Primacoustic FullTrap Broadband Wall Mount Bass Trap - Beige
RRP $1,139.00
25% OFF
RRP $1,139.00
25% OFF
RA-FULLTRAP-BE
RA-FULLTRAP-BE
Primacoustic Fulltrap
Broadband Wall Mounted Bass Trap - Beige
The Primacoustic FullTrap is a highly effective bass trap that combines a diaphragmatic resonator, a full-size acoustic panel, and a sealed enclosure to provide 3-way absorption throughout the full frequency spectrum.
This unique design begins with a front-mounted 24″ x 48″ x 3″ thick Broadway panel made from 6 lb per cubic foot high-density glass wool fibre. This effectively absorbs frequencies down to 125 Hz and extends below 100 Hz.
Behind the panel, a closed air space takes full advantage of quarter-wavelength principles to further reinforce low frequency absorption in this critical bass region.
But where the FullTrap truly shines is in its capacity to absorb deep low bass.
The FullTrap’s remarkable low frequency extension is achieved by way of a suspended diaphragm that stretches nearly the full height of the device and essentially acts like a huge microphone, capturing bass by vibrating where the low frequencies are most prominent.
As room modes combine, they either reinforce certain frequencies or cancel them out. The FullTrap’s limp-mass structure naturally migrates to the most powerful frequencies where it quietly resonates to remove excess bass and subsequent modal frequencies.
Available in black, beige or grey, the FullTrap ships flat and assembles in minutes using standard household tools.
The FullTrap is the perfect solution for bass trapping in rooms where corner mounting is not an option due to windows, doors, or other obstacles. The FullTrap can also be used to reinforce other traps when a room demands additional bass control.
When combined with Primacoustic Broadway panels and diffusers, one can turn virtually any room into a well-balanced acoustic space.
The Primacoustic FullTrap is a combination full range absorber and diaphragmatic resonator designed to control all frequencies right down to the deepest bass.
This is achieved by combining a full-size high density glass wool panel (F) with a closed air space behind (B) created by the wood frame (A) to absorb sound down to 100 Hz.
Lower frequencies pass through the front face and then cause the internal diaphragm (D) to resonate. The greater energy contained in low frequencies causes the limp-mass diaphragm to naturally migrate to the frequencies where room resonance is most prominent, thereby reducing modal distortion.
Made from easy to clean black melamine coated MDF wood composite (A), the FullTrap ships flat in kit form to save freight costs and assembles in about fifteen minutes using standard household tools.
Once together, the device is wall mounted using the supplied French cleats.
The FullTrap may be ordered in a choice of black, grey or beige to suit most colour schemes.
The Science:
Since the advent of affordable digital audio equipment, the proliferation of recording studios has expanded to the point where many successful recordings are now entirely produced in home-based project studios. These rooms are typically small preexisting structures that were never intended for audio.
Small rooms have several impediments:
Due to the close proximity of the walls to the listening area, they are beset with powerful reflections that cause severe comb filtering.
Since most rooms are rectangular, the parallel walls introduce room chatter and flutter echo in the mid and high frequencies. These reflections combine to collapse the effective listening position and cause ear fatigue.
The immediate solution to these types of mid-range and high frequency reflections is broadband absorption using panels such as the popular Primacoustic Broadway series. Managing bass frequencies, however, presents a greater challenge commonly known as modal distortion or room modes.
Room modes are essentially zones in a room where two or more low frequency sound waves come together. When they combine ‘in-phase’, they reinforce each other (see graph A) amplifying the bass at that frequency.
Alternately, these waves can combine ‘out of phase’ and cancel each other out, thus lowering the amplitude in that zone (see graph B). Neither case is ideal as it can cause bass to be too loud or too quiet depending on where you are standing inside the room.
The physical size of the room imposes limits where frequencies will resonate as they echo off the walls and ceilings. These are commonly known as standing waves.
A typical room that is 12 feet long, 10 feet wide and has an 8 foot ceiling (3.6 m x 3 m x 2.4 m) will resonate at 94 Hz, 113 Hz and 141 Hz respectively as sound echoes between the parallel surfaces.
