声泡沫面板

1客户评论

$475.00-$575.00

厌倦了使用死亡的泡沫?希望您的人声和音乐发光而不会失去情感和精力吗?然后,我们独特的声学面板适合您。你得到:

  • 低于250 Hz的吸收更多。比标准泡沫。面板在125 Hz。中吸收30%,在250 Hz时吸收63%。和100%的500 Hz。
  • 来自125 Hz的平滑吸收曲线。- 6,300 Hz。比市场上的任何其他泡沫。这个范围是您声音和音乐频率的核心。
  • 一种管理侧壁反射的技术,因此您可以听到来自来源的直接声音,而不是房间的反射能量。
  • 每个面板的尺寸为27英寸w x 57英寸h,根据您的喜好,深度为4英寸或3英寸。
  • 一种泡沫,可让您的人声和中间范围的乐器流行。

请求报价

这些单元由于重量和尺寸而具有特殊的处理和运输要求。请致电我们520-392-9486或单击这里与我们联系,以便我们可以进一步为您提供帮助。

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Sku:000110412 类别:,,,, 标签:,,,,,,,,,,,,,,,,

附加信息

重量 25磅
方面 27×57×3
结束

,,,,

尺寸

3“,4”

1个评论声泡沫面板

  1. 哈维尔·韦勒-

    我叫哈维尔·韦勒(Javier Weyler),我最初是鼓手。我是一名生命中25,26年的鼓手。我也是声音工程师和制作人。自从我在伦敦以来,我已经从事工程工作了14至15年。

    我之前曾尝试过几种泡沫产品,我会说我实际上听到声学领域的最大差异是由于某种原因是整个中期范围,并且整个频率的高范围都更加紧密且定义。bob足球官方下载总体而言,整个混合物都比没有任何声学处理要好一些。那是我从中得到的第一印象。从物理的角度来看,一旦我开始管理材料,我就注意到泡沫的密度与过去尝试过的泡沫的密度不同。

    我感觉最大的不同,不仅在人声中,而且在其他乐器上也像鼓等等一样,这使房间听起来更加自然,例如,声乐倾向于坐得更好,至少您会说,也许坐着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.

    频率响应变得更加自然。我认为您比过去使用过的其他产品要容易得多。实际上,一切变得更加清晰和自然。显然,没有一个空间是听音乐的理想场景,是的,您可以拥有一个令人惊叹的工作室,但是一旦您像每个人一样在家中听音乐,它将总是不同的。这样的产品使欣赏音乐变得更加容易,并且实际上是因为它更好地欣赏它,而不必太技术。

    我已经使用了2件事的声场泡沫,用bob足球官方下载于控制室中的监视部分,该部分都在控制台和扬声器的背面,等等,这对混合物产生了巨大影响。一切都变得更加清晰,更紧密,更受控,然后我也在录音环境中使用泡沫来解决其他事情。在鼓工套件周围,尤其是在您有很多大声频率从墙壁上弹跳的地方,依此类推。它可以帮助您控制和使房间比平时更加​​自然。

    而且我也将其用于一定程度的分离。我正在录制与一位弹吉他的歌手的会议,同时唱歌,带有2个不同的麦克风,一个用于人声,一个用于乐器。对于语音面对面的问题,还获得了更多的分离,我在两个麦克风之间使用了一些泡沫,这实际上对录音有很大帮助。它使它变得更加清楚,每个源都进入每个麦克风而不会变得孤立并影响面部。在IT中,这有很大帮助。

    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.

    我13岁时就开始鼓吹,所以我已经这样做了25年了。而且,作为一名合理的工程师,总的来说,自从开始成为鼓手以来,我就一直在这样做,但是自从我搬到伦敦以来,我会说14年。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.

    然后,作为一名音乐家,我曾在许多传奇的工作室工作,例如从修道院路到航空公司工作室到武装等等。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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