You can place an order online or by calling our toll free phone number at 520–392–9486. Our hours are 8AM – 6PM MOUNTAIN TIME ZONE.

No, we do not charge sales tax to any customer unless the order is sold to an Arizona address.

We accept credit card payments through Stripe, Cashiers check, Check, or wire transfer.

No.

If you’d like expedited shipping service, please contact customer services at 520–392–9486.

We will schedule your order into our production schedule and you will be notified of shipping date. All units are hand built and made to your specific needs. Estimated completion time is 2 – 4 weeks with shipping time to be determined after unit completion.

No, due to the size of the products, we cannot ship to Post Office boxes and APO/FPO addresses.

Yes we do ship internationally. Click the “Add to Cart” button and the cart page you will see the UPS shipping calculator. You can use this to calculate your shipping preference.

For the QDA, ACDA and DIY Kit product series, please call us on 520–392–9486 for shipping rates and prices as these need to ship by freight and we first need to know your address in order to get a quote for you from the freight company.

We ship via UPS and Freight. Click the “Add to Cart” button and the cart page you will see the UPS shipping calculator. You can use this to calculate your shipping preference.

For the QDA, ACDA and DIY QD Kit product series, please call us on 520–392–9486 for shipping rates and prices as these need to ship by freight and we first need to know your address in order to get a quote for you from the freight company.

You will receive an order confirmation immediately after placing your order. This confirmation will be sent to the email address that you used when you placed your order.

Please call us at 520–392–9486 or send us an email at info@acousticfields.com.

You will be sent an email with a tracking number when your order ships. If you still have questions, you can contact us at 520–392–9486 or or send us an email at info@acousticfields.com.

You have up to 30 days to receive your product and return it for a full refund minus the applicable shipping costs.

All orders paid for and cancelled for any reason will be subject to a 25% restocking fee. Restocking fee calculated on order total minus freight costs.

All design fees are non refundable.

Our blog is full of articles to help educate you on the problems all small rooms face and what you can do about them. There is so much misinformation being shared on the internet and in forums that it kind of makes us mad especially when we see representatives of others manufacturers using these forums to knowingly sell people on products that aren’t going to solve their problems. So all we can do is try our best to offer our advice and leave you to make up your own mind. To that end be sure to sign up for our free video series and ebook “Free Space Listening” by entering your email here. When you sign up you will also be sent a series of videos we have made for our customers which help explain many of the acoustic issues small rooms face, how you can measure the problem and the best ways to address them.

You need room acoustic treatment because the waves and rays of energy that are produced and sent into your room cause many harmful audible acoustic distortions at the listening position. Waves or low frequency energy (<100 Hz.) usually won’t fit into our smaller rooms, so they start the air in that room location vibrating which produces “bass boom”. Rays are shorter and reflect off of all the room surfaces. When the rate of these reflections increase to much we have reverberation. If they increase even further, we have echo. Bass boom or high reverberation room times blurs and smears our vocals and music. You can read more about the definition of sound waves and rays in this blog video post we made.

Sound absorption is the process of taking electro-mechanical energy (sound produced by our speakers) and converting it into heat by running the sound energy through some type of porous material. The movement of the sound energy through the sound absorbing material creates friction and thus heat. So, the sound coming out of your speakers passes through the material and changes to heat and is now changed forever into a new energy form.

You can read more and watch a video about the sound absorption in this blog video post we made.

You need low frequency absorption because today’s smaller rooms that we work and play music in, low frequency wavelengths will not fit because our rooms are too small in relation to the length of the wave. If low frequency energy will not fit into your room, it will excite the air in that space of your room where it won’t fit and cause another sound to occur in that room space. We have all heard bass boom and know what it sounds like. Using low frequency absorption in our rooms, absorbs the longer waves and takes some of the energy out of them so they produce less of an audible acoustic distortion such as “bass boom”.

You can read and watch our full blog post and video explanation on why the power of diaphragmatic absorption is your only hope for managing low frequency energy, here.

Low frequency is any energy in our rooms that is present below 100 Hz. A 100 Hz. wavelength is 11.3′ long, which is about the longest we can go and still get a good fit into today’s smaller project studios, listening, and home theater rooms. Anything less than 100 cycles usually will not fit. If it doesn’t fit, you must treat it. A 30 Hz. wavelength is almost 38′ in length. Frequencies above 100 cycles are much easier to acoustically treat to minimize their sonic impact in the room. Frequencies below 100 Hz. require sound absorbing units whose design is far more complicated than middle and high frequency absorption.

You can read and watch our full blog post and video explanation on how we define low frequency here.

