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Auralex-FAQs:
General FAQ's on Auralex Product
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What is Acoustics? |
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What does the ELiTE Custom Fabric System (CFS) entail? |
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What is the best way to clean the fabric of my ELiTE ProPanels or ELiTE Custom Fabric System? |
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How much absorption is needed to “Soundproof” my room? |
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How much should I cover my walls with absorption products? |
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What is a diffusor? |
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What is the difference between T’usors, MetroFusors and Q’usors? |
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What is an NRC rating? |
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How effective is the RC8 Resilient Channel and how do I use it? |
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What is an STC rating? |
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What is the best SheetBlok installation method? |
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What can I use to “Soundproof” my ceiling? |
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How much weight will U–Boats support? |
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Are Auralex products fire retardant? |
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What is the difference between Auralex acoustical foam products and “bedding” or “packing” foam? |
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What happens if fire is exposed to Auralex acoustical foam? |
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What information is required by my fire marshal, fire inspector, or building inspector? |
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I’ve heard Auralex acoustical foam products are “Class B.” What does that mean? |
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So does “Class B” meet my building codes? |
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Is SonoMatt—the Auralex version of “egg crate” foam—fire retardant? |
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What is Acoustics?
In the beginning, there was perfect sound. Then man invented rooms and forever made it difficult to achieve good sound. The end? Luckily, no. Sound waves emanate out from their sources and strike room boundaries in predictable ways. Since tons of studies have shown that reflected sound is inherently inaccurate sound, controlling reflected sound is the key to making your spaces sound good. While it’s true that we all may have our own ideas as to what’s a bad mixer, a bad loudspeaker or a bad microphone, we can all agree on what a bad–sounding room sounds like. Two common examples are gymnasiums and tiled bathrooms. Lots of echo, right? The good news is that by implementing the proper acoustical treatments, even the worst sounding room can be made good enough to yield world–class sound. Controlling reflections yields truer sound and allows the “real” sound of an instrument, voice or loudspeaker to come through. The two methods of controlling sound within a space are sound absorption and sound diffusion.
Hard room surfaces are responsible for the most detrimental reflections like standing waves, flutter echoes and low frequency room modes. Have you ever clapped your hands and heard a ringing, repeating, hollow sound? This is a very common acoustical problem; the flutter echo. Have you ever been in a conversation with someone or played music in a room where the low frequencies were overpowering the rest of the sound, making for poor intelligibility? If so, you have experienced another common phenomenon called a room mode. The three types of sound wave reflections are called axial, tangential and oblique modes, which relate to which direction in a room sound is reflected from one hard surface to another. The worst of these is the axial mode, which means sound is being reflected from wall to opposing wall or floor to ceiling. Corners cause a lot of problems, too, boosting the apparent amount of bass in the room by as much as 9dB. This makes us think we have three times as much bass as we actually do. Corner bass trapping is vital to smoothing out virtually any room’s sound.
Some people mistakenly think that making a room’s surfaces totally absorbent is the only way to make a room sound “good.” But, this is often not the case. While it’s true that many rooms’ acoustics can be adequately controlled with 60% wall coverage with 2” absorption material, the really great sounding rooms tend to be ones with a proper blend and placement of good acoustic absorption and sound diffusion products. These rooms exhibit a pleasing small degree of natural ambience, but no flutter echoes or false bass buildup. No products on the market are better suited to giving you top–notch sound than acoustical absorbers and sound diffusors from Auralex.
The BBC did an interesting study and found that you reap up to 4 times the acoustic absorption if you spread your absorbent material evenly around a room instead of putting it all on just one wall or ceiling. Just how you place the material in a room is based largely on the aesthetics you desire. An added plus to spreading your acoustical treatment around is that you will get some extra (beneficial) sound diffusion off the exposed panel edges.
There are some folks who prefer a more live, yet controlled, environment. The best way to achieve this acoustic character is to use corner bass traps, thinner absorbent materials on the walls and ceiling and extra amounts of 3D sound diffusion. This treatment package imparts a controlled spaciousness to sound. Diffusion is virtually universally recommended for live studios and control room rear walls.
There are places where a very dry, controlled acoustical environment is required. Voiceover booths and radio studios are two examples. Drying these rooms out ensures that when a talent is speaking into an open mike, all you hear is an up–close, direct, present sound – you don’t hear a bunch of detrimental room ambience. Listen to network–quality voice work – you virtually never hear the “room.”
