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Primacoustic Broadband SQ 2-inch (grey)


The Broadway Broadband Absorber presents an attractive, 'easy-to-install' solution for acoustic treatment where maximum control over primary reflections is required. Made from high density six pound per cubic foot glass wool, the larger 24" x 48" (60.96cm x 121.92cm) Broadband features an increased surface area for great absorption. This makes it particularly effective at improving intelligibility in larger installations where the reverberant filed and echo is excessive.


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Category: Recording:Acoustics:Panels

$699.99
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Broadband Absorbers are flush mounted on the wall using Primacoustic Surface Impalers and can be 'butted-up' for complete wall coverage for maximum absorption or spread in an array to retain a sense of 'air' or natural ambiance in the room. This makes the Broadband particularly well suited to attenuate the reverberant flied and improve the working environment in commercial installations such as noisy offices, call centers and boardrooms. The larger panel design also lends itself to other applications such as bass management. For instance, mounting Broadband Absorbers using Primacoustic Off-Set Impalers introduces an air space behind the panel, which can increase bass absorption by as much as one octave. When mounted using Primacoustic Corner Impalers, bass absorption extends down to 75Hz making it an ideal bass trap for controlling the low end response in a studio or home theatre installation.

Product Features:
  • Full size panels provide maximum absorptive surface
  • Rectangular shape integrates with most room designs
  • Surface, Off-Set, Corner or Push-On mounting options
  • Combine with Accent panels for architectural flare!

Product Specifications:
  • Core Material: Formed, semi rigid inorganic glass fibers
  • Density: 6.0 lbs. per cubic foot (96 kg/m)
  • Fabric Facing: Acoustically transparent polyester tweed
  • Encapsulation: Micromesh on front and rear surface, resin treated edges
  • Absorption H20: < 2% by weight @ 120F (49C), 95% relative humidity
  • Temperature: -20F ~ 150F (-29C ~ 66C)
  • Fire Rating: Class-A
  • Mounting: Galvanized steel impalers

  • Size: 24" x 48"
  • Coverage: 8 sq-ft per panel
  • Color: Grey
  • Thickness: 2-Inch
  • Edge Treatment: Squared
  • Quantity: Box of 6
  • Surface Coverage per Box: 48 sq-ft (4.46 sq-meters)

Mounting:Mounting Scatter Blocks is easy and quickly accomplished using Primacoustic Surface Impalers. Most installations only require one impaler per panel. For areas with higher traffic, two impalers may be used. For extra security, add a dab of construction adhesive on the impalers, to secure the panel in place. This is recommended in classrooms or public places.

The Primacoustic Broadway Series Acoustic Panels:
Primacoustic Broadway is a range of high performance fabric covered acoustic panels designed for use in applications where superior acoustic performance is desired and safety is of utmost concern.

Made from high density 6lb per cubic foot glass wool, Broadway panels have up to six times greater density than typical foam panels for balanced absorption throughout the audio listening range. Each panel is fully encapsulated with micromesh and edges are resin hardened to assure safe handling during installation. Panels are then covered in a tough yet acoustically transparent fabric and offered in three 'architecturally neutral' colors with choice of square or beveled edges. Panels may alternately be re-covered with any breathable fabric to suit those with greater artistic flare.

Installation is easy! Broadway panels hang as easy as pictures using a choice of impalers. Should you decide to relocate the panels, clean up is simply a matter of filling a screw hole and touching up the paint. Four standard panel sizes are offered with choice of 1-inch, 2-inch or 3-inch thicknesses. This allows the designer to attenuate voice or flutter echo using thinner, more affordable 1-inch panels for installations such as offices or call centers, or opt for thicker 2-inch or 3-inch panels for music related installations such as theatre, studio and broadcast where broadband absorption may be required.

All Broadway panels are laboratory tested for acoustic performance and Class-A/I fire safety by meeting stringent ASTM-E84 and Can-UL S102 requirements for flame spread and smoke development. This makes Broadway panels safe for use in commercial, government and institutional installations.

Broadway high performance acoustic panels that look great, are easy to install and safe to use anywhere!

The Science of Broadway Acoustic Panels:
This overview discusses how Primacoustic panels work, how to select the right one for the job, basic guidelines on where to use them and how they compare to others that can be found in the market. This web page is not intended to turn you into an expert but it will provide a general understanding of the science involved and how to apply it.

