Acoustic Foam Designed For Voice Over Artists – Box of 4 Pieces Measuring 25″H x 18 1/4″W x 2″D

(2 customer reviews)


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Tired of working in a bad sounding room? Want your voice over work to shine without losing its emotion and energy? Then our unique Acoustic Foam is for you.

You get:

  • More absorption below 250 Hz. than standard foams. It absorbs 30% at 125 Hz., 63% at 250 Hz. and 100% at 500 Hz.
  • A smoother absorption curve from 125 Hz. – 500 Hz. than any other foam on the market. This range is the heart of your vocal frequencies.
  • A technology that manages side wall reflections so your microphone can hear the direct sound from your voice and not the reflected energy of your room.
  • A technology that does not drain the life out of your room like standard foams.
  • A box of 4 pieces with each piece measuring 25″H X 18 1/4″W X 2″D for just $124.97!
  • A foam that finally lets the nuance and timbre in your voice shine through in every recording you make. Finally you will have a room that is an acoustical pleasure to record in and a voice that is very much in demand.
SKU: 000110416 Category:

Acoustic Foam – Smooth Absorption for Voice Over Artists

Fed up with the room echo in your recordings? Tired of always having to set up bulky and expensive baffles which still don’t completely eliminate the reverb in your room? As a voice over artist this is the last thing you should be worried about and yet that will always happen when you record voice in an acoustically untreated room. Your room can blur and smear your precious vocals leaving you with a compromised recording experience. It can affect the quality of your work whilst also needing your time and attention to edit out in post production.

Well that can all be a thing of the past if you treat your room with the acoustic foam from Acoustic Fields. Our foam is designed to get your room out of the way so you can improve the definition and clarity of your voice over recordings. We put the focus on making your voice the most important element in the presentation so it can shine through and allow your listeners to experience the nuance, intimacy and timbre of your voice as it is meant to be heard.

Acoustic Foam Comparison Chart

We absorb more lower frequencies. And our foam absorbs in a smooth gradual way
all the way up to 1,000 Hz. so your vocals are smooth and not over absorbed/deadened.


Quite simply, that red curve above is the difference between OK and outstanding voice overs.

What Will You Experience?

  • You get a technology that was developed specifically for voice with more absorption below 250 Hz. than standard foams, and a smoother absorbing curve from 125 Hz. – 500 Hz. which is the heart of the vocal frequencies. It means you can enjoy clearer and cleaner voice definition so your audience can have a more intimate experience with your voice.
  • You get a technology that will manage side wall reflections so well that your microphone will hear the direct sound from your voice, 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 will get a technology that absorbs at the correct rate and level for voice 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 your voice in every recording ensuring you have a room others will envy.

That’s Not All!

If you order the PFP Acoustic Foam today you will also get:

– A free one hour phone or video consultation on your room mode issues with me, the products inventor, Dennis Foley
– Free enrollment in our exclusive Platinum members club for Professional Studio Engineers and Audiophiles
– A 100% risk free 30 day money back guarantee
– And wall mounts so you can hang the units on your wall and move them in and out of your room if your recording room serves multiple purposes.

Enough With A Compromised Recording Experience

I didn’t like what was already on the marketplace because it didn’t bother going after 50% of the human vocal range! I thought that was unacceptable given how important voice is to me, my friends and no doubt you. I figured if other companies weren’t prepared to invest the time and energy to get the solution voice over artists so deserve then someone had to and, luckily, I was in a position to do just that.

Limited Stock

Act now as this price is going up again shortly so don’t miss out. As the exclusive designer and manufacturer of this acoustic foam technology you cannot buy it in any other store or on any other website.

If you’re sincere about wanting sonic perfection, then this is most definitely for you. Don’t live with a compromised recording environment for a minute longer. Take action now, believe me, you’ll thank me for this, for years to come.

Thank you
Dennis Foley
Inventor & Owner of Acoustic Fields

P.S. But Don’t Just Take My Word For It…

Acoustic Foam Testimonial 1. by Javier Weyler, Professional Audio Engineer and Drummer, London. Javier has been a Professional Audio Engineer for 15 years and played in BRIT Award winning UK rock band The Stereophonics for 8 Years. Here he discusses the Acoustic Fields Acoustic Foam.