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What does the ELiTE Custom Fabric System (CFS) entail?
The ELiTE Custom Fabric System is a complete turnkey approach to creating an accurate acoustical environment in any room. This system can be used in a wide variety of settings, including residential Home Theaters, office Conference Rooms, and Houses of Worship. Each ELiTE CFS system is custom engineered to meet your specific acoustic and aesthetic requirements. Auralex will work directly with you and your local dealer throughout the entire process – from the initial design to the finishing touches of installation – to ensure that all goals and established requirements are fully met.
Once we have received detailed room layouts and fully understand your goals, a proposal will be put together detailing how the system will be tailored to the specific space. A price will also be quoted to the dealer based on the materials needed, the requirements of installation and the overall square footage covered. After the details of the ELiTE Custom Fabric System and how it will be implemented into the space have been worked out, a certified installer will arrive at the job site on a pre–determined date to finish the room.
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What is the best way to clean the fabric of my ELiTE ProPanels or ELiTE Custom Fabric System?
ELiTE fabrics are constructed from 100% recycled polyester fiber. This enables easy cleaning and the ability to keep the fabric looking new for a long time. They are colorfast to common wet and dry cleaning procedures and are also highly resistant to most spot cleaning solvents. Because of the very low absorption properties of polyester, soilage will tend to remain on the fiber surface. Soilage can generally be removed without vigorous treatment. Good practice is to follow these basic cleaning tips:
・Pretest the cleaning agent on a non–visible area first to ensure no damage is done to the fabric or its color.
・For oil or grease spots use a mild solvent or dry cleaning agent.
・To prevent overall soiling, frequently vacuum or light brush to remove dust and grime.
・To remove accumulated dirt and grime, sponge the foam with a mild detergent or upholstery shampoo.
・Use a room temperature solution.
・Rinse well with a clean sponge to remove traces of the water–based cleaning agent.
・Fabric will dry quickly after cleaning/rinsing.
・If the fabric in your ELiTE CFS or ELiTE ProPanel has overall staining, contact CAV Tech Support.
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How much absorption is needed to“soundproof”my room?
These is one of the most common questions we’re asked. Unfortunately, if you are seeking an inexpensive cure to your sound woes, adding acoustical absorption is not it. While adding absorption does improve the sound in a room, it does little to stop sound from leaking into or out of the room.
Absorption and isolation are two separate phenomena. Imagine firing a strong stream of water at a large sponge. The sponge itself would become saturated with water. But if you stand on the other side of the sponge, you will notice the stream of water coming through. This is an absorber at work. On the other hand, if you fire the same hose at a brick wall, most of the water will reflect off and very little, if any, will go through – an effective barrier.
Good sound isolation is achieved through density and air gaps (or, more specifically, decoupling of structures). Density is in the form of materials such as drywall, chipboard, plywood, soundboard, vinyl barrier products (such as our SheetBlok), lead, etc. Air gaps between existing and new walls should, if possible, be at least 2 inches wide. (But even air gaps as small as ½–inch will serve the purpose of decoupling the structures.) The combination of density and air gaps will provide varying degrees of isolation directly depending on the quality of workmanship.
Improving the construction of the room is the only real option open. For detailed explanations of cost–effective methods for building well–isolated rooms, visit www.Acoustics101.com. Information on building walls, ceilings, floors, doors and windows is all provided free of charge. Many of the tips are based on the “room–within–a–room” concept. However, even if you can only add a few layers to the wall, you are encouraged to read through Acoustics101.com thoroughly. You may find some inexpensive fixes you've overlooked.
In addition, check out the “Bothering Your Neighbors” section at AuralexUniversity.com. You can actually listen to the different wall constructions to help you decide which one will work best for your situation!
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How much should I cover my walls with absorption products?
Never 100%!!! Well, almost never. If you are building an anechoic chamber or a really tight vocal recording booth, we can address 100% coverage. Any other room usually falls in the 25% to 75% coverage range for walls and ceiling.
Some general guidelines:
・Residential Home Theaters usually require a drier environment with a diffusive ceiling. The Auralex ELiTE–CFS system typically uses this approach, but is custom tailored to meet the desires of each individual client. This style tends to recreate the Movie Theater experience best.
・Control Rooms for the monitoring and mixing of contemporary music styles usually benefit from 50% to 75% coverage, primarily using absorption products.
