Audio Breakthroughs Focuses on Room Acoustics for Discreet Basement Theater

This article details the process of moving a recording studio from a home environment into a rented space, focusing on planning the room layout and implementing DIY acoustic and aesthetic design elements. The author recounts the challenges faced during the moving day, which was complicated by heavy rain and the fragile nature of studio equipment. The initial setup involved hanging a ceiling cloud, an acoustic treatment designed to absorb and diffuse sound reflections from monitors. The author opted for a robust chain-hanging system, ten times stronger than required, to account for an old, imperfect ceiling and to allow for precise adjustments to ensure the cloud was perfectly straight. This decision provided flexibility in dealing with ceiling variations and different beam positions. The subsequent phase involved meticulous planning of the studio's layout. The author utilized a pre-organized Canva document to map out the placement of equipment. Prior to the move, the author had prepared custom-length looms for the home studio, which were then carefully unplugged and moved with the patchbay as the central point. This strategic approach ensured that cables were appropriately routed and of sufficient length, preventing the need for furniture rearrangement later. Heavy furniture, such as the desk for the console and a newly built equipment rack, was moved into place after the cable layout was established. A couch was strategically placed at the back of the room to serve both as seating for clients and as an acoustic absorption element, specifically to mitigate low-end reflections that can interfere with accurate monitoring in the sweet spot. The article also covers the integration of additional acoustic panels, constructed from Earthwool wrapped in canvas within wooden frames. These panels were intended to be re-wrapped with an extra layer of canvas for an improved aesthetic. A practical tip shared is the use of drop sheets as a cost-effective alternative to conventional fabric for acoustic panel wraps and curtains. The existing rented room had black fabric covering the walls, which was described as unfinished and oppressively dark. This prompted an aesthetic upgrade using canvas drop sheets to create curtains. The process of creating and hanging the curtains involved purchasing large drop sheets, cutting, sewing, and hanging them from a curtain rail. The author provides crucial advice based on personal experience: wash drop sheets before cutting and sewing, as canvas can shrink significantly. The shrinkage led to an unforeseen gap between the bottom of the curtains and the floor, which was partially addressed by using fabric offcuts stapled to the carpet. Further offcuts were used to bridge gaps around wall sconces, with fabric secured beneath lights to prevent heat-related issues. Following the installation of curtains, rugs and a Facebook Marketplace couch were added. With all the gear racked and patched, the author noted an immediate issue with a painful lack of low end when testing a reference track, indicating the need for further room measurement and correction, which will be covered in the next installment. #RecordingStudio #StudioDesign #DIYStudio #AcousticTreatment #RoomPlanning #HomeStudio #AudioEngineering #InteriorDesign #AcousticPanels

This article details the development and installation of a dedicated home cinema room by Cinema Rooms for a client in 2019. The client, a known home cinema enthusiast, sought to create a bespoke viewing experience, drawing inspiration from a prior visit to the Artcoustic showroom. The project faced initial delays due to the COVID-19 pandemic, which impacted material availability and construction schedules for the wider home renovation, allowing the first-fix for the cinema room to commence while other parts of the house were being completed. The technical design phase focused on acoustics and equipment integration for the 7 x 4m room. A bass simulation was conducted to determine the optimal subwoofer placement and quantity to achieve Dolby’s 115db reference output. This analysis led to the decision to install four subwoofers: two Artcoustic Sub 3 units (each with two 10-inch long-throw woofers) at the front and one Artcoustic Sub 4 unit (featuring four 10-inch long-throw woofers) for the overall bass response. The client's preference for 3D movies, particularly after the release of new Avatar films, necessitated a projector with 3D capabilities and sufficient 3D glasses for the seven planned seats. Space constraints for air conditioning, due to a bar area and hidden projector, were addressed by utilizing the projector’s lens shift capability to offset its position, allowing a ducted air conditioning unit to be integrated within the bar area. The construction process involved building out the screen and side walls. The screen wall was extended by 300mm to create a carcass for housing the Artcoustic LCRs and a central subwoofer, with the void filled with rockwool for sound insulation and then clad with OSB. Similar, smaller carcasses were built into the side and back walls for the surround speakers. A dropped ceiling was installed to create a coffer at the front of the room, again incorporating rockwool and OSB cladding. A bespoke bar cabinet was constructed along the back wall to discreetly house the AV rack, projector, and air conditioning unit, complete with antique mirrors, LED lighting, and a custom grill for the projector. A stage was also built to elevate the second row of seating, ensuring optimal viewing angles. Window and curtain coffers were lined with the same material as the bar and stage step cladding to maintain a cohesive aesthetic throughout the room. To enhance acoustic quality, 12mm foam was applied to the walls and ceiling, over which acoustically transparent fabric was stretched to create a seamless finish. The majority of the fabric was navy blue, complemented by a contrasting gold feature band. A starscape ceiling was installed within the ceiling coffer, with its perimeter matching the material used for the bar, window liner, and stage cladding. Post-fit-out, the equipment was installed and calibrated, with multiple subwoofers strategically placed to mitigate room modes identified during the design phase, resulting in an exceptionally flat bass response across all seating positions. The system achieved the capability to deliver Dolby's reference bass levels at 115db, extending below 20Hz. The installed equipment included a Sony VPL590 projector, chosen for its picture quality, lens shift, and 3D functionality. The client's existing Oppo Blu-ray player was integrated, alongside a Zappiti Neo with NAS SE for movie versatility. A Starscape Infinity modular star panel system and Rako lighting control were incorporated to enhance the room's ambiance. Seating consisted of two rows of FrontRow Serenity chairs, with the middle front pair offering a lounger option. The client expressed high satisfaction with the outcome, particularly praising the thoughtful design, exceptional sound, and overall aesthetic. The room was named "The Majestic," a homage to a movie about an old, restored cinema, reflecting the client’s passion for film. #HomeCinema #AcousticDesign #SmartHome #CustomInstallation #AudioVisual #InteriorDesign #LuxuryCinema #ProjectManagement #SoundCalibration