Calculating the Resonant Frequencies of a 12 x 10 x 8 ft. Room
As detailed above, these low frequencies will either amplify each other or cancel each other out depending on where you are sitting within the room. This is precisely why studio owners often complain that the mix may sound great at the listening position, but when they move to the back of the room the bass can either be thin (lacking), or is so intense that it completely messes up the mix.
This is one of the main reasons why bass trapping is so important in small rooms.
You can predict the fundamental room modes in your studio by simply dividing the speed of sound (1130/ft. per sec.) by the room dimensions as shown. For instance, in a room that is 12 feet long by 10 feet wide and 8 feet high, we can predict modal frequencies at 94 Hz, 113 Hz and 141 Hz.
Let’s take this one step further by understanding the ‘power’ that bass unleashes compared to high frequencies.
You only need to stand outside a night club to realise how much more energy is contained in low frequencies. If you listen, chances are you will only hear the bass in the music as it travels through the clubs walls to the outside.
To illustrate, try stopping a bicycle. Now try stopping a train. Once a locomotive starts moving it is almost impossible to stop quickly. The inertia of a slow moving train is monumental compared to that of a bicycle.
In figure-A below, the ‘energy’ of a 50 Hz sine wave is illustrated in the red ‘area’. Figure-B shows 200 Hz at the same amplitude.
Notice the red area is so much smaller?
Figure-C takes this a step further by illustrating the comparative energy at 800 Hz. Bass contains enormous amounts of energy compared to high frequencies.
This is why the bass speakers in a PA system are usually supplied with as much as 20 times more amplifier power than the high frequency horns. Once that bass gets moving, it is practically impossible to stop.
In fact, controlling low frequencies is probably the most difficult and challenging aspect of acoustic sound control because of the disproportional amount of energy bass contains.
Absorptive Panels… What they can and cannot do
One can ‘predict’ the performance of an absorptive panel by using the quarter-wavelength calculation. This will provide a relatively accurate cut-off point to where the panel will provide 100% absorption.
Remember, high frequencies have very little energy, so they are easy to absorb and control using absorptive acoustic panels. The thickness and density of the acoustic panel will determine the actual performance. Controlling bass is where the real challenge lies.
This is in fact how products like the London Bass Trap and the corner traps used in the London room kits are measured. They will do a good job down in this low region, but where they fall short is in the deep low bass - below 100 Hz.
If you were to try to absorb 50 Hz using the same math, you would need a bass trap that would be 34″ deep!
In fact, this is exactly how anechoic chambers are calculated. They often have huge sound trapping wedges that will extend anywhere from 4 feet to 6 feet in depth (1.8 m) depending on the size of the room and lowest frequency that they must absorb. This of course is clearly impractical for small room acoustics.
Another solution is required.
The FullTrap was conceived from the ground up to control troublesome bass, while providing effective absorption throughout the audio listening range.
In fact, you can think of this device like a 3-way speaker working in reverse. With a speaker, the woofer produces bass; the mid range driver delivers the mids; and the tweeter delivers the high-end.
The Primacoustic FullTrap follows a similar approach whereby it combines three different sound absorbing techniques in a single device to provide full bandwidth control.
The FullTrap employs a 3″ thick 24″ x 48″ face panel that is made of 6 lb per-cubic-foot high-density fibreglass. This is the same material used to control the acoustics in professional recording and broadcast studios around the world.
This panel has been laboratory tested and will absorb frequencies starting from 125 Hz to well above the threshold of human hearing. The front face panels work to control flutter echo, room chatter and resonance while helping to eliminate strong primary and secondary reflections.
To increase the low-mid frequency performance, a deep air cavity behind the face panel extends back to the corner or wall to absorb frequencies below 125 Hz. By employing quarter-wavelength calculations, one can predict 100% absorption to 100 Hz.
The third piece is an internal diaphragmatic resonator. This magical device does the ‘heavy lifting’ to help reduce low frequency modes and control the standing waves that tend to clutter the sound field.
