Hyped Up Acoustics Sonarflex V Pro Acoustic BLOCK45
Lets Compare and Review 2 very similar tiles in the same price bracket Hyped Up Acoustics Pro-coustix Sonarflex and Pro Acoustics BLOCK45 both are 12″ (305mm) square and both a similar thickness
Now to list the differences.
Hyped up acoustics Procoustix Sonarflex is made from a 30 Kilo m3 acoustic polyether foam, and is cot on an eggbox convoluter with a dimple profile top surface.
Pro Acoustics BLOCK45 is made from a 25 Kilo M3 acoustic polyether foam, and is Computer guided CNC cut with a block profile design top surface
|Noise Reduction Coefficient NRC Test Data|
|Frequency (Hz)||Hyped Up Acoustics Sonarflex Tile 30KGm3||Pro-Acoustic’s BLOCK45 Tile 25KGm3||BLOCK45 is better by|
|The comparison above shows how against a standard convoluted “eggbox” tile even using a 30kg m3 acoustic foam the BLOCK45 tile wins hands down on every audible frequency and shows it to have a staggering 33.6% better noise absorption coefficient overall. So don’t believe the Hype that a denser foam makes a better acoustic foam, The NRC test data is what you need to compare.|
The results above were taken from the test data provided on these documents http://www.hypedupacoustics.co.uk/images/stories/sonarflex%20test%20data.png and the reviews are based solely on the tiles acoustic performances
The CNC computerised profile machines used to manufacture our tiles long since replaced the old eggbox roller foam convoluters, and you will now find that all the professional tiles as made by the high end acoustic foam specialists are now CNC cut on computerised foam cutting machines as it gives a much neater finish and far better asthetics to your studio. each tile will match up with one another unlike cheaper eggbox tiles where the edges never match up. and dont be fooled on density a higher density doesent make a tile better. look at the table below where our AFW305 tile which beats a std 30 kilo acoustic foam eggbox tile on every audible frequency.
Get the Right Sound
Made from a high-grade 25Kg/M3 open cell specialist acoustic foam these Pro acoustic foam tiles are precisely profile cut like no other tiles in this price range.
Why are we so cheap? As the manufacturer we make our margins by selling large volumes and selling direct. we cut out the middlemen and resellers as its these on costs which hype up acoustic foam prices.
Having tested many specialist acoustic foams right up to a 42 KG/M3 density, we have found this particular 25KG/M3 grade to be the best for its wide range of sound absorption properties as it has the right combination of density porosity hardness controlled permeability and open cell structure, which allow the foam to give the optimum in acoustic performance.
It is also a dark grey studio friendly colour which deals with light degradation much better than most others.
Not all acoustic tiles are equal so see and hear the difference that pro-acoustic tiles can make.
As soon as you try these pro acoustic tiles you will realise why they are in a league all of their own when compared to other acoustic tiles sold in the same price bracket.
Unlike many acoustic tiles sold on the pro acoustic range is tried and tested, the range is now in its 9th year and we have supplied thousands of these tiles into both professional and home recording studios. Having supplied our acoustic foam products into many well known professional studios, film sets and MTV to mention just a few.
These tiles effectively absorp any high frequency sound waves incident applied on them by presenting several deflection surfaces resulting in a livelier sound. Further more the increased depth of the valleys will help to trap air within them forming resonant chambers and broadening the spectrum of absorption in the medium frequency range. Medium to high frequency sound waves won’t stand a chance!
Try for yourself and hear the difference that our pro-acoustic tiles deliver look on the Reviews page to see how our customers rate us !
Will Help You With The following
- Reflection Both primary & secondary
- Improve vocal clarity
- Flutter echoes
- Modal issues
- Standing waves Mid to High
Soundproofing is the process that stops or significantly reduces sound movement from going from one area to another. Whether this be the stopping of sound created within a room leaving that room, or the sound from the outside of a room entering into a room.
The control of acoustics within a room referred to as “sound treatment” is the process of controlling the residual sound within a room so that the sound interference within the room is reduced eliminated or attenuated to so that the sounds impact in the room is almost negligible. Acoustic foam will help with its use the emphasis is on dealing with the sound that is in inside the room and nothing to do with the sound that has left the room. Acoustic foam sound treatment helps to control sound interference so that its effect on the rooms acoustics is minimal or non existent improving the finished recorded music for a producer or mixing engineer.
The simplest way to understand the distinction between these two is by considering a sound source in a room usually the speakers producing the music or beat a producer is working on. This sound comprises of a whole spectrum of frequencies from sub 100Hz to 10Khz and over.