Podcasting, once primarily an auditory medium, has evolved into a visual experience, leading to a growing trend where top podcasters are enlisting residential interior designers to transform their recording studios into aesthetically pleasing and comfortable spaces. This shift is driven by the increasing popularity of video podcasts, often broadcast on platforms like YouTube, where visual appeal plays a significant role in engaging the audience. Interior designers are moving away from the traditional, sterile studio setups characterized by egg-crate walls and basic equipment. Instead, the focus is on creating snug, intimate environments that resemble cozy living rooms, often within the podcasters' own homes. For example, Ashley Robbins, an interior designer, created a studio in West Hollywood with pink-painted wood paneling, CB2 furniture, and a Lulu and Georgia rug for Dear Media, a prominent podcasting studio. Similarly, multimillion-dollar podcaster Alex Cooper had her home designer, Lindsay Balton, style her 'Call Her Daddy' set with petal-colored decor, coffee table books, and decorative knickknacks, aiming for a more personal feel. Rebecca Sananès, a podcast executive, notes that modern podcast sets are increasingly designed to feel like a “super cozy living room,” a sentiment echoed by designers like Robbins, who states that professional design “elevates your podcast” and helps convey the host's brand. This emphasis on comfort and personalization extends to hosts who prefer to record from home. Sofia Franklyn, former co-host of 'Call Her Daddy' and now host of 'Sofia With an F,' dedicated Manhattan square footage in her apartment to her recording studio. Her designer, Madison Napier, created a “moody, comfortable setting” with a creamy white CB2 sofa and limewashed ashy blue walls, intending to foster a vulnerable and open atmosphere for the podcast’s content. Napier emphasized that physical comfort is crucial for hosts to open up. The design choices go beyond mere aesthetics, also considering the practical aspects of recording. For instance, the use of comfortable furniture, such as a cream bouclé swivel chair from CB2’s goop line, is believed to encourage guests to relax and share more candidly. Lexi Hidalgo, a TikTok creator with a popular podcast, plans to build a studio in her new home that utilizes natural light and a single camera, aiming for a casual, FaceTime-like visual experience for her viewers. This casual approach contrasts with elaborate professional lighting and multi-camera rigs, further reinforcing the intimate, home-like ambiance. Creating these specialized podcast studios can be a significant investment, with costs often reaching around $30,000, according to Robbins. A unique challenge for residential interior decorators in this context is the need to incorporate sound-reducing elements without compromising the residential feel. Designers frequently utilize heavy fabrics like velvet drapery, which double as noise reducers, to soften spaces and maintain a homey aesthetic. Liz Livington, an Atlanta-based decorator, designed a studio for TenderfootTV using dusty-hued velvet drapes to achieve a residential feel while addressing acoustic requirements. Ultimately, the goal is to create a visual environment that avoids the look of a traditional television set, making viewers feel like they are inside someone's personal space, thereby maintaining the intimacy inherent to the podcast medium. #PodcastStudios #InteriorDesign #HomeDecor #RecordingSpaces #VisualPodcasts #CelebrityDesign #AcousticTreatment

Valentino's creative director, Alessandro Michele, in collaboration with architect Francesco Lupia and the Italian cultural collective Terraforma, is launching an immersive sound experience called L'Atelier Sonore at the Madison Avenue Valentino flagship. This initiative is part of a growing trend of ultra-luxury, bespoke listening rooms designed to offer an optimized sonic experience. The installation, which features a custom sound system, a handcrafted multifunctional listening console, and modular velvet seating, will open to the public after a private 10-hour listening party and will run through August. Listening rooms are specialized spaces engineered to enhance the quality of music from high-end sound systems. The primary goal is to amplify sound quality beyond mere volume, focusing on natural acoustics and minimizing external noise pollution while containing internal sound. These rooms evolve from concepts like traditional music store listening booths, moving beyond the audiophile niche to cater to anyone who appreciates an optimized music listening experience. The atmosphere in these rooms is typically relaxed, with comfortable seating and low lighting, designed to foster a deeper connection with the music. The historical roots of the listening room trace back to post-World War II Japan, where economic conditions led to the repurposing of professional audio equipment into jazz cafés and dedicated listening spaces. This concept has seen a resurgence, with listening bars appearing in major global cities like Los Angeles, London, New York, and Berlin. Even hotels, such as The St. Augustine in Houston, are incorporating listening rooms into their designs to provide guests with unique relaxation experiences. A crucial aspect of modern listening rooms is the integration of bespoke sound systems, which are custom-designed to fit the specific dimensions and acoustics of a room. This customization accounts for how room size and shape influence sound waves and listener perception. The article emphasizes that there is no single 'right' way to construct a listening room, as the ideal setup is highly individual and depends on personal preferences and the specific characteristics of the space. For individuals considering building a listening room at home, the process begins by identifying one's listening goals, ranging from a perfectly calibrated audiophile sanctuary to a comfortable space with a good sound system. Sasha Frere-Jones's mnemonic device – 'corner, club, cathedral, and cocoon' – categorizes different listening environments based on their formality and ambient characteristics. After defining these goals, consulting sound experts is recommended to navigate the complexities of gear specifications and room acoustics. Resources for further study, such as guides on building listening rooms and avoiding noise pollution, are provided. The final step involves consulting a contractor or specialty architect, particularly for those with limited space or specific acoustic requirements. Key construction elements to consider for minimizing reverberation and optimizing sound include flooring (solid floors are often preferred, with varied opinions on carpeting versus concrete), windows (which should be minimized or well-sealed and insulated), ceilings (where sound panels can be beneficial), and the strategic placement of doors. Lighting is often kept low to enhance the contemplative mood, and seating is chosen for comfort and ample provision, often with reclining options. #ListeningRoom #HomeAudio #InteriorDesign #LuxuryHomes #AcousticDesign #SoundSystem #ArchitecturalDesign #HomeEntertainment #DesignTrends