A complete solution!
By combining the FullTrap with standard Broadway panels, you will notice that bass will immediately tighten up; chatter echo will be reduced; and troublesome standing waves that cause nulls and lobes will disappear.
With less interference, the listening sweet spot will expand making your room more comfortable to work in.
Your mixes will become more accurate and translate better as you listen to the results in different rooms; in your car; and on different sound systems.
The FullTrap is shipped flat in a box to save space and costly freight charges.
All of the parts you need to put it together are inside including dowels, screws and mounting hardware. Standard household tools are all you need to build a FullTrap.
Most folks find that it takes about 25 minutes to assemble following the simple step by step instructions.
Once assembled, the FullTrap employs French cleats as the wall hanging support mechanism. A cleat is mounted on the wall surface and the FullTrap simply hangs in place quietly doing its work.
Because bass frequencies are omni-directional, the FullTrap can be placed anywhere in a room - but near room corners maximises it’s effectiveness.
The determining factor is mostly a matter of high frequency control as the FullTrap’s front facing 3″ thick acoustic panel is highly effective from 125 Hz and up. It is also a matter of available wall space.
FullTraps can also be stacked for greater bass control. The more bass traps you have in your room, the greater the bass absorption.
As a rule, small rooms will work well with two bass traps where larger rooms will benefit from four or more, depending on your desired outcome. As always, start by listening to your room by walking around to hear the room modes. Then, try recording in your room and listen to your recording in other spaces to hear how well your mixes translate.
If you find that the recordings lack bass, then you probably need to add more bass control.
The FullTrap makes controlling bass problem easy in any room.
FAQ:
Can I mount the FullTrap in a corner?
Yes, you can, by simply buying the FullTrap corner mounting kit. This kit includes four 45º mounting kits and two 2′ x 6′ cross braces.
How does the membrane actually absorb bass?
Simple. It vibrates.
When it vibrates, because it is made from a very heavy loaded vinyl, it does not make any sound when it shakes around! (It actually hardly moves at all due to the weight). Scientifically speaking, the process is called thermo-dynamics whereby sound energy causes the membrane to vibrate, which then transforms the acoustic energy into heat.
If I stuff the FullTrap full of insulation, will it reduce more bass?
This may have a bit of an effect by broadening the absorption bandwidth but will likely limit the effectiveness of the diaphragmatic absorber.
Will stacking two bass traps increase the absorption?
Yes. Not only will you create a larger surface area for high and mid range frequencies, but the increased angle of incidence will certainly help control more bass. The FullTrap and MaxTrap are both 48″ tall allowing stacking in room with an eight foot ceiling.
I have limited space, can I install the FullTrap on its side?
Yes. Just be very careful on how you intend to keep it in place. The cleat system that we provide is NOT designed for horizontal mounting so you will have to figure out your own method.
If these are known as bass traps, how do they absorb high frequencies?
Bass frequencies are the most difficult to control, so the term ‘bass trap’ really infers that these acoustic devices are able to absorb bass. High frequencies are easily absorbed by any porous and relatively soft material.
In this case, Primacoustic Broadway fabric wrapped fiberglass panels are used.
How do I measure bass trap performance?
Measuring bass absorption is practically impossible using standard tests performed by acoustic laboratories such as Riverbank Labs. This is due to the size of the wavelength generated.
For instance, 20 Hz has a 55 foot long wavelength! You would have to have a room larger than 55 feet long and wide to effectively measure the effect before and after. Therefore testing is generally done in small rooms using FFT waterfall analysis which can provide the engineer with helpful details to help predict the functionality and outcome.
Will covering the panel with another fabric change its acoustic properties?
No. You can easily add a coloured fabric to match your room decor without any effect. Only something like a heavy vinyl could cause high frequencies to reflect off the surface. Adding a heavy vinyl will usually increase the bass trapping performance.
Can I use these bass traps behind a curtain in a home theatre?
