Whilst these are absorption boxes are designed to be attached to the wall directly, or on wooden battens, I found that by offsetting them from the reflective surface, they also acted in part as a diffusor. For ceilings, this was achieved by hanging the boxes from high tensile steel climbing wire using coat hooks as runners.
The Corporation’s progressive thinking extended to finding a solution for the variety of acoustic spaces from which programmes were both created and broadcast. With a national reach and many buildings inherited from wartime service, a method of guaranteeing an acoustic ‘gold’ standard across their local radio stations was sought.
In the late 60s, BBC R&D had set about designing a modular absorption box which could be easily installed and tailored to control the characteristic of each space. A number of basic models were designed, covering a wide frequency spectrum between them, with A3 and A2 absorbers being the most commonly used.
For music studios, a lower frequency D type absorber was designed; with an ultra LF absorber, designated A10, being being added to the range in the early 90s as the demand for critical listening extended to a wider bandwidth.
The beauty of these designs is that they can be easily assembled off site and installed flexibly to adjust to any individual space. I have no doubt in my mind that they are responsible, along with some good luck and a lot of Victorian wood, for the uniquely controlled but transparent character of the main live spaces at Eve studios.