・Live Rooms vary a lot. Some well–designed Live Rooms can get by with 20% coverage (or even less!). Most fall into the 25% to 50% range. This generally requires a healthy mix of absorption and diffusion. The most successful Live Rooms usually have some degree of variability.
・Large Rooms? Typically, large rooms require very specific treatments customized to control the acoustics of the space. It is important that each large room be looked at in detail by an Auralex Acoustical Engineer or Product Application Specialist.
Your room? If you would like a customized room analysis for your space, download the Personalized Room Analysis Form available online here. Fill out the Form, neatly drawing a layout of the room with as much detail as possible.
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What is a diffusor?
Sound striking an absorber – like our ProPanels – gets absorbed much like water hitting a sponge gets soaked up. Rooms treated with absorption tend to be described as acoustically “dead” or “neutral”.
Diffusion “scatters” or “shatters” sound. The most basic analogy is water hitting the underside of a cake pan where the water is scattered in many different directions. Sound hitting a diffusor is reflected, but also controlled so that a certain range of frequencies will be scattered randomly in all directions.
There are different diffusor types generally classified into two broad categories:
A. Scientific Diffusion – For example Quadratic Residue Diffusors or Primative Root Diffusors. These are diffusors that are designed with a specific number sequence in mind. The father of modern diffusion is Manfred Schroeder. His equations and number series for diffusion are the most widely applied. Scientific diffusors come in many shapes and sizes. They can be 2 or 3 dimensional. 2D diffusors scatter sound horizontally or vertically – like our ProFusor, Q’Fusor and MetroFusors. A 3D diffusor, like our T'Fusor, scatters sound both horizontally and vertically. The efficiency of diffusion is not as easy to quantify as absorption is. Absorption has been calculated since the early 1900s using methods developed by Wallace Sabine. It is a very well known method that results in absorption coefficients and NRCs – numbers that generally vary between 0.0 and 1.0 (but could go higher than 1.0) with the higher rating signifying a better absorber. The Audio Engineering Society has recently developed a similar rating for diffusion. It is a standard that quantifies the performance of a diffusor using a 0.0 to 1.0 rating. Like absorption – the higher the “diffusion coefficient,” the better the diffusor. Not all diffusors have been tested in accordance with this new standard. T'Fusors have been tested and perform very well.
B. Controlled Reflection – Some argue that this is not a form of diffusion at all. “Barrel” diffusors, pyramidal diffusors, MiniFusors and hemi–cylindrical diffusors fall into this category. Basically, the science behind these redirectors of sound is to minimize parallel surfaces and therefore increase the diffusiveness of sound in the room.
A discussion of diffusion can be lengthy and complicated. We have a few general rules that will help you decide which diffusor is right for you.
・Diffusion is most effective in larger rooms. A minimum requirement is that the longest dimension in the room be at least 12’.
・If you feel “oppressed” in rooms that have been heavily treated with absorption, diffusion might provide control without the “deadness” of absorbers.
・Live Rooms, particularly where drums or ensembles (such as choirs or orchestras) are being recorded, are great candidates for diffusion.
・The ceiling of a Control Room may benefit from diffusion (provided the height is greater than 8' or 9'). This is particularly applicable if you are mixing a lot of acoustic instruments, ensemble music, jazz, etc.
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What is the difference between T’ Fusors, MetroFusors and Q’ Fusors?
Made of a thermoplastic resin, T’ Fusors are very durable and are effective at diffusing sound above 500Hz. You can increase the low–end performance slightly (and decrease some 250 to 300 Hz resonances) by back–filling the T’Fusors with loose insulation or other absorptive material. T’ Fusors will drop into any 2’x2’ ceiling grid or mount directly to a wall using Velcro strips, trim strips, mechanical fasteners, or Tubetak Pro.
MetroFusors are our answer to an industry–wide request for more cost–effective, lower–profile diffusion. MetroFusors are made of high–density expanded polystyrene (EPS) and are only 2” thick at their deepest point. (By comparison, T’ Fusors are about 6” and MiniFusors are about 5” deep.) Because they are much thinner, performance below 2000 Hz rolls off significantly.
The Auralex Q’ Fusor is derived from combining a standard quadratic residue sequence with some other mathematical techniques to create a profile that optimizes scattering surfaces. This, combined with an overall depth of approximately three inches, and you have great diffusion down to about 800Hz! Sonically this means more accurate control of sound reflections in your room without making the room too dead.
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What is an NRC rating?
