Here you will find a selection of the many published articles, by Art Noxon and others, regarding ASC products and services.
Art Noxon is a fully accredited Acoustical Engineer with Master of Science degrees in Mechanical Engineering/Acoustics and Physics. A Professional Engineer since 1982, he is licensed in Oregon to practice engineering in the public domain with the specialty area of acoustics. A prolific inventor, he developed and patented the iconic TubeTrap, the original corner-loaded bass trap/treble diffuser, 150 other acoustic devices and counting. Lecturer, writer and teacher of acoustics, he has presented 7 AES papers, numerous magazine articles, white papers and blogs. He is president of Acoustic Sciences Corporation, the company he founded in 1984.
Audiophiles are dedicated to the improvement and refinement in the quality of the sound they hear from their sound systems. They change interconnects and listen for improvements. They change components and listen for improvements. They usually use familiar recordings as a reference to help them determine if there are improvements.
There are two aspects to Church Acoustic projects. One is the acoustic material to be used and the second is the strategy for the application of this material. Our approach when voicing the church is performance oriented. The church wants to be bright yet clear sounding. This means we add as little acoustic material as possible and carefully position it so as to best control only the problem reflections.
The home theater subwoofer can become a neighborhood noise pollution problem. You’ll know if you get phone calls that interrupt your late night movies. Lawnmowers and leaf blowers may be the scourge of noise pollution during the daytime but late at night, it’s the subwoofer.
High volume rooms tend to have a lot of hard, sound reflecting surfaces and at the same time hold lots of people. The architectural ceiling and wall systems specified for these rooms are intended not only to deliver aesthetic value to the room, but additionally to deliver acoustic properties to the room.
Most people who read a lot, maybe even, read a little too much, begin to design their home theater by trying to figure out what their room ratios should be. Room ratios are magic numbers that are supposed to proportion the room to make it sound great. But there’s a problem with room ratios. They were originally developed for engineers who had to design reverb test chambers. By itself, that doesn’t seem like much of a problem. After all, reverb chambers have always been used for testing of acoustical materials.
Robert Harley moderates a discussion on room acoustics, equalization, and DSP-based room correction with TAS Senior Writer Robert E. Greene, Peter Lyngdorf of TacT Audio, and Art Noxon of Acoustic Sciences Corporation.
The architect designs a great looking and comfortable auditorium. The sound contractor installs a great looking sound system. The people attend the grand opening and are impressed with what they see, but they have gathered for more than a dazzling display of architecture, lighting, electronics, carpets, glass, surface textures and paint. They have come to be in an auditorium, a place to hear and, moreover, a place to listen to and learn from the lecture or, as the case may be, the sermon.
An auditorium is a place where people come to "audit", it's a place to listen. It won't matter if the auditorium is big and beautiful, warm and comfortable, if the people can't understand what is being said in the auditorium, it just isn't doing the right job. In the previous article on auditorium acoustics, we considered that quietness is more than an important factor, it is the prerequisite for good listening.
Intelligibility is the single most important service that an auditorium can provide. Without intelligibility, an auditorium is functionally little more than a gymnasium after the basketball hoops have been folded out of the way and the chairs have been carted out, unfolded and set up.
When working with an acoustician in the design or renovation of a hall it is helpful for all to have an understanding of the basic concepts in auditorium acoustic design. You can't really design a hall just by knowing the basics of auditorium design. The acoustician maintains an arsenal of trade secrets and insider techniques, reserved to managing sound once it's been launched from the loudspeaker. But by understanding the basics, you can at least keep track of what and why various things are being done.
"All too often, a church is built like a civic auditorium--big space and many seats--yet in the case of a large church, the building is expected to perform like a church. An auditorium is made for "auditing", or listening. A church is made for auditing and singing, therein lies the important difference. Most acoustic design projects, and churches are no exception, start with a budget and a vision.
Sound is acoustic energy and rooms store this energy. Resonance is nature's most efficient way to store acoustic energy in a room. Resonant energy easily lasts two times longer than sounds that are not resonant, and this is how the coloration of sound occurs in small rooms.
An old saying is known in many countries "The chain is only as strong as its weakest link." Often, when we talk about the parts in our audio system, they are referred to as components and interconnects in the audio chain. Each component processes the signal and the interconnects transfer the signal from one component to another. This is hopefully all for the better, resulting in quality sound arriving at our ears.
"The dimensions, shape, and features of a listening room can have a profound effect on sound quality, starting with the bass. Based on its dimensions and shape, every room has resonant modes or standing wave resonances that either reinforce or attenuate bass frequencies. The most common malady is boomy or heavy bass. And if the bass isn't right, nothing sounds good. Room-resonance modes are present in frequencies from 20 hertz up to about 300 Hz, and they first occur when a sound's wavelength is twice the length of the room.
Cry rooms—soundproof and comfortable—are indispensable for many churches. For parents who want to attend a service, but must care for their infants, escaping to a cry room during a short tantrum helps calm down the child and allows the rest of the sanctuary to continue a peaceful service. However, a sealed off room may not be right for some congregations, as feelings of exile can surface when a parent steps out of the spiritual community of a sanctuary.
Acoustics is a hidden force that can help or hurt a church service; when the acoustics have been shaped and controlled, the sermon will be clear and understandable, and the music will be more energetic and uplifting. But poor acoustics can create problems for all parts of the service, and they can be difficult to correct. Too much acoustic treatment can drain the life from a service, while too little can make the service sound cluttered and uncomfortable.
Acoustic products control bouncing sound, allowing us to hear the unmeasurable, low-level sound that our ears are designed to use in orienting and judging distance.
Originally published in the abso!ute sound Issue 112, 1998
Increasingly, the launch of a new Michael Jackson collection has taken on the dimensions of a world event. Lest this be doubted, the videos promoting the King of Pop's latest effort, "HIStory", depict him with patently obvious symbolism as a commander of armies presiding over monster rallies of impassioned followers. But whatever one makes of hoopla surrounding the album, one can scarcely ignore its amazing production values and the skill with which truly vast musical resources have been brought to bear upon the project.
Five time Grammy winner Bruce Swedien is the only producer/engineer whose clients range from the Big Band era of Count Basey to the King of Pop, Michael Jackson. Swedien, the master of mixing, just finished a two week tour through Germany where he shared a plethora of knowledge with German audio professionals. At three world-class studios "Do Nothing Till You Hear From Me" a song from Quincy Jones latest album, was re-mixed featuring Phil Collins on vocals.