, the 4’x4′ is absolutely massive!

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.

Which do you want under your Christmas tree this year?

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You say “Diffuser,” I say “Diffusor”

If you’ve spent any time around acoustic treatment—especially sound diffusion—you’ve probably noticed something odd: sometimes the product is called a “diffuser, and other times it’s a diffusor“. For newcomers, this can feel like a secret code or a subtle technical distinction – But the truth is much simpler.

Many trace the dual spelling back to Manfred Schroeder, the German physicist who developed the mathematically designed Quadratic Residue Diffusor (QRD).
In German, the word is spelled Diffusor.” When Schroeder’s work entered the academic world, the spelling likely came with it.

Because his research became foundational in architectural acoustics, the German spelling spread through physics papers, textbooks, and graduate-level acoustics programs. Over time, “diffusor” became a common spelling when discussing mathematical or Schroeder-style diffusors specifically.

As manufacturers began producing these mathematically derived designs—like the ArtDiffusor® line from Acoustics First® (and many other early products)—they retained the “diffusor” spelling as a nod to the academic and scientific origins.

Before long, the industry ended up with two spellings that referred to the same thing:

  • Diffuser – the standard English spelling
  • Diffusor – the academically inherited, German-influenced spelling tied to Schroeder’s work

Both spellings appear throughout the professional audio world, and both are correct.

Is There Any Practical Difference?

No. None. Zero.

There is no technical difference between a “diffuser” and a “diffusor.” They both refer to devices used to redistribute sound energy and improve the acoustic quality of a space through accelerating the development of sound field diffusion. The spelling variation is purely linguistic.

Think of it like “colour” vs. “color” or “flavour” vs. “flavor.” British English keeps the “u,” American English drops it. (However, if you ask a Brit, they’ll tell you Americans are obviously spelling it wrong.)

The “diffusor/diffuser” split works the same way—just with a German twist.

So Which Should You Use?

Use whichever feels natural or matches the context you’re writing in. Many engineers and academics use diffusor when referring to Schroeder-type or other mathematical designs, simply out of tradition. Others stick with the standard English diffuser.”

Tomato. Tom-ah-to.

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Throwback Thursday – Diffusion and Binaural Bob from 10 years ago!

In June of 2015, Acoustics First® posted about our experiment which allowed people to hear the effects of sound diffusers in a small space. The experiment consisted of treating a small office with varying numbers of our new (at the time) Art Diffusor® Model D sound diffusers, then providing various sonic stimuli and capturing and measuring the results with a custom binaural head (called “Binaural Bob.”) This experiment received great feedback and with that input, future experiments were conducted using a similar method, mixing absorbers and diffusers, and having a wider range of stimuli.

One configuration used in the test with 27 Model D’s, Binaural Bob, and a single balloon pop.

But here we look back to the first… This is the video we produced during that experiment way back in 2015 with Binaural Bob, a bunch of Model D’s, a small office, some balloons, bang snaps, and one very heavy book.

If you would like to revisit the original post in it’s entirety, here is the link!
https://acousticsfirst.info/2015/06/09/want-to-hear-acoustic-diffusion-audio-demo/

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St. Andrew by the Bay – Custom HiPer® Impact Panels to absorb and diffuse sound!

St. Andrew by the Bay is a traditional worship facility with a focus on spoken word worship and congregational singing. The large volume and hard surfaces in this space are the physical features most at fault for excessive reverberation, comb filtering and distracting “slap” echoes (discrete sound reflections usually caused by a distant, reflective back-wall). 

To correct the slap-back and curb excessive reverb without “over deadening” the space, we recommend distributing approx. 550 SQFT 1” HiPer® Impact absorber/diffuser panels throughout the rear wall areas (see attached layout).  HiPer® Impact panels absorb low frequencies and diffuse high-frequencies, yielding a much more even room response. In addition to controlling bass buildup, the high-frequency scattering will help retain some “life” in the room for acoustic and choral performances.  

Reverb Prediction – Historically, churches relied on an abundance of hard surfaces to propagate sound to the rear of the nave, so they benefited from very long reverb times (upwards of 4-5s). Modern sound systems allow for a much more focused sound and equitable listening environment , so these extreme reverb tails are no longer necessary and can actually degrade the experience of the congregation. Churches of this size with a sound system and traditional worship services should have a reverb time somewhere in the 1.5-2.25s range. We entered the sanctuary’s dimensions and construction materials into our acoustic calculator and made a prediction of reverb times before and after treatment.

From Lee Hartman & Sons who performed the install “Here are some photos of the finished panels at St. Andrew by the Bay. It turned out great and client is very happy. Many thanks to Cameron for the detailed layout.”

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