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The Preferred Choice Among Audio Recording Professionals

Producer's Choice Acoustic Sound Blankets are becoming the preferred brand of sound blankets for voice actors, musicians and  others in the audio recording industry throughout the world!

Developed Specifially for the Audio and Film Industry

Producer’s Choice sound blankets are not moving blankets.  These products evolved from regular moving blankets as a result of  constant improvements to meet   requirements from audio and film  recLab test Producer's Choice blanketsording professionals. These industry professionals approached our  designers seeking specific changes to the blankets to help them improve their work. The results were sound  blankets that absorb 80% of noise (NRC 0.8) and exceeds any   other  competitors' products in sound absorption quality and value. Click here to see comparison of Producer's Choice to moving blankets.

Difference Between Product Names: Sound Blankets, Acoustic Blankets, Sound Panels . . . .

"Sound  blankets" is a category of materials with names that are often used  interchangeably. What is important, and an indicator  of the overall performance of the sound blanket, is the NRC level or Noise  Reduction Coefficient. Materials with NProducer's Choice BlanketsRC   below 0.5 are not considered to be “acoustic”  quality. Click here for more information about NRC Levels.

Producer's Choice Acoustic Sound Blankets are Meant for Acoustic Room Treatment

Producer's  Choice Acoustic Sound Blankets are designed for acoustic room  treatment and not meant for soundproofing (nothing is 100%  soundproof). For soundproofing, we provide other types of materials and products. Click here for more information on soundproofing.

 

Top Reasons to Choose Producer's Choice Acoustic Sound Blankets

  • Certified and Lab Tested: Producer's Choice Acoustic Sound Blankets are certified by Riverbank Acoustical Laboratories to absorb 80% of the noise to cut down on reverberation and create an acousticLab tested Producer's Choice Blanketsally dead environment for voice over and audio recording. See more about Riverbank and view our certificates here.
  • Versatile and Long Lasting: Producer's Choice Sound Blankets can be used in different ways. With grommets or without grommets? Blacktracks for blankets or white or both? Clips or wall tracks? Producer's Choice Blankets come in different sizes, colors and also have many accessories that can be used to hang them on the wall or ceiling. You also can utlize these blankets for your own DIY studio projects or to create your own vocal booth. One thing is the same -- all the blankets have the same high   sound absorption qualities. See accessories and options for sound blankets here.
  • Used and Tesified to Be The Best Brand: Voice Actors, Musicians and others in the recording industry attest to the success of these blankets. See testimonials here. Producer's Choice Acoustic Sound Blankets also have been used in many commerical projects from reducing noise from air conditioners in an apartment complex to absorbing noise in a large conference/expo room. Read about these projects here.
  • Washable, Durable, High Quality and Healthy: Unlike acoustic foam, Producer's Choice Acoustic Sound Blankets can be washed making them easy to take care of and germ-free. When washed, these blankets become even fluffier and softer to use.The stitch pattern -- a straight  2” wide design -- makes the blanket  twice as thick. The thickness of the blankets improves sound  absorption  and noise reduction quality of the blankets. See information about care here.
  • Created from Absorptive Materials: Producer's Choice Acoustic Sound Blankets are created from sound absorptive recycled cotton fibers  with the outer material made from cotton-mix fabric. These are very nice  soft, thick blankets designed for soundproofing with enhanced acoustic  qualities.
0 Comments | Posted By VocalBoothToGo Administrator

Responding to customers request Vocal Booth To Go is coming to Australia.

We are working on establishing a location in Australia to bring our Producer's Choice acoustic blankets closer to our australian customers.  We will also bring improved soundproof booth model 2014.

Door soundproofing and Window Sond curtains.

We are looking to partner with local distributors and welcom all serious enquiries.

0 Comments | Posted By VocalBoothToGo Administrator

What does NRC and SAA stand for?

Sound absorption properties of acoustic materials can be measured in lab tests. Specifications for materials used in sound absorption commonly include an NRC (Noise Reduction Coefficient) for simplicity, in addition to more detailed frequency versus amplitude charts.

The Noise Reduction Coefficient (NRC) and Sound Absorption Average (SAA) values are both single number ratings that indicate the level of sound absorption provided by the product being tested

 NRC Noise Reduction Coefficients The NRC is a single-number index determined in a lab test and used for rating how absorptive a particular material is. It is a scalar representation of the amount of sound energy absorbed upon striking a particular surface.

