Acoustic foam for sale on Amazon

AFP305 Pro Acoustic Foam Pyramid tile for sale on Amazon

Our latest tile for sale now on Amazon a smaller version of our AFP45 pyramid tile the AFP305 is a 12″ square tile and is sold in packs of 24 tiles. We have introduced this tile due to the popularity of our AFW305 wedge tile and numerous people asking if we did a pyramid in the same size.

We are offering it at the introductory price of £29.50 available on Amazon ( with free shipping to mainland GB postcodes)


  • 24 Pro Acoustic AFP305 Pyramid Foam Tiles per Box
  • 2.23 square metres (24 square feet) per box – Ideal for recording studios – mixing rooms – vocal booths – home cinemas
  • CNC Computer cut acoustic foam Tile Size 305 x 305 x 45mm
  • Full NRC Data Available ( average NRC 0.5 ) – Made In the UK By Comfortex Acoustics Oldham
  • Pro-Acoustic Foam conforms to stringent fire tests and are suitable for studios, cinema rooms or anywhere acoustic control is required

Made In the UK By Comfortex Acoustics Oldham – sold fulfilled by Amazon
AFP305 Acoustic Foam Tiles are sold in packs of 24 tiles


2.23 square meters (24 square feet) per pack
Tile size 305mm x 305mm x 45mm or 12 x 12 x 1.75 inches

The dimensions of the profiles are 13mm base rising 32mm to the top of the profile and the pitch between the peaks being 35mm


Conforms to the requirements of Schedule 1, part 1, of the Furniture and Furnishings (Fire) (Safety) Regulations, S.I. 1324 of 1988 (amended 1989)(Amd 1993), and are also suitable for applications requiring FMVSS302.

The acoustic foam grade we use is specifically formulated for acoustic applications by one of the UK’s leading specialist foam manufacturers. Used for many years as the basic sound absorption foam due to its excellent performance for a wide range of applications.

CNC Profile Cut Open Cell  Grey Acoustic Foam, 25kg / m3 Density Foam which has a controlled permeability and open cell structure that gives optimum acoustic performance for a foam of this density

Below is the Foams Random Incidence Sound Absorption (Typical Results) Frequency (hz) to Relative Absorption Coefficient

125Hz 0.07
250Hz 0.21
500Hz 0.42
1000Hz 0.64
2000Hz 0.80
4000Hz 0.93
NRC 0.50

Sound dampening for small sized areas like vocal sound booths help prevent echo and improve acoustics and give a more pure sound response. This tile is also ideal for home recording studio applications, home cinemas etc.


Acoustic Foam Seconds sold as a Job Lot

Acoustic Foam Seconds AFW305 Tiles Job Lot 15 Boxes Slight Seconds

Here is a great chance to kit out your studio on a tight budget. Acoustic Foam Seconds. One of our CNC Machines had a blip over the weekend and we are selling off 15 boxes of acoustic tiles as slight seconds they are around 40mm thick not 45mm like our standard AFW305 tiles.


360 tiles covering just over 33 m2 or 360 ft2

As they are slightly thinner than our usual tile and are around 40mm but we do not want them getting mixed up in our warehouse, so we are selling them off at far less than cost to get rid. and only as a job lot as if we start moving them there is the chance they could be mixed up with our other tiles, as it is a one off  we are selling these on ebay see below, Its a great chance to treat your room at a unbelievable price, we sell cheap anyway this is far less than the cost of the foam so you really will be getting a bargain.

If you are local to Oldham or Manchester you can pick them up from our Factory shop in Oldham and we will take the Ebay listing down.

We will accept the £150 for all of them in the Shop as we will not have to post them , make sure your vehicle can fit all 15 boxes, box size 350 x 350 x 950mm  ” a car has no chance ” Tel Michelle on 0845 600 9041 shop is open Monday to Friday 9.30am to 4pm. Phone first as they may have gone.

item no 321844258879 on ebay

Its not often we have seconds as the machines are very accurate, howver a blade broke when cutting and was mis aligned when put back on so offers like this don’t appear often.

