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Unexpected effectiveness of porous bass traps on boundaries?

refractioncat

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Apr 19, 2025
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I've found a curious phenomenon in the measurements of the "Trapping Traps" experiment on Gearspace

The experiment was conducted by placing various configurations of bass traps (porous and VPR) in a 4.055m x 3.13m x 2.26m room, and measuring the decay times at low frequencies. The room has relevant axial modes at ~42 Hz, ~55 Hz, and ~76 Hz, corresponding to the long direction, short direction, and floor-to-ceiling. In the untreated condition all these modes ring for way longer than 1000ms.

The measurements F and L involved placing a 20cm thick 1m x 2m slab of Iso-Bond (around 12000 rayls), straddling a corner, and along the short wall, respectively. The absorber size and thickness being the same, only the placement differs.

straddling small.png


The straddling measurement absorbed the 42 and 55 Hz modes quite effectively (roughly 300ms and 200ms respectively), and did not do as much to the 76 Hz mode (800ms).

This matches conventional wisdom on velocity absorbers; the panel presented a roughly 1.68 m^2 area to the modes' directions, and had a sizable air gap behind it, improving low-frequency absorption. The floor-to-ceiling mode was relatively unaffected, as the panel was not oriented to affect it.

boundary small.png


However, when looking at the on-wall measurement, something strange happens: the 42 Hz mode is relatively unaffected at >1,000ms, but the 55 and 76 Hz modes are still relatively effectively absorbed (250ms and 600ms).

By conventional wisdom (i.e. acousticmodelling calculations at normal incidence) a 200mm absorber of 12k rayls should have a coefficient of absorption only around 0.3-0.5 at those frequencies, and the surface area presented in the direction of the modes is small (0.4 and 0.2 m^2 respectively). In comparison, 2 m^2 at a coefficient of around 0.2-0.25 should be significantly more useful at absorbing the 42 Hz mode, yet this is the mode that rings the longest in this experiment.

The difference in the 76 Hz mode (from around 800ms to 600ms) is particularly interesting, as the only difference between the straddling and boundary measurements is that the absober is against a wall. Somehow this makes an absorber in the "wrong" orientation unexpectedly effective anyway. The drop in the 55 Hz absorption is also less than one might expect, going from 200ms to 250ms despite the change in the orientation of the absorber.

I haven't found a clear explanation for why this happens, nor consideration of this effect in bass trapping recommendations, despite the apparent effect of it seeming rather significant. The difference in the 55 Hz and 76 Hz could suggest that the exposed edge may have something to do with it, as the 55 Hz mode has twice as much area/edge length in its direction. The position of this edge (starting at 1/3 from the corner, instead of filling 90% of the wall) may also be related.

Bjorn has mentioned some secret "new studies" in his posts and talked about the drawbacks of airgaps, which may be related to the phenomenon observed here:

This is highly interesting because, if we can work out a more exact cause of these unexpected measurement results, it could imply a new way to achieve effective bass trapping with more space-efficient or more conveniently shaped designs.

For example, enclosing fiberglass in a rigid frame on the 4 sides appears common in panel-shaped bass trap designs. However, if the exposed edges contribute a large part of the absorptive effect at these "grazing angle" nodes, this could be harming the potential absorption of the panel.

In comparison, gluing a self-supporting box from a sufficiently rigid foam (e.g. 50mm basotect) could allow a panel trap of comparable dimensions to have fully exposed absorbing edges, while weighing less and being thus easier to mount. The interior could then be filled with cheap fiberglass, with the foam enclosing the fibers for those who are worried about that stuff. Alternatively, sheets of foam could be simply glued together around the edges to make a simple DIY absorber open on 5 sides. In the UK, t.akustik melamine foam+glue is around £135 for a 100x100x20cm absorber, which places it somewhere between GIK panels and DIY fiberglass options in price. Using foam for the exterior only and filling the inside with cheap fiberglass would make two 100x80x20cm absorbers from the same amount of foam for around £140-150. Replacing the surface panel with a pyramid version at a slightly higher price is also an option.

From playing around with the calculator, it seems that an exterior of denser material with a core of the fluffy stuff performs similarly to a homogenous absorber of the denser material, or even slightly better. It also appears that higher-density absorbers perform better at oblique incidences, showing less of a dip at mid-bass frequencies compared to normal incidence.

The apparent ability of absorbing panels to have an effect "sideways" when placed along a wall could also mean that difficult, low-frequency nodes might be controllable with less thickness than traditional normal-incidence absorption would require, making the right kind of porous absorbers a more viable alternative to pressure-based absorption at the low end.
 