For example, an NRC of 0 indicates perfect reflection; an NRC of 1 indicates perfect absorption. It is the average of four sound absorption coefficients of the particular surface at frequencies of 250 Hz, 500 Hz, 1000 Hz, and 2000 Hz rounded to the nearest 5%. These frequencies encompass the fundamental frequencies and first few overtones of typical human speech, and, therefore, the NRC provides a decent and simple quantification of how well the particular surface will absorb the human voice.

SAA Sound Absorption Average The single number rating obtained from ASTM C423 is the Sound Absorption Average (SAA). This is the average of the absorption coefficients for the twelve one-third octave bands from 200 to 2500 Hz.  The SAA supersedes the Noise Reduction Coefficient (NRC), which is the average of the sound absorption coefficients of a test specimen for 250, 500, 1000 and 2000 Hz rounded to the nearest multiple of 0.05. The higher the SAA or the NRC value, the better the material absorbs sound.
NRC and SAA values are both single number ratings that indicate the level of sound absorption provided by the product being tested. The NRC value is the average of the sound absorption coefficients at four 1/3 octave frequencies (250, 500, 1000 and 2000 hertz). The SAA value is the average of the sound absorption coefficients at twelve 1/3 octave frequencies ranging from 200 to 2500 hertz. The NRC value is rounded off the nearest 0.05 increment. The SAA value is rounded off the nearest 0.01 increment. The NRC and SAA values normally range from 0.00 to 1.00, with 1.00 indicating 100% sound absorption per square foot of material. These values can exceed 1.00 when thick specimens or specimens with large air spaces are being tested.

Limitations of NRC number

Same material can show different NRC values depending on the method it was measured by. The method by which sound absorption is ultimately obtained can be: 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. The method of mounting used for the test specimen in the reverberation chamber can affect the numbers. Test specimen can be laid directly on the chamber floor (A-mount) or hang like a curtain ( G-75 mount). Other mounting methods also available depending on how the material is intended to be used and test requirements. Depending on the type of the mount the exact same sample can produce very different rating.

The range of frequencies used for NRC testing encompasses the fundamental frequencies and first few overtones of typical human speech and show how well the particular surface will absorb the human voice. A more broad frequency range should be considered for applications such as music or controlling mechanical noise.

NRC provides very simplistic and average indication of absorptive properties of the material, because it is simply the average of the mid-frequency sound absorption coefficients (250, 500, 1000 and 2000 Hertz). For example two materials may have identical NRCs, but do not perform identically in individual bands and may be direct opposites in the spectrum of frequencies they absorb.

==========================

Noise Reduction Coefficients (NRC) for some common Materials:

Material NRC

Brick, unpainted   .00 - .05

Carpet, indoor-outdoor .15 - .20

Cork, wall tiles (1" thick) .30 - .70

Drapery, light weight (10oz.) .05 - .15

Fiberglass, 3-1/2" batt .90 - .95

Fiberglass, 1" Semi-rigid .50 - .75

Marble .00

Plywood .10 - .15

Moving Blankets 0.3 - 0.5
While NRC is widely used and accepted, it can also be abused or misunderstood. Make sure the mounting procedure used in the tests is consistent with your intended installation if you expect the same results.

0 Comments | Posted By admin admin

VoiceWorld was a successful event for VocaBoothToGo.com, a sponsor of the event. We met with many voice actors and even musicians who were interested in our acoustic products, especially our vocal booths. In fact, we had a crowd -- many were ready to walk-off with our displays!

If you didn't get a chance to see our booth or any of the exhibitors at VoiceWorld Toronto, no worries!  We ha€™ve brought them to you. Here is a list of exhibitors and speakers that you may want to connect with.

0 Comments | Posted By admin admin

When building a home recording studio or a vocal booth, it is  important to understand the different approaches one needs to take when  tackling soundproofing and acoustic room treatment of the recording  space.

The first thing people do when they get into the  audio recording business is purchase recording equipment. Instead, they  should consider spending their money on things that don't make a sound. If you are converting a closet into a voice over booth, building a DIY vocal booth in a garage or turning a bedroom into a recording studio, investing money into the room itself may be a very good idea.