Thanks Pro-Acoustic Foam

Pro Acoustic Microphone Screen

Pro Acoustic Microphone Screen “A Portable Vocal Booth”

Microphone screen from The pro acoustic range CNC cut acoustic foam screen with fixing bracket and mic stand attachments, This ultra portable Microphone reflection filter is designed to help you attain clearer and much more defined vocals.

  • Acoustic Vocal Booth Screen from Pro Acoustic
  • Pro Acoustic Foam Meets Crib 5 Fire Retardency – Ideal for recording studios – mixing rooms – vocal booths
  • Lightweight – Easy To Assemble
  • *Microphone, stand and pop shield not included*

Pack Contains Acoustic Foam Screen , Fixing Bracket, 5/8″ to 3/8″ Mic Thread Adapter and 3/8″ to 5/8″ Mic Thread Adapter “not the microphone, Stand and Pop Shield ”


This microphone Screen is light easy to assemble and portable. The microphone surround is made from CNC cut polyurethane acoustic foam which is designed to give outstanding absorption efficiency.

The screen will not only absorbing the singer’s energy on the inside to give a less ambient sound, it will at the same time, partially absorb scattered room reflections on the outside. the acoustic foam’s structure is made to the optimum density and thickness, using a series of cavities both to reinforce the absorption effect and add structural support to the joint mechanism. The screen is suitable for use with a range of microphones and can be adjusted either vertically or horizontally. The unit can be assembled in less than 20 seconds making it ideal for location-based recording venues, project studios and classrooms.

microphone screenpro acoustic foam microphone screen

This Microphone screen reflection filter, from Pro Acoustics, is a compact and portable acoustic absorber, designed primarily to reduce the amount of room ambiance picked up by a microphone during recording. It may also assist a little in isolating the mic from other sound in the room, such as the noise from computer fans or spill from other performers. The Microphone screen can be fitted behind almost any microphone by means of the included fixing bracket which has both an 5/8″ to 3/8″ and a 3/8 to 5/8″ microphone thread adapters, allowing support for your mic or shockmount. Meaning that you require only a single mic stand to hold both your microphone screen and your microphone, but unlike many other microphone reflexion filters where the assembly can end up being quite heavy with a cumbersome metal housing which very often makes the stand microphone and screen unstable and prone to falling over, the pro acoustic microphone screen works independently without the need for an awkward outer frame to curve the absorbing foam interior. Instead the unique design of the pro acoustic microphone screen has the foam reflection filter CNC cut from a thick solid piece of acoustic foam giving the screen an inherent curved shape.

The Screen absorbs acoustic energy with impressive effectiveness; you only have to stick your face up close to it and speak to hear that. On its own, it makes a valuable contribution to improving your recordings by reducing the amount of reflected sound getting into the microphone, and it can be used in different ways when recording instruments to improve separation and to reduce room tone. When used in combination with some absorption behind the performer you may be surprised how good the results can be, as each tackles a different type of sound-leakage, so by combining them, you really can make great recordings in a typical bedroom studio. Whilst the microphone screen scores in minimizing the level of off-axis sound reaching the microphone, acoustic treatment placed behind can be most effective at preventing reflections reaching the front of the microphone.


The optimum mic position relative to the screen is to get the microphone lined up with the centre of the filter and having mic sitting just within the curve of the screen, leaving space between it and the screen inner wall. If you place the mic further into the screen, the sound will dry up more, but may change slightly in tonality.

