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1.The R1’s will be
grouped mounted in a minimum 3x3 matrix format (thus,
creating a surface of 174 x 174 cm), in rows
of at least 3 R1, perpendicular or parallel to the
ground (depending on wood ''T'' support direction
relative to the floor). The grouped Roundffusors must be symmetrically
positioned towards the sound sources, on their axis.
When there are bigger, voluminous loudspeakers or higher
listening levels, then the number of required R1’s must
be increased.
2. The loudspeakers
positions are in such a way chosen that on their left
and right, again on their axis, as much as possible, do
not exist opening like doors or windows. Statistically,
if the room is not symmetrical, using the Roundffusors,
the listeners ears will not perceive any difference, is
just a matter of careful positioning. Generally, the
loudspeakers must be located as seen along the bigger
room dimension. The Roundffusors must be mounted behind
the loudspeakers or on the wall behind the listening
place , at not less than 1,5 – 2 meters from them,
because turbulence may appear from the very powerful
diffusion field produced by the Roundffusors if the
distances are not respected.
3. Say that we want
to use 9 grouped R1’s. We choose the surface where the
R1 will be mounted and this surface must be enough
planes and free of protuberances. We measure this
surface and exactly in the middle must be positioned the
central Roundffusor1. The cross situated at the center
hemisphere of this Roundfffusor1, is the center of the 9
R1 and so the wall’s center.
4. For the central
Roundffusor1 position’s height and location, please look
at NOTICE 1.
5.
Having positioned the
first R1 upon the wall surface, you may begin mounting
the first wood driver profile ‘’T’’ upon the wall’s
surface, with the ‘’T’’ long tail touching the wall.
This driver must be mounted at the left or right of the
named central diffuser. You will use the UPAT and screws
for concrete or brick made wall and specific gypsum
screws for a gypsum board surface. This wood ‘’T’’
support will sustain the first diffuser. Pushing the R1
against this first mounted wood ‘’T’’- say the left, we
approach also in tighter pressure the second wood driver
with the lateral part of R1. With your hand you push the
R1's plastic body against this second wood driver in
order to find the second wood driver’s location.
6. With a pencil make
a trace along the wood driver’s exterior tail side in
order to see where to mount it exactly. For a moment
remove the R1 and using the UPAT and screws mount the
second wood driver. Is easier to do than to describe it.
So, with the two parallel mounted wood drivers we will
sustain our first diffuser. From above or below just
like a drawer, draw the first R1 towards the two wood
drivers and let it there. If you measured correctly, the
R1 will drag needing some power. If in difficulty soap
up slightly the wood drivers lateral sides. This force
stretching inwards the lateral R1’s parts makes him
structurally inert and so free of said second order
generated harmonics. The air behind the R1 is doing the
necessary.
7. The second wood
driver mounted serves as a common driver for the next to
be mounted diffuser R1. You must repeat the same
procedure as for the first diffuser. Use just two screws
for each 58 cm long wood driver, or better three to be
sure, at equal distances. If there
are small imperfection in their alignment don’t despair,
the wood is soft and the lateral diffuser plastic
drivers are elastically enough to permit their relative
mounting.
8. Now we have a
horizontal raw of 3 mounted R1, with a total length of 174 cm (
58x3). Upper and lower to this ready mounted raw of R1
you have to repeat
all the above simple operations and a surface of 3x3 Roundffusors, as much as possible centered and in tight
touching will be obtained. Don’t forget to unify the 58
cm wood drivers between them using the small,
Φ8
mm, wood dowels of dried beech also provided. The wood
dowels helps to keep aligned the wood ''T''. If you
don't have them, use a tool to have each wood ''T''
strictly perpendicularly towards the floor. Of course
the wood ''T'' are touching each other at the two edges. That’s all have to done and
one person will succeed it in about one hour or much
quicker with some help.
NOTICES
1.The
geometrical center of the mounted 9 R1’s or of any
chosen formation ( 2x4, 2x5, 3x4, 3x5, etc. ) it is also
the center of the 3D diffused field. If you wish, you
may locate this point at the ears heights, at least in a
statistical way, optimizing for you the diffusion flow.
The dedicated room for music may be ‘’naked’’ empty but
then, a carpet on the whole floor surface is absolutely
necessary in order to avoid floor’s possible floor /
ceiling
mirror like reflections. This carpet is strictly
necessary only for truly naked rooms. There is no need
for any other acoustical material on the lateral walls
so your room decoration will be your personal taste and
decorative pleasure. The Roundffusors may be mounted on
the ceiling, grouped and symmetrically orientated
towards the loudspeakers plane, nearer to them if the
speakers are smaller or above the listening position for
a more perceptive diffusion flow.
The R1’s behaves much
better when the wood drivers are mounted perpendicular
to the ground and along the loudspeakers middle axis.
Then the axial modes are immediately smoothed, and it is
known that those modes are the principal ‘’enemies’’ in
the build up and further listening processes. You will
be amazed that the room is silenced and ‘’ the
surrounded walls will disappear ‘’, a thrilling
experience.
ESR – THE
ART OF SOUND – THE PLEASURE OF MUSIC
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