NRC stands for Noise Reduction Coefficient. There are two methods by which an NRC value can be obtained: the Reverberation Room Method (ASTM C423) or the Impedance Tube Method (ASTM C384). The Reverberation Room Method is the more popular of the two in terms of tests conducted on acoustical room treatments. For the test approximately 72 square feet (or more, but not less) of material is placed on the floor of a Reverberation Chamber – a big room with (usually) all hard, concrete surfaces (the opposite of an “Anechoic” Chamber – a room with no echoes). The change in absorption from the empty room to the room with the treatment area on the floor is measured. A “before and after” test, so to speak.
The final result of the calculations is reported as Sabine absorption coefficients (“Sabine alphas” or “aSAB”) in octave bands from 125 Hz to 4000 Hz. For a convenient, single–number rating, the Sabine alphas for 250, 500, 1000 and 2000 Hz are averaged and the result is the Noise Reduction Coefficient, or NRC. The alphas in the individual octave bands are interpreted as the relative sound absorbed over the octave band range. The higher the number, the more sound is absorbed.
Those of you with math skills will notice that an NRC doesn't tell you much. Take a look at the following two columns of alphas with the same NRC:
| 250 Hz: |
0.06 |
0.36 |
| 500 Hz: |
0.12 |
0.36 |
| 1000 Hz: |
0.48 |
0.36 |
| 2000 Hz: |
0.72 |
0.36 |
| NRC*: |
0.35 |
0.35 |
*In accordance with standards, NRCs are rounded off to the nearest 0.05.
These two materials have identical NRCs, but do not perform identically in individual bands. If you want to get an idea of how an acoustical material actually performs, look at the alphas in the individual bands. If you want to get “in the ballpark,” then you may find the NRC useful. NRCs are handy when comparing materials side–by–side, but only to a point. For example, drywall has an NRC of about 0.20 and a 1” ProPanel NRC is 0.80. Obviously, the ProPanel is better at absorbing sound. On the other hand, 1” ProPanels and 1”, 6 lb. fiberglass both have NRCs of 0.80, but the alphas in different bands are not the same.
Some other useful absorption coefficient and NRC information:
・The ASTM C423 standard makes it possible to arrive at absorption coefficients and, therefore, NRCs that are greater than 1.00. This may be counterintuitive since many references define the Sabine alpha and NRC as the “percentage of sound absorbed” by a material. This treatment of alphas and NRCs as percentages, however, is not really accurate. The formulae used in the standard to measure absorption are dependent on: the decay of sound in the test room, room volume, room temperature and the area of Chamber floor covered by the test material. “Sabine absorption” and “Sabine alphas” come from the fact that the absorption is calculated using the Sabine equation. Nowhere in the ASTM C423 standard is there a reference to Sabine alphas being equal to percentages of any kind. Therefore, numbers greater than 1.00 are possible. This means that Sabine alphas are simply a representation of the relative amount of sound absorbed by the material. (Relative to the absorption without treatment in the room.) Higher numbers mean more absorption in that frequency band. [For more information see The Sabines at Riverbank by John Kopec. Also, the absorption coefficient, or alpha, of a material is sometimes calculated using the difference between incident and reflected sound intensity divided by the incident sound intensity. In other words, a percentage. Care should be taken not to equate this alpha with the Sabine alpha described above, as they illustrate two different properties. This may be the source of some of the confusion about absorption coefficients.]
・Alphas measured in the lab are going to be different from those measured in a “real” room. However, using the alphas to predict the acoustics of a (usually large) room will get fairly good results. Predicted effects at low frequencies are usually the most “different” from real world measurements because, in general, the uncertainty of the lab measurements increases as frequency decreases.
・Alphas calculated using Sabine’s method are only completely valid to predict the acoustics in large, reverberant spaces using the Sabine formula. Other formulae are available for different initial conditions (i.e., how the room starts out – volume, surface types, etc.), but using Sabine alphas in these equations is not purely “correct.”
・Small rooms cannot be considered “reverberant” in the true sense of the term – even with all hard surfaces. There is simply not enough volume in the room. Instead, using absorbers for the treatment of early reflections, flutter echoes and “room ring” is more appropriate. Placement is usually by experience and using techniques such as the mirror trick. Note: Auralex does not use the Sabine equation to predict small room acoustics.