Those recording in less-than-ideal recording environments have been looking for a ‘magic bullet’ quick fix for recording vocals since the term ‘home recording’ came into being, and the pro acoustic microphone screen now represents a serious step in that direction. It can’t keep all reflected sound out of the mic, as some will end up bouncing into the mic’s frontal axis from the wall behind the singer, but it certainly reduces this by minimizing the amount of voice making it out into the room and by attenuating off-axis sounds. This could be particularly useful in a typical studio vocal booth where there is often a glass door directly behind the microphone. If rear-wall reflections are still a problem for you, some acoustic foam treatment behind the singer should bring about the desired degree of improvement, and in combination with the screen should allow anyone to record clean vocals that are free from damaging room coloration. The relativity inexpensive price of the screen will represent outstanding value when you consider that it might well make more difference to the subjective quality of your recordings than blowing an extra grand or two on more sophisticated mics and preamps!

spin1038 tv The Live Room

Spin1038tv The Live Room Playlist , and in the background BLOCK45 Pro Acoustic foam Tiles

Spin 1038 today launched THE LIVE ROOM, a custom built studio giving you intimate access to the world’s biggest artists and the most exciting breakthrough talent.
THE LIVE ROOM will host exclusive performances broadcast live on Spin 1038.
The studio, which is the first of its kind owned by a radio station in Ireland, was designed to the highest spec for the purpose of recording high quality audio and video.
The room provides the perfect acoustic environment for international artists and gives Spin 1038 the opportunity to host them and generate original content for the station.


Speaking about the Live Room, Jamie Crawford, CEO of Spin 1038, said, “Spin 1038 prides itself in being No.1 for Music and Entertainment. We understand how important relevant shareable content is to our listeners. We wanted to take the next step in exclusive content and give our listeners intimate access to the biggest artists and hottest new acts. THE LIVE ROOM will facilitate world-class performances and we are delighted to have one of Spin’s biggest artists Kodaline to launch it”.
Kodaline were on hand to launch the studio on Friday March 27th, 2015 with special performances of their forthcoming singles The One and Ready. Commenting on The Live Room, Steve said, “Spin has supported us from Day and we are delighted to be involved in such a momentous occasion for the station. The room and sounds great”.
The videos are now available to view on



Blast The Beat TV

Featured Youtube Channel : Blast The Beat TV

Blast The Beat Tv is an urban broadcasting channel providing audiences with different genres and ranges of talent from all over the U.K.

Blast the booth, a custom built studio recording booth giving you access to the UK’s grime and urban music artists and the most exciting breakthrough talent.
BLAST THE BOOTH  will host exclusive performances broadcast live on Blastthebeattv.
The recording booth, which was designed to the highest spec for the purpose of recording high quality audio and video.
The booth provides the perfect acoustic environment for the UK’s artists and gives Blast The Booth the opportunity to host them and generate original content for the station

See the booth on the Youtube Channel :

Check out our Official Website :

Follow Blast The Beat TV
Twitter –
Instagram –
FaceBook –
Website –




Acoustic Foam For Vocals

Acoustic Foam – Sound Absorption for Vocals & Music

BLOCK100 Acoustic Tile

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.

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.

BLOCK100 Acoustic Tile

What’s Different About Our Acoustic Foam?

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 isnt 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.

Sound On Sound

Soundproofing & Acoustic Treatment

This is an article written by Paul White chief editor of Sound on Sound the full article can be seen here sound on sound

Visit their forums where you will undoubtedly find help with any acoustic problem you may have.

acoustic treatment

Frequently Asked Questions.

Paul White, answers some of the most common questions SOS receive about soundproofing and acoustic treatment for the home studio.

When you’re trying to set up a studio on a limited budget. it’s all too easy to concentrate on buying equipment rather than spending your hard-earned cash on things that don’t make a sound. A little money spent treating the room in which your studio is based. however. can often be a better investment.

A lot of people find out too late that the acoustics of their chosen room cause problems. either by coloring their recordings. distorting their monitoring perspective or leaking sound and thus disturbing their neighbors. In this article I’m going to tackle some of the most common problems and questions.

Here at SOS we get lots of phone calls asking about this subject. Most of them go something like this… “Hello. I’m sorry to bother you — I know you must be very busy but I’m a regular SOS reader and I’ve got a bit of a problem that I hope you might be able to help with…” The caller then goes on to to describe a shed-to-studio conversion project. noise problems relating to home studios and neighbors. in attached houses. noise caused by other family members who play the drums at antisocial hours. bedroom studio acoustic problems or some other equally familiar scenario. Sometimes we can help while at other times we are only able to temper the caller’s expectations with a little reality.