We don’t sell bass traps because bass is not really trapped in anything. Lets take a 30 Hz wavelength that is almost 38′ long. It can go through two, solid, 8″, concrete walls and excite air in the next rooms, so nothing is really going to trap this wavelength. What we can do is to try and reduce the pressure in the room that is caused by the wavelength. It is not the trapping of the wavelength that is the issue. It is reducing the pressure created when a too long wavelength wants to fit into a too small room. We reduce the pressure by absorbing some of the energy, as much as we can. We can absorb some, some will go completely through the absorber, and some will just stay the same. We manage the effects of low frequency wavelengths. It is really low frequency waves that trap us into managing them and their effects, not the other way around.

You can read and watch our full blog post and video explanation on why bass traps don’t actually trap bass, here.

A diaphragmatic absorber is a sound absorbing device that is focused on the sound absorption of longer, lower frequency, wavelengths. A diaphragmatic absorber has three parts. The front wall, which slows the longer wavelength down by moving in sympathy to the sound pressure exerted upon it, the cabinet itself which is designed to force the front wall to move because the cabinet will not by design, and an internal cabinet fill material that reduces the resonances inside the cabinet and also contributes to the units overall performance. The density and depth of the cabinet contribute to the level of absorption you can achieve with a diaphragmatic absorber and the internal cabinet fill contributes to the rate of absorption that occurs from that level.

You can read and watch our full blog post and video explanation on why the power of diaphragmatic absorption is your only hope for managing low frequency energy, here.

You can read more about our ACDA 10 broadband diaphragmatic absorber production unit, here.
You can read more about our ACDA 12 diaphragmatic absorber production unit, here. The ACDA 12 is the most powerful, free standing bass absorber on the commercial market.

Sound diffusion is the spreading out of energy that strikes a surface into smaller pieces, if you will, of energy. A diffuser properly designed and placed on a room surface, will take in energy and then divide that energy up into a group of much smaller reflections that are then distributed into the room based on the diffuser technology used. Our acoustic goal is to try and create different dimensions of acoustic fields within our room, so that the room’s walls and ceiling acoustically disappear. With diffusion, we reduce the size of the reflected energy without altering the time or amplitude signature of the original signal, so to our ears we are not able to locate the surface of the room. This is why and how a diffuser can make a room sound larger than its physical dimensions.

For a detailed explanation about what sound diffusion, and in particular, quadratic diffusion is, please click here for a full blog post and video discussion.

A quadratic diffuser is one type of sound diffusion technology. A quadratic diffuser has a series of wells or troughs that are of different depths and different widths. Each well depth takes energy that enters it and then lets it bounce around inside the well or trough and then back out into the room. Each well depth in the chosen diffusion sequence correspond to a different set of frequencies. When it enters the room, it will be spread out into back into the room in a particular manner. A vertically positioned quadratic diffuser will spread sound energy out into the room into a horizontal, fan lie array. A horizontally positioned diffuser will spread sound back into the room in a vertical array. This positioning method provides two out of the possible three dimensions of acoustic fields we need in our rooms.

For a detailed explanation about what sound diffusion, and in particular, quadratic diffusion is, please click here for a full blog post and video discussion.

Our foam is different in structure and performance. Our foam cells are regularly shaped, looking like canisters stacked next to each other and packed more closely together than other open celled, acoustic foams. This unique structure allows our foam to absorb more at lower frequencies and more evenly as the absorption curve climbs. With more absorption below 250 Hz., we are able to provide a lower level of absorption and a much smoother rate of absorption up through 6,500 Hz. Smooth absorbing curves produce more detail and definition in our vocals and music. Smoother absorption curves do not require us to absorb everything in order to manage it. It is never a good idea to absorb 100 % of anything in order to manage it acoustically.

Acoustic foams do not absorb frequencies below 100 Hz. which is the starting point for low frequencies. Everything below 100 cycles is a low frequency. Acoustic foams are for middle and high frequencies starting at 125 Hz. and going through 6,500 Hz. This is because of the structure of the foam and the thicknesses used.

The correct listening position in a room is that position where two things must happen. It is the point where the low frequency response of the room is the smoothest and it is also the point where the direct energy from your loudspeakers and the reflected energy from your room are equal in strength. It is that position where direct sound and room sound are equal. It is called the critical distance. To find these two positions, one must use a computer and also sit in a chair down the room center line between the speakers and move up or down that center line until you hear a balance between the reflections of the room or room sound and the direct or straight line energy from your loudspeakers. A compromise between hearing and analysis will produce the correct listening position.

For detailed instructions on finding the correct listening position in your room, please click here for a full blog post and video explanation.

Your speakers must be positioned within the room at that location which provides the smoothest low frequency response first, and then middle and high frequency response. You will have to measure your room to find these locations. Use the software to tell you where to start and then adjust speaker position in small increments to correspond to individual frequency response curve preferences (we provide free training on this which you can sign up for here. Focus on getting the low frequency response correct from the beginning. The mids and highs will follow a good and balanced low frequency proper position.