・The method of mounting used for the test specimen in the reverberation chamber can affect the numbers. Most materials for the treatment of walls or ceilings are tested using what is called an “A” mounting. Type “A” mounting means the test specimen was laid directly on the chamber floor. Ceiling tiles are often tested using an “E400” mounting. The “E” designates a sealed air space behind the specimen and the number after the “E” is the depth of the airspace in millimeters. Other mounting methods are available (“B”, “D”, etc.), but are rarely used. (See ASTM E795 for more information.)
・The best way to use NRCs and alphas provided by Auralex and other companies is to compare performance of products. Be careful, though. Oftentimes, NRCs are used as marketing tools. Be wary of companies that offer absorption coefficients and NRCs without references to standards and mounting methods. All Auralex absorption products, unless otherwise indicated, are measured in accordance with ASTM C423 using Type “A” mounting (see above). Direct comparisons to competitors and other materials can only be made if their testing methods are the same.
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How effective is the RC8 Resilient Channel and how do I use it?
RC8 Resilient Channel can add as much as 10dB of isolation if used properly. Auralex RC8 is manufactured in accordance with the specifications developed by the acoustician that invented the channel – David A. Harris. For more information on Resilient Channel, click here.
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What is an STC rating?
STC stands for “Sound Transmission Class.” This is a single–number rating that can be used to compare the acoustical isolation of different barrier materials or partition constructions. The method used to determine the STC of a material or partition type is complicated. The following is a basic description. The methods are covered in much more detail in ASTM E413.
The method to determine STC is conducted using two test rooms: a “source” room and a “receiver” room. The source room will contain a full–range test loudspeaker. The receiver room will contain a microphone, which is connected to sound–measuring devices. There is a nominal opening between the two rooms – usually about 9’ wide by 8’ high, but can vary in accordance with the standard.
The first step is to measure the sound transmitted from one room into the other through the opening. The sound is measured in decibels (dB) in 1/3–octave bands from 125 Hz to 4000 Hz.
The next step is to “plug” the opening with the material or partition construction. This could be a single layer of barrier (such as plywood or SheetBlok), or a complete wall with as many materials, layers, air gaps, etc. that can fit in the opening. The edges are completely sealed and sound transmission between the rooms is measured again.
The sound level from the “after” test is subtracted from the sound level “before” plugging the opening. The resulting difference is the transmission loss or “TL.”
Next, the TL is plotted on a graph of 1/3–octave band center frequency versus level (in dB). Note: This is where it tends to get confusing. To get the STC, the measured curve is compared to a reference STC curve. (For an exact definition of the reference curve, see ASTM E413 or the third edition of the Handbook for Sound Engineers, edited by Glen Ballou – Chapter 3, “Acoustical Noise Control.”) Two criteria are used to “match” the curves:
1. The reference curve shall not exceed the measured TL by more than 8 dB in any 1/3 octave band.
2. The sum of all the “negative discrepancies” shall not exceed 32.
This actually sounds more complicated than it is. A simple spreadsheet can be used to calculate the STC for any range of TL values.
Once the two above criteria are met, the value of the reference curve at 500 Hz is read as the “STC” of the material or partition type.
So, what does the STC actually tell us about a material or partition? Very little. Just as NRCs don’t tell much about the specific absorption properties of a material, STC tells very little about the isolation properties. It is always better to compare the actual TL values in different octave or 1/3–octave bands to get a better idea of the performance of one barrier or partition versus another. Just as different materials with the same NRC can have different performances, different materials with the same STC can behave very differently.
A direct result of this is that many building materials have similar STCs – 1⁄2” drywall, 1⁄2” plywood, SheetBlok, etc. are all around STC–26 or STC–27. However, the performance of the SheetBlok, a “limp–mass” barrier, is significantly better at low frequencies. This is something you cannot compare using STCs – you have to look at the performance in octave bands.
The STCs for a multitude of materials (barriers, as well as doors, windows, etc.) and construction types (walls, ceilings and floors) have been tested over the years. If you cannot find the STC of a construction type, contact us to find out what you should build to get the isolation you need.
One important thing to note about STCs is that they do not add. In theory, the STCs of two barriers that are identical in every way can be combined and see an increase of 6 in STC. (This is an extension of the mass law to STCs – doubling the mass theoretically improves TL by 6dB.) But this is rarely what “really happens.” Two dissimilar barriers or partitions would have to be tested together to absolutely determine the new STC. Spreadsheets can be used to predict the performance of combinations using the TL data from the two separate materials or partitions. However, since these predictions often use the mass law, the predictions are rarely realized in the field.
