Professional Recording Studios

ASC takes a complete approach to acoustics, giving your pro studio world-class sound.
If you want to do it right, you can rely on ASC's 30 plus years of experience in helping hundreds of studio owners find and fix problems in their own studios or helping owners design and build new studios, large and small. We know recording studio acoustics and what studio engineers need and we can help you with your project to get it right the first time.

Discover why Grammy Award winning Recording Engineers & Performers choose Acoustic Sciences.

For over 30 years, ASC has been the pioneer and leader in Modular, Adjustable Acoustics. From our humble beginnings in 1984, with the introduction of the first commercially manufactured Bass Trap - the legendary TubeTrap - our products have been embraced by the music industry.

Along with manufacturing and sales of acoustic products, ASC offers a no-charge initial consultation to help customers select and use our products effectively. A more in-depth design service complete with an acoustical engineering report is also available for a nominal fee. The fee is later applied to your purchase.

Just fax, mail or attach to an email a dimensioned sketch, blueprints or photos of the room /space you are planning to treat and we will propose a design using ASC products. We can also start with a minimal acoustic treatment, and design an upgrade path for you to work up to, as time and budget allows.  Make one call:  800 ASC TUBE (272-8823) to get started.  

Custom Acoustic Products

ASC is more than a TubeTrap factory, it includes an engineering design and product development team.  We develop and make specialty acoustic devices that do specialized acoustic work.  We design and manufacture acoustic products that address your specific acoustic requirements. Customized products can range from a slight modification of an existing ASC product to a start-from-scratch innovation.  Most of our new products come from the work that went into these custom projects.   

We've worked on and fixed so many acoustic spaces, such as recording studios, performance halls, churches and listening rooms that we have learned how to design spaces that work right the first time.  We work with owners and product developers to evolve the acoustic side of their projects.  We work with engineers, architects and designers to come up with the acoustic solution that works right the first time, looks great and lasts a lifetime.  

Technologies Used

• TubeTrap - Bass Traps

The physics behind the TubeTrap is based on the characteristics of an acoustic RC circuit which is similar to that of the more familiar electronic RC circuit.  Although electronic resistors and capacitors are fairly small, in the world of bass range acoustics the size of acoustic resistors and capacitors are fairly large, the size of TubeTraps.   

The acoustic capacitor (C) is the air chamber inside the TubeTrap. The bigger it is, the more efficient the TubeTrap becomes in the lower frequency range.  We've recently converted the adiabatic air chamber of the standard TubeTrap into an isothermal air chambers in our newer IsoThermal TubeTrap (patent pending) model which literally doubles the low frequency absorbing power below 60 Hz. 

The acoustic resistance (R) belongs to the surface of the TubeTrap.  In order to have efficient transfer of energy out of the acoustic wave and into the resistive surface of the TubeTrap the surface impedance (Z) of the TubeTrap is matched or equal to the radiation impedance of sound in air, 406 Rayl. The resistance (R) of the TubeTrap is Z/A, the impedance divided by the surface area (A) of the TubeTrap.   Because of this combined with the fact that the back side of the TubeTrap is just as absorbing and the front side, the efficiency of the TubeTrap, similar to Harry Olsen's Functional Sound Absorber (1953, RCA Labs), ranges as high as 170%.  

• Adjustable Diffusion Built-in

Another unique feature of the TubeTrap is its built-in upper treble range sound diffuser.  Just below the surface in the front half of each TubeTrap is suspended plastic sheet that has the right weight and hole pattern to become an acoustic crossover.  It back scatters the upper treble and lets the bass pass right through.  The chrome dot in the edge of the TubeTrap endcap marks the center of the treble reflecting side.  

From the circuit viewpoint this crossover sheet acts like an acoustic choke (L) or inductor that is sized, ported and mass loaded to back scatter the upper treble range, above 600 Hz while at the same time lets the bass pass right through.  The TubeTrap is typically located in a certain position to absorb bass and then rotated to bring the treble diffusing panel into position as well, either set forward to scatter treble back into the room or to the back so as to absorb treble from the room.  Usually the treble diffuser is position to scatter the treble back into the room, creating a low level "ambience" effect.   

What makes the TubeTrap so popular?  Unlike, 'built-in' or wall mounted acoustic products the TubeTraps stand in front of the wall, they are not attached and can be moved around with ease.  People stack them into tall cylinders and placed in the corners of the room and along the walls of the room.  By the trial and error process people learn to acoustically erase the natural acoustic signature of the room, and replace it with the acoustic signature of the TubeTrap setup. 

TubeTraps are 'modular' acoustic devices that can be arranged in a seeming endless arrays.  They bring to those working with room acoustics the ability to acoustically reshape the room acoustic without picking up a hammer.   

Some of Our Satisfied Customers

• Artists

Blink 182, Dave Abbruzzese (Pearl Jam), Walter Becker (Steely Dan), Jeff Campitelli (Joe Satriani), Gloria Estefan, Neil Finn (Crowded House), Galactic Cowboys, David Gilmour (Pink Floyd), Amy Grant, Omar Hakim, Hall & Oates, Kings X, Troy Luccketta (Tesla), Rene Moore, Dolly Parton, Pink Floyd, The Savage Rose, Sting, Garry W. Talent (E. Street Band), Pete Townshend (The Who), Gino Vanelli, Willie Wilcox (Utopia), Cyndi Lauper, Jennifer Lopez, Kid Rock, Herbie Hancock, Mitch Malloy, Ka-Cha and Sheryl Crow

• Engineers

Alan Parsons (Pink Floyd, Al Stewart), Brian Ahern (Johnny Cash, Emmylou Harris, Roy Orbison, George Jones), Roy Thomas Baker (Queen, Ozzy Osbourne, Cheap Trick, The Cars), Bernie Becker (Neil Diamond, Mackelmore & Ryan Lewis, Patti Austin), Mitch Malloy (Taylor Swift, Lady Antebellum), Mark Browne (Lenny Kravitz), Greg Droman (Lindsey Buckingham), Bob Rock (Metallica, Aerosmith, Motley Crue), Robert Scovill (Tom Petty, Rush, Def Leppard), Bruce Swedien (Michael Jackson), Malcolm Welsford (Shihad, The Feelers) and Bill Malina (Lady Gaga, Santana, Justin Beiber, Katy Perry, Ringo Starr)

• Recording Studios

ABC Television, A & M Records, CBS Studios, Toy Specialists, KFMB Radio, Lincoln Road Studios, MGM Studios, MJJ Productions, Moondog Studios, M. T. V., Recording Arts, Robert Lange Studio, Time Machine Studios, TML Studios, Walt Disney Imagineering, Warner Brothers Studio Facilities, White Horse Studios, K-Sound Studios, Wave Group Sound, Widget Post Productions, Skywalker Sound