Acoustic Foam Panels

(1 customer review)

$475.00$575.00

Tired of working with dead sounding foam? Want your vocals and music to shine without losing their emotion and energy? Then our unique Acoustic Panels are for you. You get:

  • More absorption below 250 Hz. than standard foams. The panels absorb 30% at 125 Hz., 63% at 250 Hz. and 100% at 500 Hz.
  • A smoother absorption curve from 125 Hz. – 6,300 Hz. than any other foam on the market. This range is the heart of your vocal and music frequencies.
  • A technology that manages side wall reflections so you can hear the direct sound from your sources and not the reflected energy of your room.
  • Each panel measures 27″W x 57″H and either 4″ or 3″ in depth depending on your preference.
  • A foam that lets your vocals and middle range instruments pop.

These units have special handling and shipping requirements, due to their weight and size. Please call us on 520-392-9486 or click HERE to contact us so we can assist you further.

  • Wood
  • 3"
  • 4"
Clear

Additional information

Weight25 lbs
Dimensions27 × 57 × 3 in
Finish

,

Size

3", 4"

1 review for Acoustic Foam Panels

  1. 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.

    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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