Figure 1 attempts to illustrate this. As the sound created impacts the walls of the studio (Arrow A) three things happen.
i)- Some of the sound energy is absorbed by the wall. This will depend on the frequency of the sound as well as the absorption properties of the wall. Sound energy that is absorbed is converted in to heat (D) by the vibrating molecules of the wall as they “soak” up the sound energy. This portion of sound will have no impact on the sound in the studio as such is as good as non-existent.
ii)- A portion of the sound will pass through the wall and emerge as sound wave C after having undergone diffraction downward as it passes through the wall (Arrow B). Generally sound frequencies whose wavelength is greater than 4 times the thickness of the wall will penetrate the wall. This again depends on the thickness of the wall and structure e.g. if it has a filling or composite makeup. As the sound wave C has left the room it is of no use to us. Incidentally this portion of sound is what will create noise complaints from your neighbors.
iii)- The final portion of the sound will get reflected back into the room (A1) . The amount of the sound reflected will depend on the frequency of the sound, the angle of incidence as well as the reflective properties of the surface onto which the sound is incident. This is the portion of sound that acoustic control and sound treatment attempts to deal with. This is because it is still in the room and will have an effect on our resultant mix.
Scenarios i & ii are what soundproofing deals with i.e. using construction to absorb as much sound as is incident on the walls of a room so that the energy of sound wave C is reduced significantly not to disturb those it is not intended for. Soundproofing will reduce sound leakage or entry into any room.
If you are reading this article and are looking for soundproofing materials and panels, the best advice I could give is to stop right here and head over to a sound proofing expert or building merchant to purchase soundproofing materials. If however you are interested in improving the quality of the sound in your room please read on.
Scenario iii is what acoustic control or sound treatment deals with – Improving the quality of the sound left in any room. Figure 2 shows what happens to the same sound wave impacting a wall fitted with an acoustic panel. A portion of Sound wave A will still get absorbed and converted into heat (D) and will still emerge on the other side of the wall (C) pretty much unscathed. The big difference is what happens to the sound that would have otherwise been reflected back into the room (A1).
The profile and composition of the acoustic panel will determine what happens to the reflected sound wave A1. Using a convoluted profile or wedge profile will mean that rather than having one strong reflected sound wave A1 you will end up with several weaker waves A1 A2 A3 scattered in several directions. The process of absorption, diffraction and reflection is true for every layer of material placed on the wall facing the incident waves. Absorbent materials such as foam will absorb more reflected sound than rigid hard panels that will reflect more of the incident sound waves
Considering that it is the lower frequencies that will penetrate walls due to their much longer wave lengths it is easy to see why a panel of foam 2 inches or so thick will have little impact on sound that is already “determined” to pass through your walls. If sound energy is powerful enough to pass through a 7 inch brick wall what difference will 2 inches of foam make? Answer “None”! Be very wary of dealers who sell any type of foam as sound proofing foam!
Sound treatment products
Acoustic treatment products focus on the sound that is reflected internally by the boundaries that create the room, i.e walls, ceilings and floors. The idea being that whilst you may not completely eliminate the sound bouncing around your room you should be able to tame it so that it doesn’t’t have a huge effect on the overall sound of your mix.
Applying acoustic foam or other absorbent material helps in doing just that, waves that would otherwise have been reflected by the surface of the wall hit the acoustic foam or panel and either get scattered in various directions (depending on the profile) or absorb some of the energy. Waves bouncing off the surface face the same fate again getting absorbed by the foam panel and getting diffracted in different directions as the different portions of the wave front emerge at different times due to the non planar profile of the panels.
Acoustic foam with a uniform open cell structure is the main type of foam used for this purpose. The open cell structure presents the wave front with several air filled pockets which contains air molecules which vibrate as sound penetrates them, this vibration helps reduce the power of the waves reducing the energy with which they are reflected at.
The more open cell the foam is the better the airflow resistance and the better it is at reducing sound energy incident on it. The three types of foam commonly found in acoustically treated spaces these are Melamine foams, Polyurethane Polyester foams and Polyurethane Polyether foam.
Pro-Acoustic acoustic solutions
If you are looking to give your sound an added edge or improve the accuracy of the sound you are mixing check out our range of acoustic treatment products. Our range of pro acoustic tiles and bass traps are made from acoustic foam to give you that added absorption you require and greater aesthetics.