It boils down to this: you need to take care of  acoustics and/or soundproofing because if you don't, you will have a  problem with noise. Noise problems related to home studios and  neighbors in attached houses. Noise caused by a flying jet or lawn  mower. Noise from family members or the dog.

On the other hand, YOU will make noise too! Sound  can be leaking from your own production and disturbing the neighbors,  which can cause complaints, tense relationship with family, neighbors,  and welcome police visits. A lot of people find out too late that the  acoustics of their chosen room causes problems in their audio  recordings, either by coloring their recordings or distorting their  monitoring perspective.

Soundproofing and acoustic room treatment should be looked at as two completely  separate, but equally important projects. So what is the difference  between acoustic treatment and soundproofing?

Soundproofing

In essence, soundproofing is reducing the sound  pressure between the source of sound that is generating the actual sound  pressure and the receiver of the sound (microphone, human ear).

In other words, soundproofing means that the sound has to be stopped from leaking in or out of the vocal booth. In  other words, your recording studio needs to be isolated from the  outside world. Volumes are written on the subject, and it still remains a  hot topic. Why? Mostly because it is very difficult to achieve  considerable soundproofing without considerable investment but people  keep trying . . . .

Sound isolation works the same both ways, so there's no difference in approach to keeping sound in or out. Therefore,  recording studio soundproofing is more straightforward and can be  easily described and understood from standpoint of physics of sound and  building materials.

Acoustic Room Treatment

On the other hand, acoustic treatment is a more  sensitive subject, and it involves a lot of “Woo-Doo science”. What this  means is that acoustically treated room sounds differently INSIDE the  room.

The goal of acoustic room treatment is not to  prevent the sound from getting in or out but to manage the sound  generated inside your room by the music played or voice to get a clear  audio recording or have a flat listening room. Why  it is called “Woo-doo science” is because acoustic treatment takes lot  of “try and see techniques” and the degree at which one can call it a  success is very subjective. Some of the factors to consider when taking  on an acoustic treatment project includes room size, room shape,  building materials used to build the room, objects within the  room/studio, position of the microphone or listener, position of the  source of sound, and other considerations.

The main goal of acoustic room treatment, in the context of a recording studio,  is to record clear sound without unwanted noise. Goal of acoustic  treatment, in terms of a listening room, is to get the acoustic quality  of the room from a listener's point of view to be able to hear the music  as it is intended by the artist.

Therefore, when planning to build a recording studio one must first consider acoustic room  treatment (shape and size of the room), then the soundproofing  (materials and location). But, when building the studio one must first address soundproofing and only after recording studio is built, do the acoustic treatment.

0 Comments | Posted By admin admin

Principles of Soundproofing

2013-07-10 06:54:29

To create good sound insulation, one must utilize the following general principles:

Mass -- use heavy materials

Air-tightness -- cover the whole enclosure airtight

Flexibility -- keep it limp, better to overlap, than stretch tight

Isolation -- separate (decouple) from surrounding structure

Although each project has to be considered individually, the above principles are relevant in most cases.

MASS:

Massive, heavyweight barriers will block more sound energy than lightweight barriers. (Less noise will go through it.) This is because the high density of heavyweight materials suppresses sound vibrations inside the material, to a degree that the inside wall of a room, vibrates with less movement. Therefore, the amplitude of the sound waves re-radiated into the air inside the room, €œloudness€, is also minimized.
NOTE: Although a reduction in the amplitude of sound waves affects the €˜strength€™ or €˜loudness€™ of a sound, it does not affect the frequency (pitch) of that sound.

Mass Law

The Mass Law states that the sound insulation of a single-layer partition has a linear relationship with the surface density (mass per unit area) of the partition, and increases with the frequency of the sound.

Single-layer construction includes composite barriers such as plastered brickwork, as long as the layers are bonded together.

  • The heavier the barrier, the better the sound      reduction.

In theory, for each doubling of mass sound insulation increases by 6 dB.

For example, the average sound reduction of a brick wall increases from 45 dB to 50 dB when the thickness is increased from 4 inch to 8.4 inch. This doubling of mass does not have to be achieved by a doubling of thickness, as the mass of a wall for sound insulation purposes is specified by its surface density measured in lbs per square foot (rather than per cubic foot). Similar sound reduction can be achieved by adding thinner, but heavier materials, like a layer of Mass Loaded Vinyl.