Q What’s the difference between soundproofing and acoustic treatment?

Acoustic treatment. in the context of a recording studio. generally deals with the acoustic quality of the room from a listener’s point of view. In other words. if you monitor in a control room that has been designed using the correct acoustic treatment. what you hear is likely to be more accurate than the same recording played back over the same speakers in an untreated room.

Soundproofing. on the other hand. is specifically designed to increase the degree of acoustic isolation between the studio and the world outside — cutting down on noise that leaks into or out of the studio. Sound isolation works the same both ways. so there’s no difference in approach to keeping sound in or out.

Q I’ve heard that sticking egg boxes or acoustic foam to walls will help soundproof a room. Is this true?

Egg boxes can make a marginal improvement to some aspects of a room’s acoustics by breaking up reflections from hard surfaces. but they are virtually useless for soundproofing. The same is true of lightweight suspended ceilings. acoustic foam and even Rock wool (Rock wool tends to be used for acoustic treatment or for damping out resonance’s inside partition walls. All these materials have their uses. but they’re mainly for acoustic treatment. not for soundproofing).

Q So. what are the requirements for soundproofing? The term ‘soundproofing’ is rather misleading. because in most real-world situations. you can cut down on leakage but you can’t get rid of it altogether. Sound isolation is a more accurate term.

The simplest way to attenuate sound is to put a solid wall in its way — the more solid. the better the isolation you’ll get. As a rule. if you double the mass of a wall. you halve the amount of sound transmitted through it. Unfortunately. sound isolation tends to fall with frequency. so even though you may be able to get the mids and highs under control. the chances are that you’ll still be able to hear the bass drum and bass guitar thumping away from outside. That’s why when you walk past a club. all you can hear from outside is bass.

To give you some examples of what to expect. a single brick wall might have a quoted Sound Reduction Index (SRI) of 45dB (this is averaged over a range of frequencies. so the bass-end isolation will be rather worse than this figure) while a domestic panel door might only give you around 10dB of isolation. Because the degree of sound isolation depends largely on mass. lightweight solutions such as partition walls work noticeably less well than solid brick or concrete. However. there’s another useful fact we can utilize — two walls are always better than one.

If a single wall can reduce the sound leakage by 45 or 50dB. you might imagine that two separate walls spaced apart might give you 45dB for each wall. or 90dB altogether. Sadly. unless the walls are separated by a large distance. the air between them couples energy from one wall to the other and reduces this figure considerably. However. and this is the important bit. two walls with an air gap in between will always give better results than a single wall of double the thickness. The wider the gap. the better the sound isolation. especially at low frequencies.

Q But commercial studios often include plasterboard-covered studding walls. Surely these can’t have enough mass to work properly?

In most serious studios. any partition walls have at least three layers of plasterboard on each side. This builds up enough mass to provide adequate isolation. though at the very low end. brick or concrete is still better.

Doors And Windows

Q OK. so I can build high-mass walls. but I can’t make the windows out of concrete. Won’t a lot of sound leak in and out there?

That’s true. and even using the ‘two layers are better than one’ theory. double-glazed windows offer only a limited amount of sound isolation compared to a high-mass wall. Nevertheless. double-glazing is a lot better than single-glazing. The wider the gap. and the heavier the glass. the better the isolation. Adding secondary double- glazing inside an existing double-glazed window works even better. but all your glazing must be airtight. otherwise the sound will just leak around the edges. Of course if you don’t need the light. you can board up the window and fill the space with sandbags!

Q But I can’t board up the doors. otherwise I won’t be able to get into my studio!