If you are interested in the detailed physics behind absorption and diffusion I recommend reading Acoustic Absorbers and Diffusers by Trevor J. Cox , Peter D’Antoni F. Alton Everest A Master Handbook of Acoustics
Acoustics in schools and educational facilities
Interior acoustics plays a vital role in class rooms and educational facilities. Where the transmission of the speech is required to occur with minimal distortion and clarity loss as possible. Classrooms that are poorly treated suffer from long reverberation times, flutter echoes and excessive reflections. These will impact on the audibility and overall clarity of the teacher’s voice in addition also multiplying the noise level from students within the room. This poor acoustic environment will impact on the experience of the students in the classroom. due to both the degradation of the teacher’s voice when projected across the room and other noise within the room. Teachers then will have to strain their voices to ensure they are able to communicate effectively with their students. Which can lead to voice problems, due to prolonged used of the voice and the need to shout in order to keep control.
Recent surveys in the UK and elsewhere show that teachers form a disproportionate percentage of voice clinic patients.
As of 2003, Part E of the building Regulations which covers the requirements with respect to sound transmission has been widened to include schools within its scope. Representing a significant tightening of the regulations on acoustic design in within schools. Acoustic design in schools can no longer be taken for granted, As it will now take a higher priority as it will be subject to building control approval procedures fo schools.
The Department for Education revised the Building Bulletin 93 which provides guidance to architects, acousticians, building control officers and building services engineers through the process of the acoustic design of schools in the context of the various types of spaces and activities.
BB93 contains performance standards, acoustic principles, good design practice, calculation procedures, case studies on existing schools and an example submission to a Building Control Body.
BB93 aims to;
Provide a regulatory framework for the acoustics of schools in support of the building regulations
Give supporting advance advice and recommendations for planning and design of schools.
A copy of the BB93 can be found here
Choose the Right Acoustic Foam – Sound Absorption for Vocals & Music
Getting the right sound is what we all want, capturing the subtle nuances that make a great live performance stand out, whether that is a guitar chord a pulsing beat, a vocal or trumpet note cutting through the air, the sounds that make the hairs on the back of your neck stand up. We can all hear this but often on recording these moments can be lost if the clarity is not there. It’s this visceral connection to the music we all crave whatever genre we listen to. and the use of acoustic foam can help to achieve this as long as you choose the right product.
Firstly make your room a good environment for your music, for recording listening or for rehearsing.
The problems with an acoustically untreated room is that your room can blur and smear your sound altering your vocals and instruments leaving you with a compromised listening experience which is, at best, incredibly frustrating and at worst downright exacerbating!
To get the room out of the way you need to improve the definition and clarity of the listening experience. That can only happen when you treat the room correctly keeping the right frequencies in your music, especially the vocals where the clarity is always a concern.
Putting the focus on making the vocals and instruments the most important element in the musical presentation allowing them to shine through bringing to you that intimacy with the singers soul and musicians instrument that is so important.
So you need to treat your room, but also what do you want from your acoustic foam? This will differ from room to room and situation to situation, you need to fully understand the problems you have before seeking the solution and the options available to you.
What’s Different About Our Acoustic Foam what should I choose?
Nearly all acoustic foam sold is 25 to 50mm thick (1 to 2 inches) this will deal with the higher frequencies well, however it may be worth looking at using thicker tiles. Why? Because thinner acoustic tiles do well at absorbing frequencies above 500 Hz. but do little to absorb much energy below that level. its all down to physics the thicker the tile the better it will deal with the low frequencies yes a thicker tile will cost more but it may be worth the extra to get the sound you need. always look for the NRC values to see the sound absorption at differing frequencies.
The human voice spans the range of 100 Hz. to 800 Hz., Therefore absorption attention must be paid below 500 Hz. because that is where a large percentage of all the vocals will lie, especially with male vocals. Standard thinner acoustic tiles will make a huge difference but you may be missing some absorption at the bottom half where more a large amount of the energy is.
In order to achieve just the right balance of absorption below 500 Hz. and we needed to start with 125 Hz. (the bottom frequency range of the male vocal). How could we get a good rate and level of absorption below 500 Hz. that was smooth in its gradual climb to 500 Hz.?
There are standard properties that make acoustic foam perform, these are a combination of porosity density airflow resistance hardness and very importantly a regular cell size. however as sound waves are all dependent on length the simple fact is the thicker the tile the better it will deal with lower frequencies.
This is why we offer 3 thicknesses in our tile range giving you the option to opt for differing absorption results. our thickest BLOCK100 100mm thick tile gives an outstanding NRC of 0.42 (42%) at the low 125Hz range
The Difference between OK and outstanding vocals and music.