The nature of work and learning environments has significantly evolved, moving away from traditional, compartmentalized spaces towards open, collaborative layouts. While this shift promotes integration and creativity, it introduces new challenges such as increased distractions, sensory overload, and difficulty maintaining focus. These challenges highlight a fundamental architectural question: how can spaces simultaneously support connection and withdrawal, activity and silence? This inquiry resonates with the Japanese concept of *ma*, which emphasizes the significance of the interval or the space between elements in organizing and defining an environment. In architectural interior design, this concept can be realized through the creation of microenvironments that offer transitions, acoustic protection, and diverse functionalities within larger spaces. Addressing this, the Danish company DAMPA has developed DAMPA® Space, a modular system designed as an 'architectural piece of furniture.' This system creates temporary, flexible spaces for focused work or interaction within broader settings. Developed in collaboration with architectural firms Kjaer & Richter and Holmris B8, DAMPA® Space consists of a wall-mounted structure that can be unfolded to form small niches, workstations, exhibition areas, or zones for introspection. According to Liv Bach Henriksen, Architect MAA and Head of Learning Environments at Kjaer & Richter, the primary goal was to create a product that not only enhances acoustics but also facilitates the design of 'rooms within rooms,' providing flexible shielding without dominating the overall space. This is particularly relevant in learning environments that require varied zones to accommodate diverse activities while fostering inclusion. Constructively, DAMPA® Space utilizes curved metal panels with microperforations (Ø 4 mm, 40% open area) and a 30 mm stone wool core, drawing on the technical principles of the DAMPA® Silent Board system. This design achieves Class A sound absorption, with an αw rating of 0.95 (EN ISO 11654), representing the highest acoustic performance category. The system features a 2 mm steel structure, an 18 mm FSC-certified plywood desk, and an optional 6 mm FSC-certified bulletin board back panel for communication. All materials meet rigorous fire resistance standards (Class B-s1, d0 for metal components) and durability requirements (corrosion class B, EN 13964). Furthermore, the solution prioritizes sustainability through the use of recyclable aluminum and steel, along with demountable and reusable components, aligning with circular design principles. This high level of performance and flexibility makes the system particularly suitable for educational and professional environments. When unfolded, the panels offer both acoustic and visual shielding, and when not needed, they can be folded back to maintain an open and flexible space. This adaptability allows for continuous adjustment of space functions without compromising visual consistency or spatial unity. The effectiveness of DAMPA® Space was demonstrated at the Høje-Taastrup Culture & Community House, where it facilitated the creation of flexible small workspaces, empowering children with a sense of ownership while reducing acoustic and visual distractions. Beyond its technical and functional attributes, DAMPA® Space offers visual customization. Modules can be configured with various color combinations for metal elements and the back panel, allowing for seamless integration or the addition of vibrant character. Contrasting back panel colors can provide a different aesthetic experience when panels are opened. The carefully selected color palette enables numerous combinations and can even serve as a coding system for spatial navigation, transforming Space into both an acoustic tool and a design element. Ultimately, DAMPA® Space provides a technically sophisticated yet sensitive response to the demands of modern spaces by integrating high acoustic performance, functional mobility, and refined architectural aesthetics, effectively balancing openness and retreat, dynamism and pause, and sound and silence. #AcousticComfort #FlexibleDesign #ModularArchitecture #InteriorDesign #WorkplaceDesign #EducationalSpaces #Sustainability #MaterialInnovation #SoundAbsorption

L-Acoustics has expanded its presence in the premium home and yacht markets by introducing in-wall versions of its Soka, X4i loudspeakers, and SB6i and SB10i subwoofers. These new in-wall designs cater to home cinemas, media rooms, and bespoke entertaining areas, adapting technologies from L-Acoustics' professional audio loudspeakers, such as colinear array driver configuration and coaxial mid/HF drivers, which are well-suited for in-wall installations due to their controlled and predictable dispersion patterns. The compact cabinets of the Soka and X4i models were chosen for their flexibility in integration and interior design. The Soka and X4i models are particularly suitable for in-wall installation because all acoustic energy is projected forwards into the room, eliminating rear venting. Their sealed cabinet design ensures consistent sound output, balance, and maximum SPL, regardless of wall construction, cavity volume, or damping. This design significantly reduces sound energy transmission into adjacent rooms compared to open-backed or non-sealed in-wall speakers. Installing speakers flush to a wall offers advantages, notably the 'boundary gain' effect, where sound waves reflect off the wall and reinforce direct sound, leading to a potential increase of up to +6 dB in sound pressure level at low frequencies. This boost in bass response can be desirable and must be factored into the design phase, although it can interact with room modes, necessitating further acoustic treatment or equalization. Traditional in-wall speakers often include switchable filters in their crossover electronics to attenuate low frequencies, a method that can be imprecise. However, with the advent of modern DSP Room-EQ processing, onboard boundary gain compensation filters are becoming redundant for premium installations. L-Acoustics has opted not to include these bass compensation filters in their in-wall loudspeakers. Instead, potential boundary gain is measured and adjusted using dedicated speaker presets on their amplified controllers. These controllers offer DSP capabilities and algorithms that allow integrators to optimize the frequency response curve during post-installation calibration. Driver technology and configuration are critical for in-wall loudspeaker performance. Traditional two-way speakers with separate bass/mid drivers and tweeters often suffer from phase and time incoherence due to distinct dispersion patterns. Coaxial loudspeaker drivers, with the tweeter mounted centrally within the mid/bass unit, provide genuinely spherical dispersion and time-aligned wavefronts, simplifying DSP EQ and offering a more coherent sound with improved imaging. The X4i, known for its coaxial driver benefits, now incorporates these advantages in the new X4r in-wall variant. The Soka model utilizes a colinear driver array, a technology derived from L-Acoustics' line-array systems for large venues. This system, combined with the DOSC waveguide, offers enhanced control over directivity and forward energy projection, reducing reflections from the baffle wall and ensuring consistent sound irrespective of the wall's cosmetic finish. Physical considerations are equally important. Main installation speakers are designed to be approximately 100mm deep and no more than 400mm wide to fit within standard construction frameworks. The X4i and Soka models meet these dimensions, making them ideal for reengineering into in-wall variants. An acoustic seal is formed against the wall by the front grille to prevent sound propagation backward. Installation is simplified with included templates and rigging kits for various mounting options. Advanced modeling software like Soundvision allows integrators to import room drawings and virtually place loudspeakers to validate acoustic results before installation, ensuring optimal speaker placement. For ultimate performance, L-Acoustics provides an acoustic measurement solution, including Network Manager software and the P1 AVB processor platform, for EQ optimization and validation. These advancements underscore the sophistication of modern in-wall loudspeakers, transforming them into highly innovative devices backed by cutting-edge software, crucial for delivering premium sound in high-end audio integration projects. #LoudspeakerDesign #InWallSpeakers #AcousticEngineering #HomeCinema #SmartHomeAudio #AudioIntegration #DSPProcessing #CoaxialDrivers #ColinearArray #SoundvisionSoftware