Absolutely! Most frequencies will pass right through the curtain and be absorbed by the FullTrap in the normal way.
In new construction, can I flush-mount these into the wall?
Yes, of course! They will work equally as well whether they are flush mounted or surface mounted.
Are these bass traps class-1 certified for fire safety?
Technically, they are not. The front absorptive panel has been tested and is 100% class-1 safe. The melamine outer shell construction will pass any building inspection as this is the same material used in kitchens and bathrooms around the world.
However, the inner vinyl membrane has not been tested, nor has the device been tested as a complete unit. If you are concerned about fire hazards, we suggest you contact your insurance provider for advice.
The FullTrap can be used without the membrane should you have concerns and the membrane can be added after the installation has been approved by your insurer.
I am sensitive to odours. Will these have a smell when they are new?
Although we have not received any reports of any concerns, Primacoustic bass traps employ adhesives, resins and bonding agents during their construction and the panels are enclosed in plastic to keep moisture out.
It is therefore likely that some smells will be present when they are new and recently un-packaged. The smell should dissipate fairly quickly.
If you are sensitive, we suggest opening the boxes and airing out all of the components for a few days until you feel they are acceptable.
For more information, Click Here to visit the Manufacturer's Website
| SKU | RA-FULLTRAP-BE |
| Brand | Primacoustic |
Primacoustic Fulltrap
Broadband Wall Mounted Bass Trap - Beige
The Primacoustic FullTrap is a highly effective bass trap that combines a diaphragmatic resonator, a full-size acoustic panel, and a sealed enclosure to provide 3-way absorption throughout the full frequency spectrum.
This unique design begins with a front-mounted 24″ x 48″ x 3″ thick Broadway panel made from 6 lb per cubic foot high-density glass wool fibre. This effectively absorbs frequencies down to 125 Hz and extends below 100 Hz.
Behind the panel, a closed air space takes full advantage of quarter-wavelength principles to further reinforce low frequency absorption in this critical bass region.
But where the FullTrap truly shines is in its capacity to absorb deep low bass.
The FullTrap’s remarkable low frequency extension is achieved by way of a suspended diaphragm that stretches nearly the full height of the device and essentially acts like a huge microphone, capturing bass by vibrating where the low frequencies are most prominent.
As room modes combine, they either reinforce certain frequencies or cancel them out. The FullTrap’s limp-mass structure naturally migrates to the most powerful frequencies where it quietly resonates to remove excess bass and subsequent modal frequencies.
Available in black, beige or grey, the FullTrap ships flat and assembles in minutes using standard household tools.
The FullTrap is the perfect solution for bass trapping in rooms where corner mounting is not an option due to windows, doors, or other obstacles. The FullTrap can also be used to reinforce other traps when a room demands additional bass control.
When combined with Primacoustic Broadway panels and diffusers, one can turn virtually any room into a well-balanced acoustic space.
The Primacoustic FullTrap is a combination full range absorber and diaphragmatic resonator designed to control all frequencies right down to the deepest bass.
This is achieved by combining a full-size high density glass wool panel (F) with a closed air space behind (B) created by the wood frame (A) to absorb sound down to 100 Hz.
Lower frequencies pass through the front face and then cause the internal diaphragm (D) to resonate. The greater energy contained in low frequencies causes the limp-mass diaphragm to naturally migrate to the frequencies where room resonance is most prominent, thereby reducing modal distortion.
Made from easy to clean black melamine coated MDF wood composite (A), the FullTrap ships flat in kit form to save freight costs and assembles in about fifteen minutes using standard household tools.
Once together, the device is wall mounted using the supplied French cleats.
The FullTrap may be ordered in a choice of black, grey or beige to suit most colour schemes.
The Science:
Since the advent of affordable digital audio equipment, the proliferation of recording studios has expanded to the point where many successful recordings are now entirely produced in home-based project studios. These rooms are typically small preexisting structures that were never intended for audio.
Small rooms have several impediments:
Due to the close proximity of the walls to the listening area, they are beset with powerful reflections that cause severe comb filtering.