Doors can be a real problem. because no matter how thick and heavy you make them. they’ll always leak a lot of sound compared to the surrounding walls. You also have to work harder to keep them airtight and you’ll needs seals all the way round. including the bottom. The best solution is to use two doors separated by at least the thickness of your wall. A pair of heavy fire doors (these are usually filled with plasterboard) can work well. but make sure your frame can take the weight.

Q I think I can deal with the walls. doors and windows. but what about the floors and ceilings?

Concrete floors don’t usually cause problems because of their high mass. but wooden floors are a different story. especially if you have neighbors. trying to get to sleep in the room below. Being realistic. there’s nothing simple you can do to a wooden floor to increase the isolation to the extent that you could play drums without upsetting the people below. Even the expression pedal from a piano will come through a wooden floor loud and clear! However. you may be able to make an improvement if you’re using the room to mix or to play less noisy instruments. Fitting heavy felt carpet underlay is a good start. and if you’re into DIY. you may even be able to make a floating floor (a kind of false wooden floor that rests on a resilient base of Rock wool or neoprene).

It also helps to get noisy amps and speakers off the floor. You can stand instrument amps on blocks of foam rubber. though these days there are so many good DI solutions that you might be better off going for one of those. Thick neoprene slabs between your monitors and their stands can also help.

Q That’s a lot to think about. but where should I start?

Look for the weak areas first. There’s no point worrying about your walls if the doors and windows offer poor isolation. At the most basic level. you need as much structural mass as possible. air-tight seals around doors and windows. and double doors if you’re going to make much of an improvement. Double-skin walls are a good idea. but there’s little point worrying about the fact that you only have a single-thickness wall if the real problem lies elsewhere.

Also. consider structure-borne sound. Sound energy travels very efficiently. as mechanical vibrations. through wooden joists or steel girders. If you inject sonic vibrations into these components. they’ll bypass all your careful soundproofing. Pay particular attention to floor supports as most unwanted energy gets injected into the floor.

Q If soundproof means airtight. how do I breathe?

For fresh air. you’ll have to open the doors between takes unless you can afford a proper studio ventilation system. However. a simple air conditioner that cools and re circulates the air will make the room a lot more comfortable to work in providing you do remember to open the doors from time to time.


Q Assuming the noise levels are workable. what can I do to set up a reasonably accurate monitoring environment — short of employing a studio consultant and spending a lot of money? If you’re doing any commercial work. then paying a consultant might not be a bad idea as it can save you from wasting a lot of money doing the wrong thing. Even so. there are simple things you can do to a domestic room to make it work better as a mixing environment.

For monitoring. it’s important to have a room that’s not too live — everything should be as acoustically symmetrical as possible. Ideally. the reverb time should be even across the audio spectrum. though even in the best studios. it tends to rise a little at the bass end. In a domestic room. excessive reverb can be addressed reasonably well by carpeting the floor and using a few soft furnishings. though it also helps to fix a square metre or so of acoustic tiles to the walls each side of the listening position to kill flutter echoes. A soft sofa at the back of the room can also help. along with shelves. to break up reflections from the rear wall.

Strong early reflections from the monitors should also be avoided so. if at all possible. put your monitors on stands behind the mixer. not on the meter bridge. You probably won’t need to worry too much about the bass end providing you use near field monitors that don’t go too low. If you’re getting reflections from the ceiling above the mixer. consider putting another foam absorber or two up there as well.

Q How much does the room that I’m working in affect which type of monitor I should choose?

While it is important to master commercial mixes over full-range speakers. a two-way near field monitor that rolls off gently below 50 or 60Hz is probably best for use in the typical project studio. Pumping too much bass into the room will just confuse the sound and may lead to an inaccurate mix. Studio monitors should be accurate and revealing rather than flattering. and they should sound smooth enough not to fatigue your ears when listening for long periods. Active monitors often perform better than passive models and they relieve you of the task of picking a suitable power amplifier.

Whichever speakers you have. it’s a good idea to listen to some known pre-recorded material over the system before mixing. This gets you used to what your mix should sound like in your mixing environment. Not all CDs are well recorded. but if you can find something half decent in approximately the same style as the music you’re working on. it will help you keep a sense of perspective.