The concept of stereo bass has been a long-standing debate among audiophiles, with some arguing its necessity for accurate musical reproduction. This article delves into the definition, perception, and challenges associated with stereo bass, also introducing the term "bassiousness" coined by Todd Welti to better describe this phenomenon. The discussion originated from interactions with Dr. David Griesinger, a renowned expert in performance hall acoustics and a proponent of stereo bass. Stereo bass, at its core, is not about the precise localization of low-frequency instruments across an imaginary soundstage. Instead, it concerns the multidimensional aspects of sound perception, specifically how the brain interprets the room's influence on sound. This includes understanding the size and liveliness of a space, and the listener's position relative to its boundaries. Two key properties, envelopment (or spaciousness) and apparent source width, contribute to the subjective reality of a performance, independent of simple source localization. Envelopment refers to the listener's immersive experience, while apparent source width conveys the scale of a musical performance, largely influenced by lateral reflections. Bassiousness, therefore, is about achieving a sense of envelopment or spaciousness at low frequencies, making the bass sound like it originates from beyond the listener's head. In contrast, monophonic bass, often found in bass-managed systems, tends to feel as if it's coming from within the head. Despite the theoretical desirability of bassiousness, its practical implementation presents several challenges. The effect is often subtle and may not always be perceived as inherently "better," but rather "different," akin to shifting the phase of pink noise. The perceived benefit largely depends on the type of music, being more impactful for large orchestral or intimate jazz recordings where the venue plays a crucial role. Furthermore, not all recordings inherently contain the stereo encoding at low frequencies necessary to produce the bassiousness effect, as low frequencies in most recordings are highly correlated and thus monophonic. Recordings that utilized Lexicon reverb units, designed by David Griesinger, are more likely to contain proper stereo bass if no subsequent mono processing occurred. A significant hurdle for achieving bassiousness is its sensitivity to room acoustics. The effect is heavily influenced by low-frequency room modes, particularly lateral modes, while vertical modes caused by floor and ceiling reflections can be detrimental. This implies that speaker and subwoofer placement, along with room treatment, are critical. Rooms with acoustic false ceilings, which absorb vertical modes, tend to make the effect more discernible. In conventionally constructed rooms, however, realizing this effect can be frustrating due to acoustical complexities. To maximize the stereo bass effect, specific strategies are recommended. These include increasing the lateral separation of low-frequency sources, such as placing speakers wider apart (e.g., near room corners) or positioning subwoofers along the sidewalls. Treating the ceiling to absorb low frequencies, perhaps with bass traps or by utilizing acoustic false ceilings, can also enhance the effect by minimizing detrimental vertical modes. The spatial enhancement of low frequencies has a lower limit, generally between 50Hz and 90Hz, suggesting that bass managing below this range might not negatively impact the spatial effect. The article highlights a fundamental trade-off: pursuing stereo bass often conflicts with achieving optimal bass management for a smooth and consistent amplitude response. Proper bass management, which utilizes multiple subwoofers for improved spatial consistency and flatness, requires correlated low-frequency sources without temporal-spatial variation. Stereo bass, conversely, is characterized by such variation. This forces a binary choice between stereo bass and smooth, well-managed bass. The optimal placement for a flat amplitude response typically differs from that required for maximum lateral separation and excitation of lateral modes. Ultimately, the author suggests that prioritizing smoothness and consistency in amplitude response over the spaciousness of stereo bass is generally more beneficial. The conclusion aligns with Floyd Toole's perspective, advocating for a mono bass system with multiple subwoofers spread throughout the room and a crossover around 80Hz, despite acknowledging the validity of David Griesinger's assertions in other contexts. #StereoBass #Bassiousness #RoomAcoustics #AudiohileDebate #LoudspeakerPlacement #SubwooferSetup #SoundReproduction #AcousticTreatment #AudioEngineering

Stealth Acoustics, a company specializing in invisible speaker technology, has introduced its 8th generation LineaRadiance (L-RAD) family of speakers and subwoofers. These new models, building upon the LineaResponse flat radiating diaphragm speakers first launched in 2003, are designed to offer discreet audio solutions for both residential and commercial settings. The LineaRadiance speakers are engineered to be installed in walls or ceilings and can be painted over or covered with light wallpaper, fabrics, or select texture coats, effectively blending into the interior design while delivering sound. The manufacturer is expected to release up to five new LineaRadiance speaker models in 2024, with a total of nine models planned for release through early 2025. Key advancements in the L-RAD series include new internal components and an integrated, acoustically tuned back box made from injection-molded material. The speakers are hand-built in the USA and feature several innovations aimed at improving both sound quality and ease of installation. These innovations encompass the Fidelity Glass Advanced tuned and dampened fiber diaphragm, a new woofer mounting system designed to increase internal air volumes, and an Easy-Tape tapered frame/diaphragm edge for a smoother finish. Additionally, new transducer/exciter driver designs have been incorporated to enhance efficiency and power handling. The re-voiced crossovers ensure a seamless transition between high and low frequencies, contributing to a balanced audio output. Initial details have been released for two models within the new L-RAD lineup: the L-RAD 116 and the L-RAD 430. The L-RAD 116 is a 2-way speaker featuring a 6.5-inch woofer within a 16-inch by 16-inch frame. This model is presented as an entry-level option that still provides good audio performance. It includes two independent protection circuits for high/mid-frequency and low-frequency sections, which automatically reset if excessive amplifier power is detected. The L-RAD 430 is a more advanced 3-way speaker, equipped with dual high-power 8-inch woofers, a 30mm direct coupled neo-magnet mid-frequency driver, and a 25mm direct coupled neo-magnet high-frequency driver, all mounted on a larger 16-inch by 30-inch frame. Its advanced internal materials are designed to facilitate a broad frequency response, extending from 20Hz down to 35Hz. Similar to the L-RAD 116, the L-RAD 430 also features two independent self-resetting protection circuits for its frequency sections. The L-RAD 116 is priced at $1,400 per pair, while the L-RAD 430 is available for $3,000 per pair. These speakers are available through authorized dealers and installers. The company's expansion of its facility, including increased assembly areas and the addition of an injection molding machine, underscores its commitment to the production of these 8th generation invisible speakers. According to Brian Azzano, Vice President of Stealth Acoustics, each speaker undergoes meticulous hand-assembly, inspection, and testing to ensure high quality and improved sound performance, as well as easier installation. The growth of the custom integration (CI) market, driven by consumer demand for high-quality, yet discreet, home audio solutions, positions these invisible speakers as a flexible option for those who prioritize aesthetic integration without compromising on sound quality. #StealthAcoustics #LineaRadiance #InvisibleSpeakers #InWallSpeakers #HomeAudio #CustomInstallation #SpeakerTechnology #AudioEquipment #NewProducts