Thicker foam gives more absorption below 500 Hz. fact, our 100mm BLOCK100 tile will absorb 42% at 125 Hz. and 107% at 250 Hz. reaching 127% at 500 Hz. looking at bottom half of the existing absorption curve a thicker tile will produce a smoother absorption curve that goes lower where our vocals start and ends with a smoother, more gradual rate and level of absorption.
Its all a balancing act to give you the sound you need, you might not want to deaden the rooms sound completely even in a vocal booth, going now to the 75mm BLOCK75 tile the curve changes the sound yet again this tile will absorb 18% at 125 Hz. and 61% at 250 Hz. reaching 100% at 500 Hz which may suit your needs better!
And now the thinnest tile the BLOCK45 45mm tile still gives excellent absorption results compared against other manufacturers tiles with an average NRC of 55% and this thickness tile is by far our largest seller with many happy customers and great reviews on its effectiveness, however at 45mm it will struggle on the lowest frequencies and absorbs 10% at 125 Hz. and 29% at 250 Hz. reaching 54% at 500 Hz
What are the benefits of having a choice of thickness?
- You get a technology that was developed specifically for voice and music with more absorption below 250 Hz. than standard tiles, and a smoother absorbing curve from 125 Hz. – 500 Hz. which is the heart of the vocal and music frequencies. It means you can enjoy clearer and cleaner instruments and vocals so you can have a more intimate experience with your favorite music.
- You get a technology that will manage side wall reflections so well that you will hear the direct sound from your sources, which is the purest kind as it is the sound that does not contain the room. This will ensure you can hear the purest sound the artist and engineer recorded so that your vocals and middle range instruments will pop out for you in your room.
- You get the option of choosing three different thicknesses of foam, each with a different absorption curve, which will allow you to absorb at different rates and levels depending on what music and vocal usage your room has. This ensures you have the flexibility to perfectly match the foam to your favorite music so you can experience the ultimate emotional connection with your songs.
- You will get a technology that absorbs at the correct rate and level for music and vocals ensuring it does not drain the life out of your room like so many other foams. You wont be destroying precious sound energy through over absorption like so many dreaded “dead room” studios. Instead you will hear the intimate timbre of the singers voice in every recording ensuring you have a room others will envy.
Which Size Is Right For You?
The thicker the foam, the more absorption that occurs below 500 Hz.
Not only the level of absorption but also the rate must be taken into consideration. Reflection management in small room environments requires middle and high frequency absorption that is smooth and gradual. There isn’t always a need to absorb 100% of the reflected energy in order to manage it. Remember, once sound energy is absorbed it is converted to heat and it is no longer sound energy but heat energy. You can not hear heat energy at all so its always better to start with less and add more until the sound is right for you.
These products are for serious recording studios, engineers and Audiophiles only. If you’re sincere about wanting sonic perfection, then this is most definitely for you. Don’t live with a compromised listening room and room sound for a minute longer. Take action now, believe me, you’ll thank me for this, for years to come. The NRC values shown on this page are for our BLOCK tile range however the same is true for all acoustic foam tiles if you go thicker the low end is dealt with better.
Studio Foam Room Treatment
Whether your studio is in a purpose built room, a garage conversion, a spare room, or in a corner of your room, acoustically treating your walls and surfaces with acoustic studio foam will significantly increase the quality of sound that you will hear. The more help you can give your ears filter out unwanted reflections generated from sound bouncing all over your studio the more accurate your final mix will be. It is for this reason that a decent set of monitors is also a must for anyone thinking of taking music production beyond the bedroom.
Acoustic Studio Foam From Pro Acoustic
At Pro acoustic we know you want to get on with producing good music and media without worrying about racking up costs getting good quality acoustic treatment. We are dedicated to sourcing and providing music production enthusiasts with the very best quality acoustic products at very competitive prices. What’s more we know that providing acoustic products that ensure you have the right treatment in order to control the reverberation and improve the quality of sound in your room is vital.
Acoustic foam is often referred to as studio foam or sound foam and quite commonly as soundproofing foam we would rather not use the latter term. As acoustic foam is not soundproofing. it is a sound absorber which means it will reduce specific frequencies but will not stop sound traveling from room to room. Soundproofing is a totally different issue to acoustic dampening using studio foam.
Acoustic Foam Blog
This acoustic foam blog contains recent articles written on acoustic foam and updates on the Pro acoustic range of acoustic foam room treatment products