For Christ sake he’s got a room fully of dummies.. these questions are intolerable

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I hate ice barriers.

I noticed at 0:08 you misspelled TOWNSHEND. Could you please edit the video and fix that at your earliest convenience? Thanks.

Very informative thx

Great explanation, thanks.

Ok, I have a weird one for you. My listening/living room is 16 wide x 10 tall x 48 (open living space). Walls are double 2x6 on 2' centers, offset 12" with no bridging except ½" plywood across the tops of the caps. I have a 5x6 picture window on the left wall and (2) 3x5 casement windows on the front walls. Inner and outer walls are both stuffed with R-23. Attic is 2 layers of R-36. Sheetrock is ½" on walls, ⅝ on ceiling. Floor is slab on grade. My speakers are Speakerlab corner K horns stuffed tight into the front corners plus an additional K horn dead center against the front wall (and it will be modified to direct the bass from the cabinet towards the back instead of towards the corner) and I have a 4th one that will be a rear channel ~18' back from the front wall (behind listening sweetspot). I also have an anemic sub set to max output between right and center speakers. What on earth can I do tame the unwanted reflection racket? It has to be diy because of retirement budget and earth cracking shipping costs.

Art, once again you have explained an incredibly complex subject in a simple, clear and actionable way. Thank you! Earlier this year I installed four TubeTraps and my room has been transformed. Looking forward to doing a MATT analysis to see what additional improvement I can get. Cheers!

I paint with these

I'd sure like to hear a few more A/B demos.

Sorry I didn't notice this string of comments to the youtube posting. I'll answer some of the complaining comments now, although it is years later. I'll start with the most recent complaint, that a hand clap can't trigger a room mode. John Ray Sullivan's says: First of all … what are you saying here ? That’s a lot of words to have almost no point. Second … your example is not really valid here. Clapping your hands to create an impulse is not triggering a room mode. I’m confused. John, you are not confused, you are absolutely correct,. An impulse can't create a real room mode. Very sorry to have given that impression. But an clap impulse between parallel walls can give the impression of a mode. And that's what is so confusing. Now, let me try to explain what I failed to explain before. It' a little complicated so stay with me to the very end...the punch line.... A flutter echo is a repeating path of sound between two parallel walls. A mode is a repeating path of sound between two parallel walls. Hmm, same thing..........strange A flutter echo is created by a single sharp slap type of sound, lots of high frequencies. A mode is created by a long tone burst, a single tone in the bass range. Hmm, opposite things........strange Real sound travels 1128 feet/sec . Our make believe walls are 11 feet apart. It takes 11/1128 = .01 sec or 10 ms for sound to travel the distance between the walls. We stand against one wall and clap, we hear the reflection after one round trip, 20 ms. We keep listening, we hear another slightly weaker echo clap in another 20 ms. and another in another 20 ms and so on and on and on. We hear a series of claps every 20ms apart. To our ear/brain it sound like a tone that repeats itself every 20 ms. A tone that repeats itself every 20ms has the period P of 20 ms.. This tone has the frequency of f = 1/P = 1/20 ms = 50 Hz which is a low tone. What is the wavelength of a 50 Hz tone? L = c/f = 1128/50 = 22 feet. What is a half wavelength of this tone? 22 feet/2 = 11 feet. A half wavelength that just fits between our parallel walls has a tone of 50 Hz. This half wavelength is the fundamental tone of the harmonic series of 50 Hz, 100 Hz, 150 Hz, 200 Hz and so on.....the room mode harmonic series When we clap at one wall we hear a flutter echo that sounds like a tone. It is called a pseudotone and in this case it is 50 Hz. The flutter echo pseudotone is the same tone as the lowest mode tone that fits between the two parallel walls. They both are 50Hz. I once knew an acoustic magician once, yes flowing robe and hair....Really. He would clap his hands between parallel walls and create the pseudotone which was heard by everyone in his audience. He told them it was the mode between the parallel walls. His audience believed him. Then, he'd rumple large sheets of tin foil and tape it up on the two walls and then he'd once again clap his hand. The rumpled tin foil scattered the hand clap and the bass Pseudotone "mode" disappeared. They thought he could make with his bare hands a 50 hz bass trap out of a few sheets of tin foil.......and many people bought his magic tin foil. Arthur Noxon

Finally! Someone clearly answered one of my key questions. Thank you.

Thank you. I got so much understanding from your lecture. In the future, please repeat the questions for us future video viewers. You are so good at relating the technical points of acoustics to our real-world listening rooms. So, I hate to miss something because I cannot hear a question. I have 2 TubeTraps behind my Magneplanar speakers. They really make a big difference.

Please do show an example of the attack wall in action!

Poor sound quality in video. Ironic?

Incredible insight. Thanks so much.

Big Ups Art Noxon, your a G!

Ya hot chocolate milk on your chin

The only problem with putting bass traps in the corners is that that's where Tangental and Oblique modes typically are, but Axial modes aren't.. Axial modes are typically along entire wall surfaces since the definition of an Axial mode is modes between 2 parallel surfaces, not between 2 parallel walls.. So, you really have to address absorbing the low frequencies below 100hz against the entire surfaces (or a large portion), walls (front, back, side) but also ceiling and maybe even the floor. If you can go after the modes below 100hz, and treat those, then the rest falls into place. It's easy to absorb 125hz and above, but much harder and costly to absorb below 100hz down to 30hz around the room.