Since most rooms are rectangular, the parallel walls introduce room chatter and flutter echo in the mid and high frequencies. These reflections combine to collapse the effective listening position and cause ear fatigue.
The immediate solution to these types of mid-range and high frequency reflections is broadband absorption using panels such as the popular Primacoustic Broadway series. Managing bass frequencies, however, presents a greater challenge commonly known as modal distortion or room modes.
Room modes are essentially zones in a room where two or more low frequency sound waves come together. When they combine ‘in-phase’, they reinforce each other (see graph A) amplifying the bass at that frequency.
Alternately, these waves can combine ‘out of phase’ and cancel each other out, thus lowering the amplitude in that zone (see graph B). Neither case is ideal as it can cause bass to be too loud or too quiet depending on where you are standing inside the room.
The physical size of the room imposes limits where frequencies will resonate as they echo off the walls and ceilings. These are commonly known as standing waves.
A typical room that is 12 feet long, 10 feet wide and has an 8 foot ceiling (3.6 m x 3 m x 2.4 m) will resonate at 94 Hz, 113 Hz and 141 Hz respectively as sound echoes between the parallel surfaces.
Calculating the Resonant Frequencies of a 12 x 10 x 8 ft. Room
As detailed above, these low frequencies will either amplify each other or cancel each other out depending on where you are sitting within the room. This is precisely why studio owners often complain that the mix may sound great at the listening position, but when they move to the back of the room the bass can either be thin (lacking), or is so intense that it completely messes up the mix.
This is one of the main reasons why bass trapping is so important in small rooms.
You can predict the fundamental room modes in your studio by simply dividing the speed of sound (1130/ft. per sec.) by the room dimensions as shown. For instance, in a room that is 12 feet long by 10 feet wide and 8 feet high, we can predict modal frequencies at 94 Hz, 113 Hz and 141 Hz.
Let’s take this one step further by understanding the ‘power’ that bass unleashes compared to high frequencies.
You only need to stand outside a night club to realise how much more energy is contained in low frequencies. If you listen, chances are you will only hear the bass in the music as it travels through the clubs walls to the outside.
To illustrate, try stopping a bicycle. Now try stopping a train. Once a locomotive starts moving it is almost impossible to stop quickly. The inertia of a slow moving train is monumental compared to that of a bicycle.
In figure-A below, the ‘energy’ of a 50 Hz sine wave is illustrated in the red ‘area’. Figure-B shows 200 Hz at the same amplitude.
Notice the red area is so much smaller?
Figure-C takes this a step further by illustrating the comparative energy at 800 Hz. Bass contains enormous amounts of energy compared to high frequencies.
This is why the bass speakers in a PA system are usually supplied with as much as 20 times more amplifier power than the high frequency horns. Once that bass gets moving, it is practically impossible to stop.
In fact, controlling low frequencies is probably the most difficult and challenging aspect of acoustic sound control because of the disproportional amount of energy bass contains.
Absorptive Panels… What they can and cannot do
One can ‘predict’ the performance of an absorptive panel by using the quarter-wavelength calculation. This will provide a relatively accurate cut-off point to where the panel will provide 100% absorption.
Remember, high frequencies have very little energy, so they are easy to absorb and control using absorptive acoustic panels. The thickness and density of the acoustic panel will determine the actual performance. Controlling bass is where the real challenge lies.
This is in fact how products like the London Bass Trap and the corner traps used in the London room kits are measured. They will do a good job down in this low region, but where they fall short is in the deep low bass - below 100 Hz.
If you were to try to absorb 50 Hz using the same math, you would need a bass trap that would be 34″ deep!
In fact, this is exactly how anechoic chambers are calculated. They often have huge sound trapping wedges that will extend anywhere from 4 feet to 6 feet in depth (1.8 m) depending on the size of the room and lowest frequency that they must absorb. This of course is clearly impractical for small room acoustics.
Another solution is required.
The FullTrap was conceived from the ground up to control troublesome bass, while providing effective absorption throughout the audio listening range.
