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.
Presented by Art Noxon at the 87th AES Convention, this paper reviews the current of MTF test signals as the performance spec for hi-fi and pro sound playback rooms. The Modulation Transfer Function is the established basis for testing the quality of speech intelligibility.
Presented at the 85th AES Convention, this paper was written in response to the difficulty in accounting for the satisfaction from the TubeTrap use when doing traditional, steady state room mode analysis, pink noise and tone sweep evaluation of room acoustics. Articulation accounted for the dynamic aspects of room acoustics. This paper covers the details of MTF testing.
Presented by Art Noxon at the 83rd AES Convention, this paper discusses how TubeTraps led recording engineers to discover that lots of very early reflections produce a better, more manageable sound than the traditional, reflection-free, dry studio recording. This paper introduces the concept of a sampling room, highly reflective with a fast RT60.
Presented by Art Noxon at the 79th AES Convention, this paper discusses the physics behind how corner loaded bass traps work. It was written over 25 years ago, just as the ASC TubeTrap had recently been introduced for use in hi-fi audio. The idea of bass trapping was limited to recording studios at the time, and were huge and expensive boxes. However, the idea of corner loading with bass traps had never been considered and was a revolutionary concept at the time.
This AES paper deals with a novel solution for temporary acoustic treatment of a reverberant concert hall which had to serve as a live TV show studio for the Eurovision Song Contest 1990. The use of novel modular 'cage absorbers' theretofore, the design philosophy and the TDS measurements in the finished hall will be presented and discussed.