Nankarrow StudioPanel acoustic room kits have been carefully designed for serious sound engineers and music production professionals to address primary acoustical concerns that are common to all rooms by combining various components such as wall panels, bass traps, diffusion and hardware into an easy to use format. This kit easily outperforms kits from Auralex, Primacoustic, and other global brands because of its focus on low frequency absorption, which is the real problem in smaller Indian studios.
The StudioPanel-L is intended for rooms upto 120 SqFt in size. It features high density PET Felt panels over acoustic foam for even absorption throughout the audio range. This makes the StudioPanel-L the ideal choice for more demanding recording studios, broadcasters and post production facilities while the innovative design can easily be adapted for home theater or high fidelity listening rooms.
The room kit is designed for large rooms upto 300 ft2 (18m2), or can be combined with other products to treat larger spaces. Whether you are building a recording studio, home theatre, or listening room, these easy-to-use kits are a perfect place to start.
The panels tackle problems affecting any room, such as primary reflections, flutter echo, and standing waves. In addition to acoustic panels, each room kit includes the corresponding mounting hardware and instructions for easy installation.
- Core Material: High Density Pet Felt Panels over HD Reticulated Acoustic Foam
- Density: 50-200 kg/m3
- Edge: Beveled Edges
- Fire Rating: Class-B/1 (ASTM E 84 / CAN/UL-S102)
What’s in the box:
- 12pcs StudioPanel Corner Bass Traps (900mm x 225mm x 225mm)
- 12pcs StudioPanel Columns (900 x 300mm x 110mm)
- 12pcs Scatter Blocks (300mm x 300mm x 60mm)
- 12pcs NeoCurve (600mm x 600mm x 75mm)
- Adhesive Spray + Impalers
Don’t make Bad Mixes!
This kit solves the biggest problem in India, the AutoRickshaw mix. This phenomenon started in the 1980s and has continued till today and has been first documented by Gulshan Kumar from TSeries, when he noticed that whenever autorickshaws played his albums, he could only hear treble ergo hi-hats (for miles) and could not hear any bass. This was curious, because bass frequencies have longer wavelength and should travel further than high frequencies.
This happened because most music studios in India had no bass-trapping or low frequency absorption but had almost total absorption above 1000Hz by covering all the walls and ceiling with 2inches of foam/glasswool and fabric. Consequently the sound engineers always thought there was too much bass in the songs, so they kept putting a high pass filter or chopping low frequencies, and they always thought the songs lacked brightness, so they kept increasing the treble in the mix.
When these mixes emerged into the real world, they usually had little or no bass and too much treble.
Why are auto rickshaws important for mixes? Why not cars? This may seem like a joke but Auto Rickshaws are a close approximation of a “free field“, which means listening to a song without any modal resonance. The low frequencies escape easily through the open sides and even the canvas. If you ever want to hear how the bass in your mix really sounds, listen to it outdoor. Or listen to it in a room treated by StudioPanels.