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Primacoustic Broadway Control Cubes

12 stk 2" Bev Edge Control Cubes plater i grå. ( 30 x 30 x 5 cm )

Primacoustic Broadway Control Cubes
Varenr.: 103059
Lagerstatus: Best. vare
kr 7 430 inkl. mva. kr 5 944 eks. mva.
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12 stk 30,5 cm x 30,5 cm x 5 cm plater, grå.

  • Kledde akustiske paneler med harpiksherdede kanter.
  • Laget av høykvalitets glassull.
  • Balansert absorbering av bassregionen.
  • Klasse A/1 brannsertifisering.
  • Profilert kant.
  • 30,5 x 30,5 cm, 5 cm tykkelse.

Great-looking, high-performance acoustic panels control primary reflections, eliminate flutter echo, and reduce standing waves.
Primacoustic Broadway Control Cubes are an attractive, easy-to-install acoustic treatment when you want to control primary reflections, eliminate flutter echo, and reduce standing waves.

Made from high density 6 pound per cubic foot high density fiberglass. Span Control Cubes across wall surfaces to treat bothersome reflections that exist between the sound source and the listener. The panels are typically spread in an array that does not completely deaden the room. This helps control acoustic problems while leaving a sense of 'air' audio or space in the room.

The Control Cube's square design is particularly well suited for large wall surfaces where you need treatment and would like to create distinctive architecturally pleasing patterns. This makes the Control Cube an excellent choice in live-end, dead-end designs such as in studios and home theatres while also providing a cost effective alternative for larger spaces such as music practice rooms, dance studios, fitness centers and classrooms that need to be tamed in effort to reduce the reverberation.

As an added bonus, Control Cubes present a tremendous 'upgrade' opportunity for typical drop ceilings where the 24"x24" square panels will drop right into a traditional T-bar grid. This can be particularly effective in commercial installations such as noisy offices, call centers and boardrooms that need added sound control.

The Primacoustic Broadway series is a range of high performance acoustic panels designed for use in the most demanding commercial applications where performance and safety are of utmost concern.

Broadway audio panels are 4 to 5 times denser than typical acoustic foam resulting in greater sound absorption. Each panel is fully encapsulated with micromesh and features resin hardened edges. This retains the minute fiberglass strands while the 'sharp edges' accentuate the contrast in more demanding architectural installations. The panels are then covered in an acoustically transparent fabric and offered in three neutral colors: black, beige and grey. Panels may be covered with a second fabric to suit those with greater artistic flare!

Installation is easy with a choice of impaling clips that screw to the wall onto which the panels are hung. Options include standard surface mount impalers; offset impalers that add an air space behind the panels to increase bass performance; and corner impalers that turn a typical Broadway panel into a serious corner bass trap.

Broadway panels are also employed in the construction of various Primacoustic room kits, bass traps, and cloud ceiling systems. Applications include recording studios, broadcast facilities, home theatre, cinema, classrooms, office and industrial noise control. Best of all, they are safe to use. Broadway panels have been tested to meet the most stringent Class-1 fire safety specifications for use in public areas. This is further supported with independent laboratory tests to ensure the acoustic performance meets the most demanding design specifications.

Features

  • Fabric covered acoustic panels with hardened resin edges
  • Made from high density 6 lb per cubic foot fiberglass
  • Broadband absorption
  • Class-1 fire rated for safety and ASTM tested performance
  • 12 panels per box  
     

How To Use Broadway Acoustic Panels

Broadway panels may be mounted using various methods to suit your specific application. In addition to using typical screws and adhesives Primacoustic has developed a series of impalers to provide the installer with a simple, quick and effective method of mounting Broadway acoustic panels onto walls without causing serious surface defacement.

Each Impaler features a series of sharp protruding darts that penetrate the panel to secure it in place. To ensure panels do not get dislodged after installation, applying a dab of construction adhesive to the Impaler during the mounting process adds another level of security and reduces opportunity for tampering. Impalers are installed using typical sheet rock anchors and screws.

Alternate installations that can be considered include direct screw down using a long screw and retaining washer. This is typically accomplished using a standard screw and a wide faced washer to hold the panel in place. This is a good option in industrial installations where panels may find themselves in harms way or need to be secured on ceilings. Velcro is also a possible option where light duty installations are needed. Finally, for permanent installations, construction adhesive is used by applying a generous bead around the circumference and then crossing from corner to corner. Use a Surface Impaler to anchor the panel while the adhesive cures.

Surface Mounting
The most common approach to mounting Broadway panels is directly on the wall surface. Primacoustic Surface Impalers make this process easy. All you do is screw a couple of Impalers to the wall and hang the panel like a picture. If they will be in a high traffic area, add a small dab of construction adhesive in between the Impaler and the panel to lock it in place.

Depending on the size of the Broadway panels you have selected and the degree of security you feel you need, a different number of impalers will be required. The minimum number of impalers for Broadway panels are detailed below. Impalers should be spaced so there is approximately a two inch boarder from the edge of the impaler to the edge of the panel. Make sure the impalers will clear the fabric that wraps around the back. Avoid pushing the impalers through the fabric edge.

Broadway panels are heavy enough to cause injury should they fall from a height. When mounting Broadway panels in overhead locations ensure there is sufficient impaler clips to prevent accidental dislodgement.

Adding an air space
A wonderful trick with acoustics is to add an air space behind the panel to increase the bass absorption. Depending on the panel density, this can be as provide as much as an extra octave lower, and up to 30% increase in absorption across all frequencies, without any additional cost. Creating an air space behind the panel can be done by furring the panel out using wood slats or by using Primacoustic Offset Impalers to create a 3.5" air cavity behind the panel.

There are two aspects to mounting Broadway panels. The first is deciding where they should go for maximum effect and the second is the physical act of putting them up on the walls.

Panel placement
Panel placement is really a matter of application. For instance a recording studio will benefit from more absorption while a hotel lobby or restaurant can work well with minimal treatment. The following table shows general wall treatment coverage for various applications.

As you no doubt noticed, most rooms—even studios—are rarely covered from floor to ceiling. Most are kept relatively live and natural. This provides us humans with a sense of natural space which is comforting. When rooms are overly treated such as an anechoic chamber, we find ourselves lost or even off-balance with a sense of vertigo.

Depending on the room, panel placement will also change. For instance in a restaurant or office, simply getting panels up on the walls will help tame conversations and the sound of computers. Placement in cases such as these is usually based on practicality such as where wall surfaces are available. In some cases, a more even or balanced approach is preferred by spreading out the absorptive panels so that everyone enjoys the same environment. Meeting rooms are a good example of this.

In more demanding critical listening situations, more advanced panel placement is preferred. The most common configuration is known as a live-end, dead-end (LEDE) whereby one end of the room will have a greater percentage of absorption than the other. In a studio, the source end tends to be treated more heavily while in larger rooms such as theatres, the rear of the room tends to have more treatment.