This article highlights six innovative acoustic products featured on Dezeen Showroom, designed to effectively control noise levels in various interior spaces. The featured products range from disguised acoustic panels that double as wall decor to dedicated solo work booths and specialized ceiling tiles, all contributing to quieter and calmer environments. The increasing demand for noise-dampening solutions stems from the prevalence of open-plan offices and mixed-use spaces, but acoustic products are also gaining traction in educational, healthcare, and hospitality settings. These products typically incorporate compressed fibers such as felt, wool, or foam, which are known for their sound-absorbing properties. A notable trend in their manufacturing is the growing use of sustainable materials, with recycled PET plastic becoming a common component in felt, and natural wool maintaining its popularity due to its renewable origins. One of the highlighted products is the Buddyhub desk by Busetti Garuti Redaelli for Pedrali. This enclosed desk features an integrated, three-sided screen that provides both privacy and sound dampening. Available in various colors and with optional accessories, the Buddyhub desk can be adjusted for both seated and standing use, making it versatile for different work styles. Another innovative solution is the OmniRoom room-in-room system by Mute. This modular system, designed by architects, allows for the creation of functional, noise-regulated zones within open-plan workspaces. The system includes modules for meeting rooms, private offices, and breakout lounges, all equipped with acoustic systems to manage sound effectively. Narbutas introduces the Parthos acoustic column, a tubular piece of furniture that serves multiple purposes: dampening noise, providing decorative elements, and offering storage. This column comes in 12 colors and three heights, allowing for customization to suit different interior aesthetics and functional needs. For individual focus, Room's Phone Booth acoustic pod offers a quiet zone for solo work and phone calls. This single-person booth is constructed with three sound-absorbing layers—MDF, PET felt, and natural wool—which collectively reduce noise levels by 30 decibels, according to the manufacturer. This makes it an ideal solution for minimizing distractions in bustling environments. Woven Image presents the Fuji acoustic ceiling tiles, inspired by Art Deco and Japonisme design periods. These dish-shaped tiles are designed to be mounted on the ceiling, controlling noise and allowing for diverse pattern configurations to complement interior design schemes. Their aesthetic appeal combined with acoustic functionality makes them a versatile option. Finally, the Abstracta x Wall of Art collaboration features acoustic art prints that combine visual appeal with sound absorption. These wall art pieces have a sound-dampening fabric backing, effectively controlling noise while also serving as decorative elements. This integration of art and acoustics provides an elegant solution for improving sound quality in interiors. Each of these products demonstrates a commitment to enhancing the acoustic comfort of modern interior spaces while often incorporating sustainable materials and thoughtful design. #AcousticProducts #InteriorDesign #NoiseControl #OfficeFurniture #SustainableMaterials #ModularSystems #WorkplaceSolutions #CommercialInteriors #DesignInnovation

The Media Integration Lab (MIL) in Tokyo features an exceptional audio system designed for professionals, utilizing exclusively Focal in-wall/in-ceiling speakers and subwoofers. This installation boasts a cumulative amplification power of 21,000 watts, aiming to deliver an unparalleled 3D sound experience for both music and movies. The MIL was established by Focal's official distributor in Japan, collaborating with significant content producers like NHK, and serves as a premier demo system for object-oriented audio tracks. This spherical auditorium is optimized for creating the most immersive sound possible, providing audio professionals with a dedicated environment to evaluate the immersion levels of various content. It supports numerous immersive audio formats beyond standard stereo and 5.1 surround sound, including Sony 360RA, Dolby Atmos, Auro 3D, Hamasaki 22.2 (NHK 8K Super Hi-Vision), Ambisonics, and DTS:X. The acoustic design of the MIL is structured as a sound bubble surrounding the listener. It incorporates twelve vertical arches, each housing two built-in speakers and a custom-made subwoofer with a 12-inch Flax driver. The three central columns facing the listener integrate a Focal 1000 IW LCR Utopia in-wall speaker, topped with a Focal 1000 IW6 speaker. Other columns feature a Focal 1000 IW LCR6 speaker beneath a Focal 1000 IW6. A halo of twelve Focal 1000 IW LCR6 speakers positioned at the top of these arches directs vertical sound effects towards the listening area. Additionally, a Focal 300 IW LCR6 speaker is centrally located above the listener to reproduce the “voice of God” channel, specifically for Auro-3D configurations. Further enhancing the immersion, five Focal 300 IW LCR6 in-wall speakers are integrated into the floor, facing upwards, with three in front of the listener and one on each side of the chair. Two Focal Sub 1000F subwoofers augment the front soundstage. The electronics powering this system are high-end, featuring a Panasonic DMR-ZR1 4K UHD Blu-ray player/recorder and a Panasonic DMR-UBZ2020 4K UHD Blu-ray player, along with a Yamaha CX-A5100 A/V preamplifier. An Innosonix MA32/D power amplifier delivers 9000 watts across 32 channels, complemented by a Pro Tools MTRX audio interface, Focusrite RedNet A8R AD/DA converter, and a Focusrite RedNet D64R digital audio bridge. Six Lab Gruppen D Series 20:4 power amplifiers contribute an additional 12,000 watts. For visual presentation, the MIL employs a JVC projector and an electric projection screen with an acoustically transparent surface, positioned in front of the three frontal arches. This sophisticated setup, capable of delivering sound over 42.3 channels, ensures total immersion. Focal stands as the sole manufacturer globally to provide such a comprehensive immersive system for professional use, indicating a promising future for immersive cinema experiences. #FocalAudio #ImmersiveSound #HomeTheater #AudioSystem #MediaIntegrationLab #FocalSpeakers #DolbyAtmos #Auro3D #HighEndAudio

