Attack Wall Technical Stuff

The essential configuration for a complete Attack Wall environment involves surrounding the recording console, engineer and speakers with Studio Traps that touch each other allowing no sound to "escape". This setup controls early reflections and the arrangement offers a significant overall improvement of intelligibility (figure 1). The sound that manages to penetrate the face of the AttackWall is reflected back from the structural wall of the room and is absorbed in the specially designed diffusor side of each Studio Trap.

By adding additional Studio Traps behind the listening position in a staggered pattern a significant benefit is achieved. These Traps intercept and control reflections from the front and rear wall. With the complete system, you have essentially removed the mix position from the room (figure 2).

“Time Delayed Backfill”

(AKA What happens to the Sound That Comes Back Toward You?)
In simplified terms, “Time Delayed Backfill” reduces “smear” and adds back a comfortable amount of ambience. Art Noxon, co-developer of the AttackWall System, along with Sam Lynn Halonen, describes it in somewhat technical terms:

"The Attack Wall absorbs early reflections and lets other sounds escape to become processed into time delayed backfill..Without an ambient tail to the ETC (Energy-Time Curve), a reflection free recording studio would be exhausting to work in. The Attack Wall is setup to vent treble in two ways. Some of the sound escapes over the top and under the bottom of the Attack Wall. Other frequency components pass through the openings to the side and behind the engineer.

Any sound that escapes the Attack Wall reflects off the room walls back into the absorbing side of each Studio Trap where it is again back splashed towards the wall. By this process a time delayed diffusive backfill of sound bleeds back through the opening in the Wall, over the top and under the bottom. The Attack Wall creates an LEDE (Live End - Dead End) type mixing environment."

In layman's terms, the system dissipates the excess energy that would otherwise be described as "smearing" or "muddiness". The system handles both lateral and vertical diffusion of this unwanted energy” (figure 3 and 4).

Speaker Stands and “Vertical Mode Control”

Every modern speaker design takes into consideration the complex effects created by the face of the speaker that include diffusion, distortion and phasing of the sound. Given that every professional speaker design is optimized to account for these physics, the next challenge is to optimize the rest of environment that impacts your sound.

ASC has specially designed speaker stands that optimize the AttackWall System. The stands can be used on their own but the optimum effect begins with at least the “Starter System”.





The (Negative) Impact of “Phase Cancellation”

Speaker placement starts with nestling the speaker into a “Monitor Stack”, comprised of specially designed TubeTraps. As an example, if a typical monitor on a stand is located about halfway between the floor and the ceiling. The floor/ceiling bounce returns back to the monitor out of phase, this imposes a phase cancel effect on the speaker's efficiency,. Typically, the first cut is 74 hz for 8' ceilings, then, the engineer boosts 148 Hz in the mix unnecessarily (figure "Bad").

The Fix

The Monitor Stack upsets the vertical symmetry in the room. The lower trap absorbs bass, the upper trap is short of the ceiling and vents bass. The combination eliminates the phase cancel effect and the engineer works in a linear environment (figure "Good").

What Makes the Attack Wall Work?

The vertical columns of the Attack Wall load bass in the same way that the (correctly designed) “Mains” of world class studios do. Studio Traps are fitted tightly to the sides of the speaker cabinet to create the same effect as professionally designed soffit mounted speakers. This arrangement increases the efficiency of the speaker and projects bass frequencies with a natural (holistic, if you will) effect. Because the Studio Traps are directional, the absorbing side that faces the engineer prevent “horn coloration” from being added to the direct signal. The key component of the AttackWall is technology INSIDE of the ASC TubeTrap.

Art Noxon, owner and chief designer explains what makes this product so different than other products that are available:

Bass Frequency Control

(AKA Besides an Incredible Listening Environment, Does It “SoundProof”?)

The Attack Wall vents and controls bass frequencies above and below the ‘Wall” and the resulting effect is diminishing the unwanted low frequency energy by more than a 10db outside of the Attack Wall. Within the Attack Wall, low frequency levels (and overall “loudness”) can actually be increased as a result of the dramatically improved energy control that ASC has designed into their proprietary system.