> Roundffusor1 - mounting instructions

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The international situation and our solution

from many other companies : room treatments proposals      

ESR : the unique

 room treatment proposal

         

Black and grey color means various soft & hard acoustical materials and fabrics, mainly absorptive. There is an almost 100% walls covering.

 

an example for a room of about

8 x 6 x 3 m

There is or not a carpet on the floor (not included in both cases)

 

 

White color means an empty wall. Less than 10 % from the room's surface is covered with about 30 grouped Roundffusor1. This means that you may use as you please your about 90% free room's surface

         

 

ROUNDFFUSOR 1 or ... R1  

DETAILED MOUNTING INSTRUCTIONS   

The grouped Roundffusor1 must be symmetrically positioned towards the sound sources, on their axis.

 

 

 

 

         

 

 

    

 

 

       
Explanations

 

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