Acoustic Foam Panels

(1 customer review)


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.
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Acoustic Foam Panels

Smooth Absorption for Vocals & Music


If you’ve ever had the chance to listen to one of your favorite singers in a grand music hall like Carnegie Hall in New York or intimately and up close at a live acoustic gig, then you know what it’s like to hear the brittle timbre in their throats and the emotional breathes and pauses with which they connect you to their soul. To hear that single trumpet note float through the hall and land just on you. It’s this visceral connection to the music we all crave. Those are the hairs on the back of the neck moments which make your passion for music so worthwhile.

And yet when you can’t hear such clarity you end up missing out on the most important emotional elements of your music.

That can happen when you listen or record music in an acoustically untreated room. Your room can blur and smear your precious 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, in mind. That is why we spent so long developing our unique Acoustic Panels for you.

We put the focus on making the vocals and instruments the most important element in the musical presentation so they could shine through and allow you to experience that intimacy with the singers soul and musicians instrument that is oh so important if you are to enjoy those hairs on the back of your neck moments on a regular basis.

After all, what do you want from your acoustic panels? We ask because, before buying any acoustical product or technology, you need to fully understand the problem you have before seeking the solution and the options available to you.

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What’s Different About Our Acoustic Foam Panels?

I invented our acoustic panels because I was unhappy with the performance of current open celled acoustic foams. Why? Because current foam technologies do well at absorbing frequencies above 500 Hz. but do little to absorb much energy below that level.

The human voice spans the range of 100 Hz. to 800 Hz., so special absorption attention must be paid below 500 Hz. because that is where 75% of all the vocals lie, especially male vocals. Current technology gets 50% of the absorption curve correct but forgets about the bottom half where more than 75% of the real energy is.

We wanted 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.?

We looked first at the individual cell structure in current marketplace open celled foams. The cells were irregularly shaped and large. This accounted for the 100% absorption rate and level of all current foams at 500 Hz. What about the most important part of the vocal range? You know the one that contains 75% of the human voice frequencies?

We decided to make our foam with uniform shaped cells, not irregular shaped ones which resembled half eaten ice cream cones. So our cells look like symmetrical canisters stacked, one by one, side by side. With symmetrical cell shapes we can pack more cells closer together in the same amount of space producing a foam that much denser than existing foams.

More cells with better shapes produce more absorption below 500 Hz. In fact, we absorb 30% at 125 Hz. and 63% at 250 Hz. reaching 100% at 500 Hz. We went after the bottom half of the existing absorption curves to produce a foam that has a smoother absorption curve that goes lower where our vocals start and ends with a smoother, more gradual rate and level of absorption.

After all absorption must be gradual. You do not want to absorb 100% of anything in order to manage it least of all the vocals. Doing so drains the soul and energy from the performance and that’s the last thing you want when seeking a visceral experience!

Which Size Is Right For You?

The thicker the foam, the more absorption that occurs below 500 Hz. A 1″ foam will usually absorb 100% of everything after 500 Hz. but much smaller absorption rates below that number. A 2″ thick version will show much more absorption at 125 Hz. and 250 Hz. than its cousin the 1″.

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 is no 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.

What Will You Experience?

  • You get acoustic panel foam technology that was developed specifically for voice and music 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 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.
  • A Guilford of Maine fabric covering with over 40 color options (which you can see here) which means you can match the panels to your room decor and elevate your room design to the level you desire.
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The foam from Acoustic Fields absorbs more evenly and smoothly than any other foams we have ever used in the past.

Don Salter, Owner of Salt Mine Studios. Clients Include Lil Wayne, Jonas Brothers, Justin Bieber, Alicia Keys and many more.

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.

Javier Weyler, Professional Audio Engineer and Drummer.

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Enough With A Compromised Listening 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 music 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 music fans so deserve then someone had to and, luckily, I was in a position to do just that.

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all the way up to 1,000 Hz. so your vocals are smooth and not over absorbed/deadened.[/vc_message]
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We stand 100% behind our product performance levels so we are happy to offer a 100% Money Back Guarantee* if you are unhappy with the performance results, for any reason.

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Act Now

As the exclusive designer and manufacturer of this product and technology you cannot buy it in any other store or on any other website.

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.

Thank you

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Dennis Foley
Inventor & Owner of Acoustic Fields

Additional information

Weight25 lbs
Dimensions27 × 57 × 3 in



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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