You can read and watch our full blog post and video explanation on how to position your speakers here.

Speaker size vs room size debates have been going on for years. About the only thing everyone can agree upon is that they both must be considered together. Just like listening and speaker positions have their one or two spots that will work in any given sized room, speaker size and room size must be matched so that one is not interfering with the other. If the low frequency driver diameter is too large for the room, you just compound the room modal issues. If the low frequency driver is too small, you leave your musical presentation anemic when it comes to bass attack and decay. Speaker size vs room size is also the most misunderstood relationships when it comes to small room acoustics, especially among audiophiles.

You can read and watch our full blog post and video explanation on correct speaker size vs room size here.

Comb filtering occurs between an object and sound energy. Sound energy strikes that object, say a console, then reflects off of that console. After it strikes the console, it then strikes the walls next to the console. As energy keeps moving from the speakers into the room and off the console and then walls, a series of reflections occurs at that location. This series of reflections appears as teeth in a comb on an analyzer screen, thus the descriptive name. Comb filters produce a phantom image which is not real but has a sound that interferes with our wanted direct sound from our loudspeakers. We only want our speakers providing all the sound, not our comb filters adding their voice.

You can read and watch our full blog post and video explanation on what comb filtering is, here.

Side wall reflections or lateral reflection are reflections that occur from our side walls closet to our speakers or monitors. They are especially destructive because as sound energy strikes one side wall it travels to the opposite side wall and then back again and so on and so on. This back and forth energy is time delayed and then mixes with the wanted direct energy from our loudspeakers, causing image shifting on our sound stage and spaciousness reduction in our musical presentations. Proper management of these side wall or lateral reflections can be accomplished using absorption or diffusion technologies.

You can read and watch our full blog post and video explanation on what side wall reflections are, here.

Room modes are areas of your room where low frequency or longer wavelengths are trying to fit into the dimensions of your room. If the wavelength is longer than your room dimension, it will excite the air in the area of the room where it is most uncomfortable with having to fit there. This air movement will create an area of artificial sound pressure where some frequencies are exaggerated in strength and others are not heard at all. Room modal locations can appear anywhere in a room and their positions are dependent on room size and room volume. Reduction of room modes in small room acoustics, contributes to a smoother, room frequency response curve, where all frequencies are heard equally.

Read our full explanation on the issue of room modes in the blog post and video we made here.

Critical distance is that place in your room where there is a balance between direct and room sound. Direct sound is the sound energy that comes directly from your speakers. It is the sound where if you draw a straight line from your speakers to your ears, direct sound would travel upon that line. The shortest distance between two points is a straight line. The direct sound contains no room sound because it is “straight line” sound with no reflections from the room. Room sound is just the opposite. The reflections from the non straight line sound, if you will, strike all the room’s surfaces and reflect back to your ears. This is what is called room sound because as the name implies, it gets its “sound” from bouncing around in the room. Critical distance is that magic spot in your room where the direct sound (straight line) and the room sound, (reflections) are of equal strength.

Go here to read our full blog post and video explanation on critical distance.

Speaker size and room size must be matched properly. Larger speakers produce more energy that must fit into your smaller rooms without causing distortions. More or less energy determines how much energy that room will be able to contain without showing signs of discomfort. Discomfort is expressed by a room in the form of acoustic distortions. One such distortion is called room modes. Room modes are excess pressure areas that smother or exaggerate certain frequencies that contain our instruments or vocals. We may hear too much of one instrument or vocal and not enough of another. If you choose a speaker which is a sound producing device that has large amounts of speakers and each speaker is of a larger diameter, then you put too much energy into a smaller room and your acoustic distortions are magnified. Matching the diameter of the low frequency driver to the existing room size is paramount. In most cases, especially in your smaller rooms, bigger is not better.

You can read and watch our full blog post and video explanation on speaker size Vs room size here.

Pink noise is a test signal that is broken down into octave bands of energy. White noise contains the same octave bands, it is just that white noise takes the octave bands and expands each octave band into individual frequencies. Pink noise represents the way we hear sound energy as humans. We don’t hear individual frequencies, we hear groups of frequencies or octave bands. We don’t say, well most of us don’t, did you hear that bird song at 545 Hz. We say did you hear that bird song which may contain the 545 Hz. frequency but it is blended and mingled with other frequencies to form an octave band. Pink noise is used to evaluate issues that are concerned with how we actually hear sound, where white noise is used mainly to test the resolution of equipment such as individual components that must reproduce all frequencies. Pink noise mimics how we actually hear things. White noise is used to make sure the equipment we are using is producing all the frequencies we need to hear in octave bands.

You can read and watch our full blog post and video explanation on white noise definition vs pink noise here.