Why Control Sound in the First Place?
In general terms, controlling sound is all about improving intelligibility or our ability to comprehend what is being communicated. Or more simply stated: taking the clutter out of the sound so that you can clearly hear the message. In a church, this may be the spoken word. In an airport, it may be flight announcements. In a factory, it may have to do with safety paging. In a hotel lobby or restaurant, it may simply be an attempt at controlling the reverberant time to make communication between patrons more comfortable. And in a recording studio, controlling the acoustics allows us to create a predictable outcome so that the recording will translate to other audio systems with relative confidence.

Without treatment, sound will echo off the walls, floor and ceiling and reach a point where the rooms ability to handle and dissipate energy has been exceeded. For instance, a teacher quietly speaking in a classroom is very different than one yelling above a room full of excited kids. Once the rooms natural threshold is exceeded, conversation and communication requires much more attention. This causes an effect known as ear fatigue whereby we have to work hard at listening and speak louder to be heard in an attempt to overpower other competing sounds.

These competing sounds are called reflections. They can be powerful primary or first order reflections that echo off nearby surfaces, or be secondary reflections that create a reverberant field. Controlling the ambiance or reverberant field is generally done by mounting acoustic panels on the walls or hanging them from the ceiling. Adding sound absorption to a room can easily turn a dreadful sounding space into one that is comfortable, quite effective for communication. The following are common types of echo:

Direct Sound: The direct or initial sound is the sound coming from your mouth, the instrument being played, or from the loudspeaker. This is the message that is being communicated and usually the most important.

Primary or First-Order Reflections: These powerful reflections occur as sound echoes off nearby walls. Because they usually arrive a few moments after the direct sound, they can interfere causing what is known as phase cancellation or comb-filtering and can make hearing what is being said difficult. Controlling first order reflections is usually the first plan of action. Reducing the reverb decay time is usually a matter of increasing the amount of absorption in the room. The more panels you put up, the more energy you will absorb. While classical music benefits from a long reverb, communication via spoken word vastly improves with shorter decay times.

Flutter Echo or Room Chatter: Clap your hands in an empty room and you will hear the sound ricochet off the walls, ceiling and floor. Flutter echo is mostly caused by reflective parallel surfaces that allow the echo to sustain itself. Reducing flutter echo is easily done by placing panels on opposing parallel walls in such a way that the echo cannot sustain itself.

Secondary Reflections or Reverberation:This is the long trailing echo that you can hear in an old church. Back before the modern public address system, churches were designed with long reverberation to carry the voice. This is particularly effective when listening to choirs or Gregorian chant. Classical music also benefits from a long trailing reverberant field as it allows the instruments to excite the room. Controlling the reverberant time is usually a matter of increasing the amount of absorption in the room. The more panels you put up, the more energy you will absorb. Acoustic music or singing voice benefits from long reverb while communication via spoke word is best with shorter times.

Sound Absorption... a Thermo Dynamic Transfer: When loud music is playing, place your hand on the loudspeaker, floor, nearby furniture or even a window and you will feel the vibrations. Sound energy travels through air, solids or liquids in the form of vibrations and when the medium is set into motion, it inevitably generates heat. Sound absorption is in fact an energy transfer function. The scientific term for this occurrence is called a thermodynamic transfer.

When sound penetrates a Broadway acoustic panel, it causes the minute glass wool fibers in the panel to vibrate. The same thermodynamic transfer occurs only this time, it is very efficient due to the minute size of the glass strands and their ability to vibrate freely with very little energy. By distributing acoustic panels around the room, the echo is quickly attenuated.

In the world of acoustics, bass or low frequencies are difficult to control due to their long wavelengths. With sufficient power, bass will pass through just about anything. This means that it not only requires more energy to generate bass (think elephant versus mouse), it is a lot tougher to stop it once it gets going (think trying to stop a freight train versus stopping a bicycle). High frequencies are much less of a problem as the shorter wavelength is much less powerful.

The easiest way to absorb low frequencies is to increase the thickness of the panel. One can more or less predict the required thickness of an acoustic panel by employing 'quarter wavelength' calculations. But actual acoustic testing generally delivers surprising results. Unless the panel is sufficiently dense, bass will pass right through. This is the problem with low density foam; it is ineffective at absorbing bass. On the other hand, if the panel is too dense; the high frequencies will simply bounce off and reflect back into the room. Broadway panels are designed to do both; they provide balanced absorption.

Solving the Acoustic Problem
The actual process involved can be simplified into four steps:
  1. Determine the problem frequency range
  2. Select the correct acoustic panels to solve the problem
  3. Estimate the amount of coverage and budget
  4. Install acoustic panels in strategic areas for maximum benefit

First, you need to determine where the problems are in the room by identifying the offending frequency range. In other words, you must consider what frequencies you are trying to absorb before you simply put up some panels on a wall and expect them to work.