Q Where should I put the monitors?

Putting speakers too close to corners tends to emphasize the bass in an unpredictable way. so try to site your speakers away from the room boundaries and make sure the setup is symmetrical. with the tweeters pointing at your head in your normal monitoring position . Relatively small changes in speaker position can affect the sound quite significantly. so experiment with moving your speakers forward or backwards while some known commercial material is playing and aim for a smooth response. especially at the low end. If some bass notes seem louder than others (from your normal monitoring position). move the speakers around until the problem is minimized. Mounting the speakers on solid stands makes quite a difference. and hi-fi stands that you can fill with dry sand also work well.

Next Steps.

Q Where can I obtain the materials I need for soundproofing and acoustic treatment?

Most of the materials can be found at regular builders’ merchants or DIY shops. though studio-quality door seals. neoprene and acoustic foam are best obtained from a specialist studio supplier. You can usually find a choice of these advertising in SOS. Foam acoustic tiles are offered for sale by most studio suppliers..

Q Where can I obtain more information on this subject?

There are past articles on the SOS web site (enter Soundproofing or Acoustics in the Search facility at and a couple of my own books are available from the SOS bookshop (01954 789888). including Creative Recording II and Basic Home Studio Design. These are good if you want a practical rather than mathematical guide to the subject. For a more detailed. technical approach. there are some excellent books from F. Alton Everest. including The Master Handbook of Acoustics.

Q Are you sure I can’t use egg boxes?

Quite sure!



Sound Absorbing Materials

Introduction to Sound Absorbing Materials

Sound-absorbing materials absorb most sound energy, striking them and reflecting very little, making them very useful for the control of noise. The major uses of absorbing materials are almost invariably found to include the reduction of reverberant sound pressure levels and, consequently, the reduction of the reverberation time in enclosures or rooms. Although all materials absorb some incident sound, the term “acoustical material” has been primarily applied to those materials that have NRC of at least 0.5 — in other words absorbing at least 50% of sound

Porous sound absorbing materials can be classified as cellular, fibrous and granular

Porous Cellular Sound Absorbing Material is a solid that contains cavities, channels or interstices so that sound waves are able to enter through them. To be effective sound absorber, the cells have to have an opening in order for sound waves to enter the materials through a multitude of small holes or openings. Those pores “open” into continuous twisted channels which have a great importance for the absorption of sound. Open pores can be “blind” (open only at one end) or “through” (open at two ends).

Porous Cellular absorbers, typically open cell rubber foams or melamine sponges, absorb noise by friction within the cell structure.

Porous Fibrous Sound Absorbing Materials are composed of a set of continuous filaments that trap air between them. Fibers can be classified as natural or synthetic (artificial). Natural fibers can be vegetable (cotton, kenaf, hemp, flax, wood, etc.), animal (wool, fur felt) or mineral (asbestos) and are essentially completely biodegradable. Also, natural fiber processing is more economical and environmentally friendly. Porous Fibrous sound absorbers absorb noise by vibrating the fibers within the material and also by air friction trapped between the fiber filaments of the material.

Absorbing sound spontaneously converts part of the sound energy to a very small amount of heat in the intervening object (the absorbing material), rather than sound being transmitted or reflected. There are several ways in which a material can absorb sound. The choice of sound absorbing material will be determined by the frequency distribution of noise to be absorbed and the acoustic absorption profile required.

As mentioned above, there is an important difference in the sound absorption mechanism between porous cellular materials like acoustic foam and sound absorbing fibers like cotton,

Acoustic foam absorbs the sound energy by trapping sound waves in a pores and channels of the foam. Diameter of the channels, its tortuosity (shape) and length of the channels are all contributing factors in the sound absorption. Sound waves get into the open cells of the foam and lose their energy through friction between the air particles and the void walls of the material it is passing through. Foam attenuates airborne sound waves by increasing air resistance, thus reducing the amplitude of the waves.