Following are some STCs and their “subjective” ratings. It is important to note that some people are more sensitive than others. It is completely possible that an STC–50 partition may not be enough for someone who is hypersensitive to noise in his/her environment.
STC 25–35 Conversation can generally be heard and understood through material/partition. Examples: Hollow–core wood door, one layer of drywall on each side of studs with no insulation.
STC 35–45 Conversation can generally be heard, but not understood through material/partition. Examples: Solid–core wood door, one layer of drywall on each side of studs with insulation.
STC 45–55 Conversation can neither be heard nor understood. Loud sources such as stereos or machinery can still be heard. (Minimum acceptable STC for studio partitions.) Examples: Acoustical doors (www.industrialacoustics.com, www.overly.com), staggered stud construction, RC8 Resilient Channel on single stud partitions, 6” concrete block (painted).
STC 55–65 Most noise sources rendered inaudible. Loud sources may still be sensed. (Recommended for studios.) Examples: Double door “airlocks”, combination concrete block and stud/drywall partitions (double walls), double stud walls with decoupled air cavities.
STC 65+ Considered “silent” by most observers. Desirable design criteria for severely noise sensitive spaces (e.g., studios). Examples: Double concrete block walls, massive double stud walls with larger (6”+) air cavities.
Note: STCs are laboratory measurements. Some losses take place when the material or construction is implemented in the field. Due to these losses, the “Field Sound Transmission Class” or “FSTC” aka the “Noise Isolation Class” or “NIC,” is usually 5 – 10 lower than the laboratory STC for the same material or construction. This should be noted when choosing a construction or material for implementation in the field.
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What is the best SheetBlok installation method?
The best method for installing SheetBlok in a wall, ceiling or floor construction is to “sandwich” it between other layers. Why?
・Sandwiching provides a resilient layer between two solid layers. In addition to offering more mass, this will decouple layers. Technically, this is known as an “impedance mismatch.” Sound energy is more impeded by the sandwiching effect than by other installations.
・Sandwiching is usually easier. Gluing to the first layer of drywall is usually all that is necessary. The final layer of drywall can be glued and screwed right on top of the SheetBlok. Also, with our new Sheetblok Plus, we’ve made installation a breeze!
・The final layer of drywall is more aesthetically pleasing than if the room were finished with SheetBlok. Using it as a finish layer also means additional mechanical fastening is necessary – button–cap nails or trim strips.
Other methods for installing SheetBlok that are acceptable, but do not necessarily perform quite as well as sandwiching:
・Attached directly to the studs. Other layers would go over the SheetBlok. Disadvantages: Since there is no solid sub–layer, sealing the seams is difficult. Also, the decoupling achieved when used as the “meat” in the “sandwich” is not available in this installation.
・Cut into strips and used only on the studs. While this certainly reduces cost, a main disadvantage is not using the SheetBlok as a barrier.
Other neat ways to use SheetBlok:
・Cut into strips and placed as a double layer between the sill plate and the sub floor. This helps decouple walls from the floor.
・Cut into strips and placed between the top plate and the ceiling joists. This helps decouple the walls from the ceilings.
・As a layer on the insides of loudspeaker cabinets. This is very popular in home theater setups where special loudspeaker cabinets have been built around a large screen or TV. Cut into 2’x4’s or 2’x2’s and laid on the back of ceiling tiles. While not a “fix” for sound transmission through acoustical tile ceilings, this does add a lot of mass to the ceiling and should nominally improve ceiling performance. This is sometimes the only alternative short of replacing the entire ceiling. (Note: Consult an acoustic ceiling professional to help recalculate the number of grid hangers you need.)
Finally, we are often asked what adhesives work best with SheetBlok. Many adhesives will hold SheetBlok in place. However, most adhesives will fail over time. This is another reason why sandwiching or, at least, mechanical fastening is best. When sandwiching, we suggest any vinyl flooring adhesive or general adhesive approved for use with vinyl. Or, simply look into using our SheetBlok Plus with its pressure sensitive adhesive backing.
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What can I use to “Soundproof” my ceiling?
Proper U–Boat installation spacing is as follows:
Joist Spacing = 24” o.c.* = U–Boat spacing 16” o.c. along the joist minimum and not to exceed 24” o.c.
Joist Spacing = between 12”–16” o.c. = U–Boat spacing 16” o.c. along the joist minimum and not to exceed 32” o.c.