In fact, you can think of this device like a 3-way speaker working in reverse. With a speaker, the woofer produces bass; the mid range driver delivers the mids; and the tweeter delivers the high-end.
The Primacoustic FullTrap follows a similar approach whereby it combines three different sound absorbing techniques in a single device to provide full bandwidth control.
The FullTrap employs a 3″ thick 24″ x 48″ face panel that is made of 6 lb per-cubic-foot high-density fibreglass. This is the same material used to control the acoustics in professional recording and broadcast studios around the world.
This panel has been laboratory tested and will absorb frequencies starting from 125 Hz to well above the threshold of human hearing. The front face panels work to control flutter echo, room chatter and resonance while helping to eliminate strong primary and secondary reflections.
To increase the low-mid frequency performance, a deep air cavity behind the face panel extends back to the corner or wall to absorb frequencies below 125 Hz. By employing quarter-wavelength calculations, one can predict 100% absorption to 100 Hz.
The third piece is an internal diaphragmatic resonator. This magical device does the ‘heavy lifting’ to help reduce low frequency modes and control the standing waves that tend to clutter the sound field.
A complete solution!
By combining the FullTrap with standard Broadway panels, you will notice that bass will immediately tighten up; chatter echo will be reduced; and troublesome standing waves that cause nulls and lobes will disappear.
With less interference, the listening sweet spot will expand making your room more comfortable to work in.
Your mixes will become more accurate and translate better as you listen to the results in different rooms; in your car; and on different sound systems.
The FullTrap is shipped flat in a box to save space and costly freight charges.
All of the parts you need to put it together are inside including dowels, screws and mounting hardware. Standard household tools are all you need to build a FullTrap.
Most folks find that it takes about 25 minutes to assemble following the simple step by step instructions.
Once assembled, the FullTrap employs French cleats as the wall hanging support mechanism. A cleat is mounted on the wall surface and the FullTrap simply hangs in place quietly doing its work.
Because bass frequencies are omni-directional, the FullTrap can be placed anywhere in a room - but near room corners maximises it’s effectiveness.
The determining factor is mostly a matter of high frequency control as the FullTrap’s front facing 3″ thick acoustic panel is highly effective from 125 Hz and up. It is also a matter of available wall space.
FullTraps can also be stacked for greater bass control. The more bass traps you have in your room, the greater the bass absorption.
As a rule, small rooms will work well with two bass traps where larger rooms will benefit from four or more, depending on your desired outcome. As always, start by listening to your room by walking around to hear the room modes. Then, try recording in your room and listen to your recording in other spaces to hear how well your mixes translate.
If you find that the recordings lack bass, then you probably need to add more bass control.
The FullTrap makes controlling bass problem easy in any room.
FAQ:
Can I mount the FullTrap in a corner?
Yes, you can, by simply buying the FullTrap corner mounting kit. This kit includes four 45º mounting kits and two 2′ x 6′ cross braces.
How does the membrane actually absorb bass?
Simple. It vibrates.
When it vibrates, because it is made from a very heavy loaded vinyl, it does not make any sound when it shakes around! (It actually hardly moves at all due to the weight). Scientifically speaking, the process is called thermo-dynamics whereby sound energy causes the membrane to vibrate, which then transforms the acoustic energy into heat.
If I stuff the FullTrap full of insulation, will it reduce more bass?
This may have a bit of an effect by broadening the absorption bandwidth but will likely limit the effectiveness of the diaphragmatic absorber.
Will stacking two bass traps increase the absorption?
Yes. Not only will you create a larger surface area for high and mid range frequencies, but the increased angle of incidence will certainly help control more bass. The FullTrap and MaxTrap are both 48″ tall allowing stacking in room with an eight foot ceiling.
I have limited space, can I install the FullTrap on its side?
Yes. Just be very careful on how you intend to keep it in place. The cleat system that we provide is NOT designed for horizontal mounting so you will have to figure out your own method.
If these are known as bass traps, how do they absorb high frequencies?