Shipping this to singapore is gonna suck. wish yall had dealers here becos this sounds like the real deal. looking forward to the next video

Great video they’re awesome

I use them in my recording studio and I got to be 100% honest they are the best piece of equipment I own in the studio my client's recordings come out perfect and the mixes are hands down the best I would love to see an attackwall by ASC video because the Studiotrap also shines in the mixing phase

Nice to meet you 🎶🎶 ,✋ Wil try them soon thanks

Sound great but there are not low frequency absorbers .bass or frequency below 250hertz are not a reflection it's a pressure very diferente from reflection .. btw these are the best reflection absorber I ever seen

wow, sounds great.

Interesting take. Not sure I understood all your analogies but thank you for opening up my mind a bit more!

I learned so much from this lecture. Thank you very much.

For those who apparently can’t hear - he said the tube traps work best where pressure is highest and then the very next sentence he said the pressure is always highest in the corners of the room.

Piston speakers mutilate the audio signal. Flat panel speakers are the way to go. Subwoofers to take over the spectrum below 200 Hz obviously.

Brilliant stuff Pete 🎤🎸🥁👍.

My mom wants to know if shes able to sit on it?

Can you actually take measurements and share them, like with REW?

I don't believe a passive sound absorber needs time to react and start working. And how would an absorber distinguish the attack from the sustain? Does it change its density when hit by a certain sound wave and then gradually change back. HOW?

Enjoying your book Who I am a pleasure a privilege and an honour to rediscover the music that was a part of my youth. Innovativeness in sound engineering of the marshall stack akin to a strategist of sound and acoustics Cheers Sir Peter.

Modern art sculpture deconstruct to the essence your Rickenbacker akin to s ham radio tinkering and reconstructing. Bayreuth classical festival balm for the soul Richard Wagner raid of the valykries, flying dutchman, Tristan and isolde. Cheers Sir Eric and bandmates.

What happened? Lol

Gotta love that VERY important person that leaves their phone on during a talk. Rude!

My god you make this confusing with this swing stuff. Most rooms are more or less like cubes, and you get 3 big places for things to go bad. These are all the big parallel surfaces. Any surface will have an effect, but it is the big ones that have the most effect. Front to back, side to side, floor to ceiling. In some cases you can clearly hear which one is dominant. A good case of this is in a long carpeted hallway. The carpet damps the floor to ceiling, and the length of the hallway puts it's frequency below the range of normal human speech, leaving you with that ringing sound from side to side. If you clap and create some impulse noise you can actually hear it bounce back and forth while it subsides. It is not like a swing where it takes time t build up. Audio frequencies are from the tens of cycles per second to the thousands of cycles per second. If you can push your kid sister on a swing a few thousand times in a second you are in far better shape than I am. Besides the fact that at least for small displacements, the time of the swing is independent of the length of the displacement. This is the theory behind pendulums as used in clocks dating back to 1656. Oddly enough, in nature, humans use minute time and phase differences to localize sounds. A very small amount of a humans sense of where a sound is coming from is based on the amplitude difference in the sounds. Quite probably the single biggest affront to natural sounding recordings in modern times can be attributed to the so called pan pot, but that is a diatribe for another day....

Like the attack and release time of a compressor. Makes sense.

Thank you for this video!! Very informative

11:35 Middle C is C4. Not C 3.

Much Better than QRD.

Audio guy uploads video with horrible noise floor about noise floor. Good demo?

Hello! Great video! It really helped me out thinking about some teatment I have to face in a 3mx4m room. The ceiling is tilted from 3m to 1.5 m height and in the lower part, at a corner I have a closet embedded to the side wall. I will use that to vent/trap bass, make a tilted absoptive surface covering it and on the opposite side I'll mimic that surface and both in 10°. In the low wall there is a window to the street, I guess some bass energy leaks out through the glass also. But what I still am not sure is about speaker placement... If you can imagine this room characteristics... do you think you would place the speakers where the ceiling is higher or would it be better the other way and use the ceiling tilt as an expansion (or compression, not sure :P) design? In this scenario the closet would be closer to the left speaker.

Pete Townshend loves your product.

Thanks Pete 🎸

I thought he was holding a giant baguette in the thumbnail. Disappointed.

I never heard it explained better. EXCELLENT ! Thanks😉

(From Sound on Sound bruce-swedien) Early reflections were also an important part of the lead vocal sound on Jackson's later records from Bad onwards, where the singer was set up on Swedien's aforementioned drum riser to amplify the sound of his dancing, and then surrounded by Tube Traps (the common studio nickname for ASC's tubular Studio Traps). Not only did this approach create a dense and controllable pattern of early reflections to support the singing and dancing sounds, but it also kept the sound at the mic much more consistent as Jackson moved while dancing. "The Tube Trap, to me, is one of the greatest things since sliced bread,” he enthuses. "Michael loved my Tube Traps - he was fascinated with them. We would try all sorts of different setups with the Tube Traps to get a soundfield that was really interesting. They save a lot of time.”