For instance, in a studio, it is essential that you balance the absorption throughout the audio range so that the recording will translate well onto other audio systems. In this case, you really want to create a neutral listening environment. In a home theater, you want to both create excitement within the room while assuring that the all important center channel that carries the dialogue is crystal clear. In a classroom, boardroom or call center, the human voice is being transmitted and therefore your choice of acoustic treatment must properly address this frequency range.

Determining the Coverage
Put one small panel up in a gymnasium and you will likely not hear any change. Put a million panels on the walls and ceiling and the sound will be completely dead. Most room treatment lies somewhere in between. And as simple as it may sound, the more acoustic panels you put up, the more sound you will absorb. This follows what is commonly called the acoustic bell curve.

The acoustic bell curve indicates wall surface coverage versus absorption. As the wall coverage increases or number of panels are used in the room, the effectiveness slowly starts to rise. At one point the room begins to transform from a cavernous echo chamber into a comfortable environment. Then, as more panels are added, the effect diminishes and adding panels no longer provides any appreciable benefit. You have reached the top of the bell curve.

There are no absolute rules when it comes to how much coverage will do the job. For speech where maximum intelligibility is desired, acoustical engineers generally specify a reverberant time of less than 1 second. This can be longer in larger rooms. For a classical music concert hall, long trailing reverberation is usually preferred as the instruments combine with the ambiance to excite the room and audience.

The amount of coverage comes down to application, common sense and preference. For instance if you are treating a studio, you may prefer to mix in a livelier environment. On the other hand, if you are treating a house of worship that switches between spoken word and a lively rock band, you may find it beneficial to have more sound absorption. The wonderful thing about acoustics is that you really cannot go too far wrong. Start with 10% to 20% coverage. If you are not satisfied, simply add more. It really is that easy.

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.

Maximizing the Performance
There are several acoustic tricks that one can employ to make your acoustic installation easier and more effective:
  • Mounting panels at ear height: This first simple trick is to mount the panels at ear height. This is particularly effective in smaller rooms such as home theatres, classrooms, board rooms and studios. This also has the advantage of keeping them out of harms way from chairs and from people walking by that could accidentally damage the panels.

  • Managing parallel surfaces: Another trick has to do with parallel wall surfaces. Most rooms are rectangular. This means that the vast of rooms will have two sets of parallel walls. Sound is very directional particularly at high frequencies which cause it to beam like a flashlight. For flutter echo to survive, it needs to have two parallel wall surfaces. If you treat one, the echo will quickly be subdued.

  • Leaving space between panels: Because sound can also penetrate the side edges of the panels, leaving a space between them will generally increase the amount of absorption. So unless you are trying to completely deaden a room, leaving some space between panels can save you money.

  • Using corners to your advantage: Because sound expands spherically as it moves away from the source, it can easily be trapped by catching it before it echoes and ricochets back into the room. By treating one wall in a corner or the wall surface between the wall and ceiling, you effectively enjoy twice the performance or a bunch of extra absorption for free.

  • Creating corners with baffles: Ceiling baffles such as the Primacoustic Saturna are very effective. These hang vertically like a flag and not only capture sound as it penetrates both absorptive surfaces, but they also collect ceiling reflections from both sides. This makes Saturna baffles particularly effective in larger installations such as airports, arenas, and industrial buildings where they can be safely hung out of harms way up in the rafters.

  • Using ceilings when walls are busy: When walls are not available, the ceiling can often present a good alternative for sound absorption. For instance in a restaurant or a hotel lobby with many large windows, wall space may be at a premium. One can hang Broadway panels from the ceiling above noisy areas using Primacoustic Cloud Anchors. Primacoustic also offers premium ceiling tiles called ThunderTiles & StratoTiles for T- bar installations.

  • Adding flare to you room acoustics: For those that want to add some design elements to the room, Primacoustic Accent Panels make it easy. These come in choice of rounded or triangular panels that can be combined with rectangles and squares to create acoustic windows and artistic shapes all while controlling sound.

  • Using common sense to avoid problems: The best example of not using common sense has to be the one where someone decided to hang acoustic baffles in a gymnasium. For any 14 year old kid with a hockey stick, football or baseball, the hanging baffle is a sure-fire target. In no time, all of the panels were damaged. In places that have high humidity such as swimming pools, acoustic panels need to be covered in a vinyl or plastic wrap to keep moisture out. Avoid putting open cell acoustic panels in areas such as kitchens that produce smoke and soot as they will soon look awful and likely cause problems with authorities. If in a high traffic area, make sure the panel you choose is sufficiently resilient to handle the stress.


Broadway Control Columns are available in single units. Please call us for details on price and availability.