Learning how to soundproof a bedroom is essential for those living near busy streets or in city centers, as it allows for control over the amount of external noise entering the sleep space. Soundproofing a bedroom serves a dual purpose: it prevents disturbances from outside the home, including noisy neighbors, and it also minimizes the travel of internal household sounds through floors and windows. The article outlines five expert-backed strategies, ranging from simple fixes like choosing appropriate window treatments to more robust solutions such as sound-absorbing panels, all aimed at creating a quiet environment conducive to better sleep. One key method involves addressing street sounds, primarily by improving window insulation. While double and triple glazing are highly effective, more affordable solutions include draught-proofing windows by sealing small gaps and cracks. These openings, which allow sound to penetrate, are also a major cause of heat loss. Sealing these areas with high-quality caulk or weatherstripping around windows, doors, pipes, and wires creates a warmer and quieter room. Grant Fraser, director of London SoundProofing, emphasizes the dual benefits of sealing these openings for both noise reduction and energy efficiency. The second strategy focuses on noise-reducing window treatments. Curtains and blinds play a significant role in soundproofing. Interior designer Lucinda Griffith recommends shutters for deep window reveals and advises choosing curtains over blinds, particularly those with good interlining, and ensuring they are full-length to maximize sound muffling. These treatments help to absorb and block external noise, contributing to a more peaceful sleeping environment. Thirdly, incorporating acoustic panels is suggested to absorb sound. Various bedroom wall paneling ideas can provide an additional soundproof layer. This includes traditional tongue-and-groove designs, classic wood panels, or modern geometric panels. For enhanced soundproofing, foam panels can be layered behind decorative paneling. For a professional aesthetic and superior noise absorption, design psychology coach Rebecca West recommends acoustic wooden wall panels, such as the Quiet Mark-certified WoodUpp Akupanel, which also adds a stylish element to the decor. The fourth approach involves taking a quiet approach to flooring. Softer flooring, such as carpets or soft rugs, improves room acoustics. Lucinda Griffith explains that wall-to-wall carpeting is the most effective, but rugs can also help, especially if chosen for their thickness, texture, or by layering them, particularly under the bed. This helps prevent echoes and reduces sound transmission from the room below, making the bedroom feel cozier and quieter. Finally, blocking sound with a solid door is crucial. Solid wooden doors are significantly more effective at blocking noise than hollow core doors, even though they may be a greater initial investment. It is also important to seal gaps around the door frame, beneath the door, and any cracks in older door panels. Draught-proofing doors not only prevents sound from entering but also stops heat from escaping, further contributing to a comfortable and quiet bedroom. Grant Fraser points out that caulking around doors and windows is an easy DIY task that reduces noise and helps decrease energy bills, while weatherstripping or a door sweep can seal the bottom gap, preventing both noise and drafts. #BedroomSoundproofing #NoiseReduction #HomeImprovement #BedroomDesign #InteriorDesign #DraughtProofing #AcousticPanels #WindowTreatments #FlooringSolutions

Loftwall, a Texas-based manufacturer specializing in customizable space-defining products, has introduced its latest innovation, Tempo. Developed in collaboration with KEM STUDIO, an industrial design firm, Tempo is a versatile family of wall and ceiling-mounted acoustic solutions. The primary goal of this system is to address the prevalent issue of noise in modern workspaces and educational environments, offering an accessible and effective solution for designers, dealers, and end-users. Tempo distinguishes itself through its modularity and flexibility, allowing for limitless combinations of shapes, sizes, and colors. This adaptability enables the system to redefine a space both aesthetically and functionally without necessitating significant financial investment. The ease of design and installation of Tempo is a key aspect, as Loftwall CEO Bryce Stuckenschneider emphasizes that the company aimed to simplify the process, moving away from the complexities often associated with traditional baffle systems. This user-friendly approach is central to Tempo's appeal, making advanced knowledge of design software unnecessary for integrating sound absorption into various spaces. Loftwall's broader mission revolves around enhancing spatial functionality, providing solutions that foster either collaborative environments or private settings, depending on organizational needs. Their product philosophy centers on the belief that individuals deserve privacy, and their offerings are designed to deliver just that. KEM STUDIO, through its collaboration with Loftwall, reinforces its philosophy of “Better Design Better Living,” by making design more approachable and integral to daily life. Beyond its acoustic benefits, Tempo is also positioned as an artistic element, as noted by Jonathon Kemnitzer, principal of Kem Studio. With twelve different modules available in six colors, the system provides designers with extensive creative freedom to craft unique installations. The product’s pricing structure is simplified, based on the square footage of the wall or ceiling area where it is applied, further streamlining the selection and procurement process. This commitment to flexibility extends to the materials used, with a focus on highly recyclable components and intuitive assembly, signaling a forward-thinking approach to sound absorption in the industry. #AcousticSolutions #ModularDesign #WorkspaceDesign #InteriorDesign #SoundAbsorption #KEMStudio #Loftwall #SustainableMaterials

