The Audiophile Voice Review Vol. XIV, No. VI
Acoustic Fields Sound Absorbers & Sound Diffusers
“New Best of Breed” by Gene Pitts
, Editor and Publisher of print magazine The Audiophile Voice, Editor-in-Chief of Audio Magazine for 22+ years and reviewer at EnjoyTheMusic.com.
“In Acoustic Fields’ lingo, QDA stands for qua-dratic diffusor absorber. The bottom of the unit directly below the diffusor incorporates their 30 Hz – 50 Hz, low-frequency absorption technology using activated carbon filters inside. They take 35 pounds of activated carbon and arrange individual filters inside the bottom cavity which is designed like their individual, low-frequency absorber called the ACDA-12. Inside and directly behind the deep-est trough in the diffusor section are two more acti-vated carbon filters which cause the diffusor to not only diffuse but absorb a broader band of absorp-tion which is the same as their ACDA-10, 30 Hz -100 Hz.
Thus, a user can choose to have quadratic diffu-sion from about 300 Hz on up to 3,500 Hz. This can do wonders for perceived accuracy of midrange (vocals), sound stage presentation and instrumental separation (air), particularly when coupled with low frequency absorption from 30 Hz – 100 Hz. I believe that this arrangement of middle and high frequency diffusion and broad-band low frequency absorption has never been done before in a commercially available product.
The photo above is two vertical units with a horizontal unit below the two vertical units. A ver-tical diffusor diffuses sound in a horizontal, fan-like, energy array. A horizontal diffusor diffuses energy in a vertical, fan like, energy array. Thus, one can create two dimensions of diffusion in a room. It is an extraordinary experience, akin to lis-tening to a concert in, say, the best hall in Boston or Chicago or Vienna.”
And here’s Gene discussing our foam:
“What you hear when using foam absorbers, such as these from Acoustic Fields, is MUCH less distortion and MUCH more of the original recording venue.”
“However, take a look at the photos of the more finished versions from Acoustic Fields. I believe they will achieve the highest “Decor Score yet recorded, and thus can be placed in all but the toughest rooms in, say, “Architectural Digest” For those locations, one needs to think about having these panels being built into the appropriate part of the walls and ceiling. The panels will be there, but they do not have to be obtrusive. What I am surprised about, surprised and very pleased, is that the Acoustic Field’s foam seems to work over a wider range of relevant frequencies than the older foam did. There seems to be more absorption, too, so that the apparent “hall” being reproduced pushes the listening room wall behind the speakers further away. (Yeah, I know that is strange talk, but that is pretty close to what I hear.) I think, too, that the tones soaked up by the Acoustic Fields foam are taken up pretty evenly, that is all at about the same rate. There does seem to my ears to be some fall-off of this echo-grabbing at the top and bottom of the audible spectrum. Both of these were characteristics of the previous foam.”
The following is a review by Doug Schroeder of Dagogo.com:
Acoustic Fields Low Frequency Absorption ACDA Series
“I don’t normally spend time on coverage of room treatments at shows as there is a plethora of gear to cover. However, the Acoustic Fields freestanding panels (there are three ranges to consider with prices starting at $750-1,750) struck me as aesthetically pleasing and effective in the Salk Sound/Audio by Van Alstine room. The panels can be adapted to hang on walls. They aided the Salk/AVA components to sound the best that I have heard at shows.”
The full review can be seen here http://dagogo.com/2011-rmaf-coverage-iii