  • The higher the frequency the easier it is to block      it.

Sound insulation increases by about 6 dB whenever the frequency is doubled.

Any doubling of frequency is a change of one octave. For example, a brick wall provides about 10 dB more insulation against 400 Hz sounds than against 100 Hz sounds. (100Hz = bass note, 400 Hz = Voice).  This change, from 100 to 200 Hz and then 200 to 400 Hz, is a rise of two octaves.  In extreme cases you might not even hear the sound but can feet the wall vibrating to the touch.

But increasing the mass alone is not enough. If you feel that Mass law does not work in your construction, that is because other factors such as air-tightness, rigidity and isolation have an effect.

AIR-TIGHTNESS:

Areas of reduced insulation or small gaps in the construction of a wall have a far greater effect on overall insulation than you might think. The effective soundproofing of a structure depends on air-tightness and uniformity

For example, if a brick wall contains a hole or crack which in size represents only 0.1 per cent of the total area of the wall, the average sound reduction of that wall is reduced from 50 dB to 30 dB by about 40% (!).

In general, ‘sound leaks’ should be considered as carefully as leaks of water.

Common air gaps: Wall€“floor gaps,  Gaps around doors, Poor window seals, Unsealed pipe runs, Unsealed cable runs, Porous barrier material (Cinder blocks)

Another aspect of soundproofing, that is often overlooked is consistency of the material€™s STC  (Sound Transmission Coefficient) used in construction.  Your construction is only as soundproof as its weakest point. For example, an unsealed door occupying 25 per cent of the area of a half-brick wall reduces the average sound reduction efficiency of that wall from around 45 dB to 23 dB.

MEMBRANE FLEXIBILITY:

Rigidity is a physical property of a partition and depends upon factors such as the elasticity of the materials and the way the partition is installed. High rigidity of the barrier can cause loss of insulation at certain frequencies due to resonances and coincidence effects. These effects diminish the expected results according to the Mass Law.

Resonance

Loss of insulation by resonance occurs if the incident sound waves have the same frequency as the natural frequency of the partition. The increased vibrations that occur in the structure are passed on to the air and so the insulation is lowered. Resonant frequencies are usually low and most likely to cause trouble in the air spaces of cavity construction.

Coincidence

Loss of insulation by coincidence is caused by the bending flexural vibrations, which can occur along the length of a partition. When sound waves reach a partition at angles other than 90°, their transmission can be amplified by the flexing inwards and outwards of the partitions. The sound-wave frequency and the bending-wave frequency coincide at the critical frequency. For several octaves above this critical frequency the sound insulation tends to remain constant and less than that predicted by the Mass Law. Coincidence loss is greatest in double-layer constructions, such as cavity walls or hollow blocks.

Flexible (limp) materials, combined with high mass, are best for high sound insulation. But even if you get the flexible high mass material such as Mass Load Vinyl, it needs to be installed in a way that keeps it limp: for example attached only at the top and allowed to hang freely, or installed in a loose wave-like manner, especially if sandwiched between two rigid surfaces, to keep its limp properties.

ISOLATION:

Sound transfers through any medium air, structural elements of buildings such as floors, walls.  As the sound converts to different wave motions at the junction of different materials, energy is lost and an incremental amount of insulation is gained. This is the principle behind the effectiveness of air cavities in windows, of floating floors, of carpets and of resilient mountings for vibrating machines. Decoupling of elements of construction can be effective in reducing the transmission of sound through a structure. Some broadcasting and concert buildings, and acoustic labs, achieve very high insulation by using completely discontinuous construction of a double structure separated by resilient mountings and rested on a springy support mounts.

Sound isolation can be easily ruined by strong flanking transmissions through rigid links, even by a single nail. Cavity constructions must be sufficiently wide for the air to be flexible, otherwise resonance and coincidence effects can cause the insulation to be reduced at certain frequencies. In small air gaps in conjunction with rigid walls air gaps couples with the walls and separation effect gets lost.

Soundproofing and sound isolation need to be looked at as an integral complex approach where all principals are observed.  Even an incremental increase in sound isolation can have a great effect on how it is being perceived.Because sound levels are measured using a logarithmic scale, a reduction of nine decibels is equivalent to elimination of about 80 percent of the unwanted sound.

1 Comments | Posted By aheadWorks

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