Speaker design studio Silence Please has established its first showroom and listening space in a New York City loft, located in Manhattan's Bowery neighborhood. The extensive loft space is designed to function as a multi-purpose environment, featuring a showroom and seating area at the front, with a record shop named Duty Free Records and a tea room situated towards the back. Silence Please specializes in designing and producing high-fidelity, analogue speakers, which are characterized by their array of materials and distinct horns. The studio took the lead in the interior design of this new space, aiming to create an inviting, home-like atmosphere while simultaneously offering an elevated experience for visitors. The design philosophy was to foster a deeper connection to sound and create a unified space for listening and discovery, balancing an approachable, domestic feel with a dreamy, liminal quality. Upon entering the second-floor walk-up, visitors find a large open space with white-painted walls and an exposed ceiling. The front of the space features tripod speakers, along with tables and chairs designed in collaboration with Brooklyn studio Graine Studio, overlooking Bowery Street. Two dark-washed dining tables by Graine Studio are centrally placed on a black rug that extends towards the dedicated listening area. This intimate section is furnished with black leather Togo sofas, a small wooden dining table, a potted tree, and brushed aluminium speakers fitted with bright white horns. Silence Please aimed to present its speakers in a way that evokes the comfort of a large living room. The studio expressed a desire to merge a gallery aesthetic, recognizing the speakers as art, with the soft and intimate ambiance suitable for personal listening. This juxtaposition of gallery and intimate living space is considered a unique aspect of the design. A white dividing wall partitions the listening area, enclosing one side of the Duty Free Records vinyl shop, which is centrally positioned within the floor plan. Two passageways lead into the record shop, which is outfitted with thin display shelves, crates of records, and seating options. Beyond the record shop, the rear of the Silence Please space houses a tea room, furnished with smaller, boxy, geometric furniture pieces also from Graine Studio. A countertop is located to one side, while operational areas are discreetly concealed behind a white curtain, and a workbench is tucked into the furthest corner. The space is further enriched by artwork from various artists, including French abstractionist Frédéric Heurlier Cimolai. The main listening room serves as a platform for artists and the broader New York community, with the overarching goal of balancing sophistication with warmth to encourage engagement and connection among visitors. This initiative follows Silence Please's recent participation in the first New York iteration of the Collectible design fair, and the establishment of the space reflects a growing trend in dedicated listening environments. #InteriorDesign #Showroom #ListeningSpace #NewYorkCity #SpeakerDesign #RetailDesign #TeaRoom #RecordStore #LoftConversion

Autex has introduced Acoustic Raft, an adaptable acoustic beam system designed for both ceilings and walls, which is the latest addition to their Frontier system. This innovative system is engineered to absorb sound and can be customized to suit various environments, offering a versatile solution for noise management in diverse spaces. The Acoustic Raft components are meticulously scored, folded, and connected using a locking channel, which facilitates their integration with Autex Mounting Clips and Autex Frontier Extrusions. This modular design allows for a multitude of configurations without compromising its acoustic performance. One of the notable features of the Acoustic Raft is its aesthetic flexibility. The system is available in a palette of seventeen colors, providing designers with the opportunity to blend and contrast hues to create visually striking acoustic elements within an interior. This extensive color range enhances its appeal as a decorative feature in addition to its primary function of sound absorption. Each beam within the system is constructed from a high-performing, highly compressed polyester material, ensuring that they are both solid and lightweight. This material choice prevents bending or warping after installation, contributing to the system's longevity and maintaining its intended appearance over time. The installation and removal process of the Acoustic Raft system is designed for efficiency and adaptability. It is assembled using aluminum channels and clips, which allows for quick installation and easy disassembly. This feature is particularly beneficial in dynamic environments where the use of a space might change, requiring the removal or reconfiguration of acoustic treatments. This ease of manipulation makes the system a practical choice for temporary installations or spaces that undergo frequent redesigns. Beyond its functional benefits, Acoustic Raft also serves as a significant decorative element. When mounted on walls, it enhances both the acoustic properties and the visual appeal of a room. Alternatively, when suspended from ceilings using extension rods, it can transform into a prominent statement piece, drawing attention and contributing to the overall design narrative of the space. The customizable nature of the system allows designers to craft unique patterns by varying the spacing between modules or by incorporating multiple colored versions, enabling seamless integration into almost any interior design scheme. In addition to the Acoustic Raft, Autex's Frontier system can also incorporate Autex Acoustic Fins. These fins are offered in five standard designs and are available in two thicknesses, 12mm and 24mm, further expanding the design possibilities and acoustic solutions provided by the Frontier range. The Frontier system, including Acoustic Raft and fins, is engineered for a broad spectrum of applications. It is suitable for various settings, from retail spaces and office environments to commercial interiors, hospitality venues, and educational facilities, demonstrating its versatility and effectiveness across different sectors. Autex recently inaugurated a gallery-like showroom in London's Clerkenwell Design District to showcase their product offerings, including the Frontier system. Designers and interested parties can find examples of the Frontier system's application in specific projects and access additional details on the Autex website or by visiting their showrooms. #AcousticProducts #SoundAbsorption #InteriorDesign #ArchitecturalDesign #CommercialInteriors #CustomizableDesign #BuildingMaterials #OfficeDesign #ProductLaunch

The article introduces IKEA's new MITTZON series of office furniture, highlighting its potential for affordable and easy room acoustic treatment, particularly for listening rooms. The MITTZON series includes free-standing acoustic panels designed to mitigate first reflections in the midrange and treble frequencies. These panels are presented as a cost-effective alternative to traditional acoustic treatments, which often require significant investment and installation effort. The primary acoustic panel discussed measures 8cm deep, 70cm wide, and 157cm tall, priced at €179. A wider version, 90cm wide, is available for €199. While these panels are not designed to address bass problems due to their thickness, their strategic placement can significantly improve sound quality by reducing unwanted reflections. The article suggests placing two panels on either side of a room, three behind the loudspeaker plane, and another two or three along the rear wall behind a sofa to effectively manage reflections. Each panel weighs 23kg and features an integrated plastic clamp system, allowing multiple units to be joined for greater coverage or stability. A practical benefit is the removable and washable covers, enhancing longevity and maintenance. IKEA Germany’s website describes these panels as offering “efficient sound insulation thanks to a solid wooden core with a foamed wood fiber filling on each side, covered with a thick wool fabric.” This construction suggests a design focused on absorbing sound energy across a relevant frequency range for general room acoustics. Additionally, the MITTZON range offers another free-standing acoustic panel that is 85cm wide and 205cm tall. While this panel is only 5cm deep, making it less effective for lower frequencies, its four castors provide enhanced mobility, allowing it to be easily repositioned. This larger panel is priced at €249. The article also mentions desktop acoustic panels within the MITTZON series, though it notes that these are primarily intended for improving intra-desk isolation in open-plan office environments and are less likely to impact overall listening room sound quality due to loudspeakers typically firing low frequencies to the rear. The article emphasizes that while the MITTZON range is not a comprehensive solution for all acoustic issues, it represents a significant step towards improving listening environments. It underscores the critical role of room acoustics in influencing perceived sound quality, asserting that the room itself has a greater impact than many audio components like DACs or phono stages. The IKEA MITTZON series offers an accessible entry point for individuals seeking to enhance their audio experience through basic room treatment without substantial financial outlay or permanent modifications. #IKEA #MITTZON #RoomAcoustics #AcousticTreatment #HomeAudio #AffordableSolutions #DIYAudio #SoundQuality