“It makes the room sound much more natural. For instance, a vocal tends to sit better in a track. Your whole mix just becomes clearer as there’s more definition between the different instruments and frequencies which obviously helps you as an engineer or producer to get your mix sounding right as you have a better knowledge of where things are.”

Acoustic Foam Testimonial 2. by Professional Voice Over Artist Ken Theriot of Home Brew Audio.

Acoustic Foam Testimonial 3. by Don Salter, owner of Saltmine Studios.
Acoustic Foam Testimonial Saltmine Studios

AF Sound Absorption Chart


Additional information

Weight5 lbs
Dimensions25 × 18.5 × 8.5 in
Foam Thickness

2" D

2 reviews for Acoustic Foam Designed For Voice Over Artists – Box of 4 Pieces Measuring 25″H x 18 1/4″W x 2″D

  1. Ken Theriot

    I’ve been recording both music, voice-overs, talking-head videos, and podcasts in my home recording studio for the past 10 years. All that time, I have used the same converted bedroom as my studio. and all that time I’ve battled the echo-y, reverb-y sound imparted by the poor acoustics of my room. On the one hand, the techniques I discovered for minimizing the room sound in my recordings have helped some. But nothing I tried could completely eliminate the bad room sound. I tried expensive reflection baffles, putting the mic in foam boxes open on just one side, recording in a closet with wool coats and blankets over my head (like THAT’s practical), and most recently, a foam ball that you completely cover your microphone with. None of these “solutions” were effective AND practical (the closet with the coats eliminate room sound, but for daily recording…..really?).

    Then I discovered the acoustic foam from Acoustic Fields. I was stunned. After having tried so many other things I wasn’t sure what to expect. But the difference after I put some of these lightweight flexible panels on the walls of my room seemed unreal to me! My wife (fellow singer and voice-over artist) and I conducted several before and after tests and here is the wonderful surprise. Not only did the foam neutralize every unpleasant sound the room was adding, it somehow ADDED to the quality of our recorded voices! We listened to the “after” tests very critically with good reference headphones to confirm this. But sure enough, we were hearing elements and pleasant nuances in our voices that we had never heard before in our recordings. What was really happening was not that foam was ADDING anything, but rather ALLOWING us to finally hear our natural voices – the way they SHOULD be heard.

    Because we are big believers in thorough testing and proving something to ourselves, our tests included blind comparisons to other treatments such as the reflection baffle and foam enclosures. It wasn’t even close! those other solutions – some of them quite pricey – could do nothing more than reduce SOME of the room sound. And in some cases those other products made our voices sound WORSE! Our notes for those other products include terms like “sounded like you had a cold,” “muffled,” and “boxy.”

    NO MORE P-POP EDITING! An additional – and VERY welcome – benefit of the Acoustic Fields Foam is that we can finally back away from the microphones by several inches without introducing any room sound, which means plosives do not create offensive “p-pops” into our recordings. It also means we can use the “Omnidirectional” setting on our Rode NT2A mic for use recording 2 or more people at once (podcasts, vocal harmony groups, etc.). This may sound minor, but in reality I would have bought the foam for this reason alone! For the past 10+ years, part of producing any vocal – including long audio-book voice recordings – was editing out excessive plosives/p-pops. This added a huge amount of time to the process, up to several hours on longer jobs. Now I don/t have to spend a single second in post-production in the tedious process of p-pop removal. It’s like I’ve died and gone to heaven.

    The bottom line is this – the Acoustic Fields acoustic foam allows us to work in our room; to turn the room into a partner and asset, rather than treat it like an enemy. There is no more need to set up bulky baffles on extra mic stands or banish ourselves to a closet. It is a pleasure to have the space and the extra time to concentrate on producing great audio from the start, not fixing flawed audio to make it sound decent.


  2. Javier Weyler

    My name is Javier Weyler, I’m originally a drummer. I’ve been a drummer over 25, 26 years of my life. I’m also a Sound Engineer and Producer. I’ve been in engineering for 14 to 15, years now since I’ve been in London.

    I have tried several foam products before, and the biggest difference I will say I heard actually with Acoustic Fields was for some reason the whole mid range and high ranges of the whole frequency, was much tighter and defined. The whole mix in general is like everything sunk into place a bit better than without any acoustic treatment whatsoever. That was the first impression I got from it. And then from a physical point of view, as soon as I started managing the material, I noticed the density of the foam is different than the ones I’ve tried in the past.