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I feel there's alot more in play here than just the absorber. Room shape, construction materials, substrite, how many external walls (what insulation, if any is present), ceiling and what's above, window placement, door placement, so forth and so on. From the testing I did when I did my absorbers, I got much better results with the panels placed across corners with an airgap behind. However, the way that placement occured the airgap as seal and not open. That may play a factor as well.
 
In the experiment, the room was fairly optimal for testing, pretty much a concrete box with few exceptions:
The room is 4,055m x 3,13m x 2,26m [~ 13'4" x 10'3" x 7'5"] with solid concrete floor and walls. The ceiling is made of steel beams and hollow blocks bond with solid concrete. There's a small (usually closed) window and a simple wooden door.
The straddled placement certainly performed better overall by reasonable metrics, but the flat placement still controlled the 55 Hz node almost as well, although the node was already weaker in the untreated condition, possibly thanks to the door acting as a pressure absorber. Roughly 400ms in the untreated condition, 200ms straddling, and 250ms flat.

By the calculations, any panel with an airgap would perform better with the airgap filled with a suitable material (often a relatively low-resistivity material seems best). But if thick panels flat on a wall can achieve better performance than expected, it has potentially interesting implications.

At least in my room, I've found that pretty much all nulls in the 50-400 Hz range can be linked to a specific comb-filtering reflection off the walls, floor, or ceiling, and the frequency response graph looks like a sonar survey of the room. Thus, I suspect that it would be better to treat the first reflection points with the deepest broadband bass traps I can, instead of using thin panels that have practically no effect in the range where the comb filtering is the worst and leaving bass traps at the corners that seem to be contributing less to the uneven response. And if being placed edges open on the walls means they are also helping with the room modes more than one might naively expect, that would be quite convenient.
 
I would not over interpret these results. The decays are not perfectly exponential and moving the reference floor a few dB up or down might change the resulting decay times. And putting the absorbers in breaks the symmetry and mic placement will have an effect.
On top of that your unavoidable measurement errors and the differences all but vanish, respectively conform to "common wisdom".
 
I found a possible source for the "airgaps don't work" claim: AES PNW June 2023: "Old Problems, New Solutions: Architectural Acoustics in Flux, Redux" --Ron Sauro

Basically, according to Sauro, the pressure behind a panel increases as the sound wave hits the wall, but a gap larger than 2.5cm causes the pressure to leak out of the sides. If the sides are sealed with a hard material, the air in the gap acts like a piston instead. I would presume the threshold value might depend on the size of the panel, with a larger panel tolerating a larger unsealed gap behind it. In Ethan Winer's tests there are multiple panels butted up, creating a large airspace with relatively little perimeter.

Also very interesting measurement results from NWAA showing different porous absorbers behaving very differently, and not very much according to the simulations. 10cm 706 fiberglass still working close to 1.0 at 80 Hz, 10cm PET having a peak at 40 Hz, little effect at 50 Hz, and a gradual ramp back up to 200 Hz, according to Sauro because it's denser inside which makes it act somewhat like a VPR.
 
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I found a possible source for the "airgaps don't work" claim: AES PNW June 2023: "Old Problems, New Solutions: Architectural Acoustics in Flux, Redux" --Ron Sauro

Basically, according to Sauro, the pressure behind a panel increases as the sound wave hits the wall, but a gap larger than 2.5cm causes the pressure to leak out of the sides. If the sides are sealed with a hard material, the air in the gap acts like a piston instead. I would presume the threshold value might depend on the size of the panel, with a larger panel tolerating a larger unsealed gap behind it. In Ethan Winer's tests there are multiple panels butted up, creating a large airspace with relatively little perimeter.

Also very interesting measurement results from NWAA showing different porous absorbers behaving very differently, and not very much according to the simulations. 10cm 706 fiberglass still working close to 1.0 at 80 Hz, 10cm PET having a peak at 40 Hz, little effect at 50 Hz, and a gradual ramp back up to 200 Hz, according to Sauro because it's denser inside which makes it act somewhat like a VPR.
The new studies which Björn references to are the experiments done by Ron Sauro of NWAA and John Brandt. There is a lot of information and snippets of data but it is scattered over several youtube videos, AES presentations and in a private Facebook group.
I almost bought The acoustics masterclass online course when it launched but the marketing has a bit of a "used car salesman" vibe to it.

Here are a couple of videos which contain a lot of information

Here are some presentations from Ron Sauro, including the one in your link.
 
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