The article explores the efficacy of room correction software in improving the acoustic properties, specifically the reverb time, of a listening room. The author details the relocation from Berlin to Lisbon and the selective process of choosing audio equipment for the new apartment. The new listening room, measuring 4m x 7m, is characterized by an average midrange and high-frequency reverb time (RT60) of one second, significantly higher than the acoustically recommended range of 0.3 to 0.7 seconds between 300Hz and 4kHz. This excessive reverberation is identified through hand clap and voice recording tests. The author initially discusses the limited impact of conventional home furnishings, such as rugs and heavy furniture, on addressing substantial room reverberation. He dismisses the audiophile misconception that such items can serve as effective acoustic treatments like bass traps or Helmholtz resonators. Emphasizing the importance of a well-treated room for professional audio assessment, the author recounts his previous positive experience with Vicoustic acoustic treatments in Berlin and pre-arranges similar professional treatment for his Lisbon apartment. Architectural plans and wall/floor specifics are provided to Vicoustic, a Portuguese company located near his new home, resulting in a 3D rendered proposal for the room's fit-out. Before the professional acoustic treatment installation, a two-day window allows for an investigation into the capabilities of room correction software, specifically from Buchardt (via their A500 speakers and Platin Hub) and Dirac Live (via the NAD M10 V2 amplifier). The audiophile community sometimes views room correction software as a direct substitute for physical acoustic treatment, particularly for those prioritizing aesthetics or facing constraints in modifying their living space. The Buchardt A500 system, using its Platin Hub, involves waving an iPhone around the room to take measurements. Subsequent analysis with a UMIK-1 microphone and Room EQ Wizard (REW) reveals that the Buchardt/Platin room correction software primarily targets frequencies below 350Hz, aiming to boost low-end response. Crucially, it makes no measurable difference to the RT60 in the critical 300Hz to 4kHz range, nor does it significantly alter the frequency response above 350Hz. A faulty Platin hub was identified during testing, but this did not alter the fundamental finding regarding the software's frequency correction limitations. Similarly, the LE version of Dirac Live, included with the NAD M10 V2, is limited to correcting frequencies below 500Hz. An upgrade to the full version of Dirac Live (20Hz to 20kHz correction with an editable curve) is made. Professional assistance ensures accurate microphone measurements. While Dirac Live effectively smooths the in-room frequency response of the Zu Soul 6 loudspeakers and improves the phantom center image, it also fails to meaningfully reduce the room's long reverb tail, particularly for frequencies above 600Hz. In some cases, it slightly worsens reverb times below 600Hz. The article concludes that while room correction software can control a loudspeaker's output and address some time-domain issues to a limited extent, it has negligible impact on sounds that have already left the loudspeaker and are reverberating within the room. Therefore, room correction software cannot significantly improve a prolonged room reverb time in the crucial 300Hz to 4kHz range. The significant challenge of room reverberation ultimately falls to physical acoustic treatments. #RoomCorrection #AudioSoftware #AcousticTreatment #ReverbTime #HiFiAudio #ListeningRoom #DiracLive #BuchardtA500 #NAD #Vicoustic

Alain Gilles has redesigned the 'BuzziBlinds' for BuzziSpace, transforming the popular sound-absorbing room partitions introduced in 2011. The updated BuzziBlinds offer an expanded range of possibilities for defining and redefining spaces, drawing inspiration from modernist architecture to incorporate rhythm and tonality through the orientation of V-cut blinds. This redesign addresses the challenge of creating visually lightweight partitions despite their repetitive elements, a key consideration for open-plan environments. The new BuzziBlinds are free-standing room dividers composed of five rotating acoustic blinds. These blinds can be adjusted with a simple twist, allowing users to vary the degree of openness or closure, thereby controlling privacy and sound absorption. This flexibility empowers individuals to customize their immediate environment, fostering concentration for specific tasks. The design evolution focused on making these spaces more personalized and adaptable. A significant aspect of the redesign involved completely re-envisioning the visual impact of the blinds. To prevent a visually heavy appearance, the dimensions of the blades were made wider, and their top shapes were reworked. BuzziSpace's innovative V-cut technique was employed to create intricate patterns on the outer material of the blinds. These patterns are subtly revealed by the interplay of light and shadow on the V-cuts, which are made in thick, sound-absorbing felt, adding a dynamic visual element that shifts with ambient light. The refreshed collection introduces four distinct shapes for the BuzziBlinds, each featuring various V-cut patterns directly carved into the BuzziFelt material. A notable feature is the ability to apply different colors to each side of the blinds, creating intriguing visual effects when partially opened. Furthermore, by rotating just two blades, new differentiated shapes and patterns can be formed within a single blind, and individual blinds can be fitted with unique colors. This extensive customization allows for an almost infinite array of configurations, providing architects and end-users with a powerful tool for creative expression. Constructed with a powder-coated metal baseplate and blinds featuring an aluminum core covered in recycled BuzziFelt, the partitions come in two heights: 150 cm (59.1 inches) and 185 cm (72.8 inches), with a common base of 149 x 49 cm (58.7 x 19.3 inches). The design also includes curved base plates, enabling the creation of full-circle partitions for unique spatial arrangements. The versatility of the BuzziBlinds makes them suitable for various settings, including open-plan offices, where they can make a significant statement through the strategic use of contrasted sides. This project highlights Alain Gilles's commitment to combining aesthetic design with practical functionality, offering innovative solutions for contemporary interior spaces. #AlainGilles #BuzziSpace #RoomPartitions #SoundAbsorbing #MovablePartitions #InteriorDesign #AcousticDesign #ProductDesign #ModernistArchitecture