    The biggest difference I felt, not only in vocals but other instruments as well like drums and so on, it makes the room sound much more natural, and for instance, a vocal tends to sit better, at least you get I will say, perhaps sits better on the track, but perhaps your whole mix just becomes clearer and there’s more definition with the different instruments and different frequencies, helps a producer to get your mix sounding right because you have a better knowledge where things are basically.

    The frequency response becomes more natural. I think you tune in the room much easier than with other products I used in the past. Everything becomes a bit more clearer and natural, really. Obviously there’s not a single space that is a perfect scenario to listen to music, yes you can have an amazing studio, but once you actually listen to the music at home like everyone does, it’s always going to be different. Products like this make it much easier to enjoy the music, and actually appreciate it for what it is better without having to get too technical about it.

    I have used the Acoustic Fields foam for 2 things, for the monitoring section in the control room, which is all around the console and the back of the speakers and so on, and that made a huge impact on the mixes. Everything became clearer and tighter and more controlled, and then also I’ve been using the foam for other things as well in the recording environment. Around the drum kits, especially where you have a lot of loud frequencies bouncing off walls and so on. It helps you control and make the room so much more natural than usual.

    And also I have used it for some degree of separation as well. I was recording a session with a singer that was playing the guitar, and singing at the same time, with 2 different microphones, one for the vocal, one for the instrument. To a voice face issues, and also gain more separation, I used some of the foams in between the two microphones, and that actually helped a lot with the recording. It made it a bit more clear, each source going into each mic without it becoming isolated and affecting the face as such. That in it-self helped quite a lot.

    Another thing I’m really looking forward to, that I haven’t tried yet, is the carbon boxes that Dennis is doing with Acoustic Fields, especially because they are aimed at controlling the bass and the bottom end and so on, and I think I particularly will benefit from that in the studio, but in general I think it could be quite interesting, because you can also adapt and move them around the studio without having a physical fixed setup in terms of acoustics, I think that’s quite clever way of playing around with the studio you have.

    I started drumming when I was 13 years old, so I’ve been doing it for over 25 years now. And as a Sound Engineer so in general I’ve been doing that since the beginning of being a drummer, really, but properly I would say 14 years since I’ve moved to London. And my experiences here, I’ve been quite lucky to actually be in London for that long, and be able to work in so many studios, not only as a musician but also as an engineer, and I worked in studios back then like Bon Jonk and Genies, BJG, and then became Sahara sounds, I was part of the whole refurbishment of the studio and got involved in the whole installation process as well.

    And then as a musician I worked in many legendary studios like from Abbey Road to Air Studios to Disarm and so on. But I came obviously to the point that I sort of needed a creative hub and that’s why I came with the idea of having my own place called beat factory, where I can do recording, producing, and mix, and very accessible and everything within close range without having to go to a big facility.

    That’s actually where Acoustic Fields comes in quite well, they actually provide you with products that you can adapt to your needs quite easily without having to go to the really high level of standards that you will get by going to a proper studio that’s going to be millions and millions of pounds.

    Somehow along the process I always fell in love with equipment and the whole process of recording and hence why I came to London to start sound engineering which I’ve been doing about 14 years now, and luckily to my career actually be able to be a part of a band like Stereophonics for 8 and a half years and having worked in many studios before has allowed me to be close to technology and be close to amazing artists, producers, and engineers, and studios, like Abbey Road or Metropolis, or Town House, and Air studios. All of that is always a good input for anyone that loves music as such, not only the creative process of it, but how things get done and the mystical stories behind every studio, how they are built and so on.

    Beat Factory is my studio, it’s basically a creative hub than actually a standard studio, I needed to get a place where I can have my instruments, drums, guitars, pianos, and so on, plus all the recording equipment in one place so I can actually just plug and play and record without having the need to go somewhere to do it, to keep the creative process flowing as much as possible. Also it allows me to do whatever I want to do for films or TV and mix my own music as well. So really it’s just a dynamic place to have where you can actually cover all bases of audio and such. And not necessarily have to be just one thing all the time, you can actually wear many hats, and that’s the whole purpose of this studio to have an audio, sound audio, creative studio basically.

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