Bass Trap Myths

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Bass Trap Myths

by Ethan Winer

This is an expanded version of my article in the August, 2016 issue of audioXpress magazine.
Sinae Park translated this article to Korean HERE.

I've been writing about bass traps and acoustic treatment for more than 20 years. I had hoped by now most people would know what bass traps do and how they work, but I still see several myths repeated online and in print that need to be disproved. First, understand that all acoustic problems are caused by reflections from the walls, floor, and ceiling. These problems include response peaks and nulls, excess reverb and ambience, comb filtering, individual 'early' and 'late' reflections, and modal ringing at bass frequencies. When the reflections are removed the problems go away. Some of these acoustic problems are similar, such as comb filtering which is a series of peaks and nulls at related frequencies. Likewise, modal ringing, or room resonance, is similar to reverb in that sound waves linger after the sound source stops, but it occurs only at individual low frequencies. Room modes are resonant frequencies related to the room dimensions, and modal ringing is one important acoustic problem that bass traps improve.

Bass Trap Basics: Reflections are the root of all evil

Whether an indoor sound source is a person speaking or singing, or a musical instrument or loudspeaker, our ears receive a combination of the direct sound from the source and its reflections off the walls, floor, and ceiling. Note that reflections are heard as discrete echoes only when they arrive much later than the original sound. In rooms substantially smaller than gymnasiums or auditoriums, reflections change the tonal balance rather than create 'hello, hello' type echoes or reverberation.

Figure 1: This shows the idealized properties of three types of absorbers.

Bass traps are specialized acoustic absorbers you put in a room to reduce peaks, nulls, and ringing at frequencies below around 300 Hz. When placed on the walls and ceiling, bass traps absorb sound rather than let it be reflected back into the room. There are two types of bass traps: tuned traps absorb a narrow range of frequencies, whereas broadband traps aim to absorb all bass frequencies. Depending on their design, broadband bass traps may also absorb mid and high frequencies.

In practice, broadband absorbers are effective down to a given low 'crossover' frequency that depends on their thickness. The blue line in Figure 1 shows absorption versus frequency for a typical broadband absorber two inches thick. Above 400 Hz it absorbs fully, tapering off at lower frequencies. Better broadband bass traps absorb as much as possible at low frequencies, but intentionally less at mid and high frequencies as shown in red. This lets you put enough of them in a room to truly fix the bass problems, without making the room dead sounding. This is a very important feature that distinguishes 'good' bass traps from typical acoustic foam and mineral wool. Finally, the green line shows the amount of absorption from a tuned bass trap that targets 80 Hz. Which leads us to the first myth:

Myth #1:Tuned bass traps are best because they can target lower frequencies than broadband traps.

It's true that broadband bass traps are less effective below around 80 Hz, and tuned traps can be highly effective to lower frequencies with less depth. But audio rooms need substantial absorption at all low frequencies. Once you have enough tuned traps to sufficiently tame the room modes, there's not enough space for broadband traps that are also needed to absorb the remaining low frequencies. Further, rooms have three primary modes, one each for length, width, and height. So that's three frequencies to absorb. But that's just for the fundamental modes. There are also higher-order modes at multiples of each fundamental frequency. So if the main length mode is 30 Hz (corresponding to 19 feet), there are also modes at 60 Hz, 90 Hz, and 120 Hz. Now we have four frequencies to deal with just for the length dimension!

Figure 2: SBIR nulls occur 1/4 wavelength away from a boundary, and peaks at 1/2 wavelength away.

Another problem with tuned bass traps is they're more difficult to design and build, especially for a room under construction whose response can't yet be measured. Software such as my Graphical Mode Calculator can predict mode frequencies from dimensions and suggest good room proportions, but these calculations can be off by 5 percent or even more due to differences in construction. The formula that calculates mode frequencies based on dimensions assumes the room is a perfect rectangle. It further assumes that all six boundaries are infinitely rigid and thus reflect 100 percent of the sound at all frequencies. But most rooms are built with drywall and wood floors that flex slightly and thus absorb, and also have windows and doors