Most (>99%) of applications will work fine with 16” o.c. U–Boat spacing along the joist. Spacing further apart will improve low frequency isolation below 40 Hz. However, spacing should never exceed 32” o.c.
*o.c. stands for “on center” and represents measuring spacing from center–to–center of, say, joists or studs (or U–Boats). This is to prevent confusion caused by sometimes erroneously measuring from edge to edge.
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How much weight will U–Boats support?
U–Boats have been placed under floors supporting quite a bit of weight. However, testing for compressive tolerances is expensive. To keep U–Boat costs down, we have never verified performance. But, we have discussed the properties of U–Boats with rubber experts and have been assured that: “The framing member will fail before the U–Boat will fail.”
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Are Auralex products fire retardant?
Yes. All Auralex products are fire retardant. Auralex acoustical foam is rated Class B and is specifically designed to be fire retardant to better meet building and fire codes. This has always been the case with Auralex acoustical foam products since they are designed specifically for use as acoustical treatments. (Note: Auralex fire retardants are chemically added to the foam. They are not sprayed on.) Auralex products such as our line of fabric–wrapped ProPanels and ELiTE CFS are rated Class A fireproof.
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What is the difference between Auralex acoustical foam products and “bedding” or “packing” foam?
Since Auralex has been in business, our priorities have been (a) safety and (b) better sound. Auralex acoustical foam products are engineered to be (a) inherently fire retardant and (b) the best for treating acoustics. Many “bedding” or “packing” foams are (a) not fire retardant at all and (b) perform poorly as acoustical treatments. More than ever, Auralex encourages for the buyer to beware. Many “inexpensive” types of foam will not offer the levels of safety and acoustical control that Auralex acoustical foam products offer.
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What happens if fire is exposed to Auralex acoustical foam?
It will smolder and smoke, but it will not burst into flames. If the flame source is removed or goes out, the foam will “self–extinguish.” Again, this is due to the inherent fire retardant properties of Auralex acoustical foam products. (Note: Auralex does not encourage lighting or otherwise exposing flames or heat sources to foam products. Auralex cannot be held liable for the misuse of products or injuries caused by the misuse of products. Also – regardless of whether you use Auralex acoustical foam products – general safety “common sense” should prevail in your home or facility. Fire extinguishers, fire exits, etc. should all be considered with general safety in mind.)
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What information is required by my fire marshal, fire inspector, or building inspector?
Auralex tests all products in accordance with the ASTM E84 and NFPA 255 Standards for Surface Burning. This is in compliance with most building and fire safety codes. You can download a PDF copy of the official test report here. A fire marshal, fire inspector, or building inspector will be able to interpret this test and compare it to the requirements stated in your local building codes.
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I’ve heard Auralex acoustical foam products are “Class B.” What does that mean?
The Standard for Surface Burning (ASTM E84 or NFPA 255) yields two numbers: “Flame Spread Index” and “Smoke Developed Index” These numbers are compared with three ranges called out in building and fire safety codes. The three ranges correspond to “Class A”, “Class B”, and “Class C.” (Some codes refer to these as “Class 1”, “Class 2”, and “Class 3.” The Class designations are interchangeable.) Depending on the results of the test, a material will fall into one of these three categories. “Class A” (or “Class 1”) is the best, indicating that a material is not likely to burn very much, but may produce some smoke. “Class C” (or “Class 3”) is the worst, indicating that a material will likely burn more and possibly even produce more smoke.
All Auralex acoustical foam products are “Class B.” Without getting too technical, it means that Auralex acoustical foam products will burn a little more than a “Class A” material and will produce smoke.
Note that all “Classes” of foam are considered “fire retardant.” The types of foam to be extremely wary of are those that have no “Class” designation at all. In all likelihood, these materials have no fire retardant properties whatsoever and Auralex discourages their use as acoustical treatments.
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So does “Class B” meet my building codes?
It depends. Unfortunately, building codes vary widely from place to place. There is no “nationwide” building or fire safety code that everyone follows. Literally, something considered acceptable for your building may not be considered acceptable for the same type of building in a town, say, four miles from you. If you are unsure at all about what is or is not acceptable for your building, you are strongly encouraged to contact your local fire marshal, fire inspector, or building inspector prior to purchasing any acoustical treatment products.
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Is SonoMatt—the Auralex version of “egg crate” foam –fire retardant?
Yes. Each and every Auralex acoustical foam product – in any color or shape – is fire retardant and “self–extinguishing.”
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