In Fibrous Sound Absorption, panels sound reduces its energy by trying to vibrate the fibers within the panels. When the air gets into fibrous thickets – the waves are trying to move and shake each of these fibers and dissipate its energy.

Acoustic Foam Facts and Myths

Top Myths, Facts and Solutions in Acoustic Room Treatment

Use Egg Cartons?

No way! Anytime you talk about acoustical issues and how to solve them, this product pops up: egg cartons. It is a cheap option but doesn’t work for acoustics or soundproofing. The materials in egg cartons provide very little absorption to high frequencies but too thin to offer anything for sound isolation.

Can Carpets on the Walls Help?

Not much. Carpet seems like a very reasonable and workable approach to solving acoustical issues. You can hear the difference in a room with and without carpet. Soft carpet does provide high-frequency absorption, and if you use padding, it can provide some lower absorption too. But, in general, most carpet does not provide enough mass for sound isolation. Also, carpet does not absorb low levels requiring you to get bass traps to balance things out.

Furniture Can Absorb?

Some — depending on placement. Most people, when designing a space for a home recording studio, think they need to move all of their furniture out of the way. This isn’t true. If you have the room, you should strongly consider keeping your overstuffed comfy couch in the room and perhaps even your bookcase that is filled with books. Why? A well-placed sofa and other furniture, like the bookcase, can actually provide bass trapping and absorption of higher frequencies. And, although not huge, couches can help with lower frequencies too.

Foam to the Rescue?

Not all foam works. Foam is what most people in acoustics think of when it comes to acoustical solutions but not all foam is equal. Although much cheaper, household foam such as packing foam, mattresses, pillow foam, do not offer the same type of performance as acoustic foam.

What Should You Use To Solve Acoustical Issues?

Acoustic Foam. Acoustic foam is made for acoustics – being specifically formulated , manufactured with an open cell structure with the right ammount of porosity density hardness permiability and cell structure . It is an ideal substance to use for enhanced acoustics.

Depending on the tile shape and thickness you can tame your room a thinner tile may have an NRC of 0.5 (50%) good for general use in taming Highs and mids, if you need to tackle mids and lows aswell then you must go for a thicker tile which should have an average NRC of 70 to 100 (70%) to (100%).

Auralex Studiofoam Pyramid V Pro Acoustic BLOCK100

Auralex Studiofoam Pyramid

There’s no doubt that Auralex make very good acoustic room treatment products. and they are the world leader in this area but how much of the cost is on their good brand name and how much is in the product. you would be astonished.

We ourselves were surprised when we got such good results with our block tile range launched mid 2014. especially when our best tile the BLOCK100 beat one of Auralex’s top tiles the 4″ Auralex Studiofoam pyramid.


BLOCK100 Acoustic Tileauralex-studiofoam

4″ Auralex Studiofoam Pyramid Grey Average NRC ( Noise Reduction Coefficient )   0.95  (95%).

PRO Acoustic BLOCK100  Average NRC ( Noise Reduction Coefficient )   1.04  (104%).

The pro acoustic BLOCK100 showing itself to have a massive 10% better Noise Reduction Coefficient than the Auralex Studiofoam Pyramid.

And considering the price ( at the time this was written 03/10/2014 ) their UK distributor Dolphin Music is charging £337.01 for 48ft2. Compared with Our price of £177.55 for the equivalent quantity of BLOCK100 Tiles. Almost half the price!

We have published this article to show our products are a good quality. As we are not as well known as many of the older established brands the way we have a foot in the market is by selling at keen prices and dispatching direct from our factory.

One customer who purchased our tiles online left a review which we thought summed up our goods well. “Acoustic tiles can be damned expensive; cheap acoustic tiles can be damned useless – these tiles buck both trends“.

For some reason Auralex only give the overall NRC value on their website and do not show the different frequency breakdown. This aside the trend should be much the same from acoustic foam to acoustic foam. Which will be that the lower frequencies are not tamed as much as the high and mids.