Bass frequencies are the most difficult to control, so the term ‘bass trap’ really infers that these acoustic devices are able to absorb bass. High frequencies are easily absorbed by any porous and relatively soft material.
In this case, Primacoustic Broadway fabric wrapped fiberglass panels are used.
How do I measure bass trap performance?
Measuring bass absorption is practically impossible using standard tests performed by acoustic laboratories such as Riverbank Labs. This is due to the size of the wavelength generated.
For instance, 20 Hz has a 55 foot long wavelength! You would have to have a room larger than 55 feet long and wide to effectively measure the effect before and after. Therefore testing is generally done in small rooms using FFT waterfall analysis which can provide the engineer with helpful details to help predict the functionality and outcome.
Will covering the panel with another fabric change its acoustic properties?
No. You can easily add a coloured fabric to match your room decor without any effect. Only something like a heavy vinyl could cause high frequencies to reflect off the surface. Adding a heavy vinyl will usually increase the bass trapping performance.
Can I use these bass traps behind a curtain in a home theatre?
Absolutely! Most frequencies will pass right through the curtain and be absorbed by the FullTrap in the normal way.
In new construction, can I flush-mount these into the wall?
Yes, of course! They will work equally as well whether they are flush mounted or surface mounted.
Are these bass traps class-1 certified for fire safety?
Technically, they are not. The front absorptive panel has been tested and is 100% class-1 safe. The melamine outer shell construction will pass any building inspection as this is the same material used in kitchens and bathrooms around the world.
However, the inner vinyl membrane has not been tested, nor has the device been tested as a complete unit. If you are concerned about fire hazards, we suggest you contact your insurance provider for advice.
The FullTrap can be used without the membrane should you have concerns and the membrane can be added after the installation has been approved by your insurer.
I am sensitive to odours. Will these have a smell when they are new?
Although we have not received any reports of any concerns, Primacoustic bass traps employ adhesives, resins and bonding agents during their construction and the panels are enclosed in plastic to keep moisture out.
It is therefore likely that some smells will be present when they are new and recently un-packaged. The smell should dissipate fairly quickly.
If you are sensitive, we suggest opening the boxes and airing out all of the components for a few days until you feel they are acceptable.
For more information, Click Here to visit the Manufacturer's Website
| SKU | RA-FULLTRAP-BE |
| Brand | Primacoustic |
Our expert staff are always ready to answer any of your questions.
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• For a secondary purpose that is directly related to the primary purpose
• With your consent; or where required or authorised by law.
Where reasonable and practicable to do so, we will collect your Personal Information only from you. However, in some circumstances we may be provided with information by third parties. In such a case we will take reasonable steps to ensure that you are made aware of the information provided to us by the third party.
We will not sell or provide your details to any person or business that isn't related to the transaction.
Your Personal Information may be disclosed in a number of circumstances including the following:
• Third parties where you consent to the use or disclosure; and
• Where required or authorised by law.
Your Personal Information is stored in a manner that reasonably protects it from misuse and loss and from unauthorized access, modification or disclosure.
When your Personal Information is no longer needed for the purpose for which it was obtained, we will take reasonable steps to destroy or permanently de-identify your Personal Information. However, most of the Personal Information is or will be stored in client files which will be kept by us for a minimum of 7 years.
You may access the Personal Information we hold about you and to update and/or correct it, subject to certain exceptions. If you wish to access your Personal Information, please contact us in writing.
QLD Sound and Lighting will not charge any fee for your access request, but may charge an administrative fee for providing a copy of your Personal Information.
In order to protect your Personal Information, we may require identification from you before releasing the requested information.
It is important to us that your Personal Information is up to date. We will take reasonable steps to make sure that your Personal Information is accurate, complete and up-to-date. If you find that the information we have is not up to date or is inaccurate, please advise us as soon as practicable so we can update our records and ensure we can continue to provide quality services to you.
This Policy may change from time to time and is available on our website.
If you have any queries or complaints about our Privacy Policy please contact us at:
QLD Sound and Lighting Pty Ltd
admin@soundlight.com.au
