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This site is made, written and updated


 zainea liviu













Welcome and enjoy your music !

R1 solves the difficult low frequency problems 

many adaptable filters in the ''same'' physical place

When and How does the grouped R1 work ? Why is so important to know ?


What is the Roundffusor1 ( R1) ?

The Roundffusor1 is the World's most efficient acoustical diffuser and self adaptable low frequency absorber.

Self adaptable means that our device filters, from case to case, the undesirable room responses and lets your preferred music sound as it was recorded.  

Saving the World


absorption ! 

Where to use the R1?

The R1 may be used in any High-End or music dedicated room, home cinema, recording and rehearsal studios, schools of music,  music halls and big multi channels sound cinema halls, Radio and TV studios and churches.

Don't forget : the sound quality that you may perceive in any room from a HI-FI or High-End installation is more or less 60 to 40% Real Room Acoustics


40 to 60% from your audio system



Roundffusor1: tile polar plots 


Roundffusor1: 12-972 Hz sweeping waterfall curves




Roundffusor1: 12- 19386 Hz sweeping waterfall curves




      Regarding the low frequency problem, which is the main room acoustics problem, we have two situations , but one unique solution...© ESR-2003,2004...


1. The static one From one or more symmetric sources, emanating tones not music the eigenfrequencies (room modes) have a more or less a regular form and almost ‘’absolutely’’ symmetrical... In this situation if we put one or more ‘’bass absorbers - (the >classical< ones from various companies, not eager to evolve)‘’ in the room, even at the calculated necessary points, the action from the mentioned absorbers , are a topically filtering , i.e. producing notches or deeps in the spectrum , first locally and then in the nearer field.

From the bibliography resulted that this kind of notches is like an open vane in a piscine- the water will tends to go out from there and the clear water surface will be disturbed. Another bass absorber at another place , calculated and built for another mode / bandwidth will again produce, there , in his  3D area another locally disturbance. With just 2 such a distant low bass absorbers, the room will have a serious modes distribution distorted. Think that all this are for, say, sustained tones, or just sweeping in frequencies which cover at least the left and right absorbers margins.

Supposing that the build up phenomenon will continue for few seconds more, then the ‘’map’’ of all eigenfrequencies will be ‘’stretched’’ and the symmetry will be lost. Like all phenomena in rooms, the reflected waves will adds more anisotropy and overall, the new and continuing formatted modes ‘’map’’ will stretch more the expected symmetry. Just putting more bass absorbers , centered at another frequencies will disturb more the situation, and in the best situation will produce an overall low frequency notch. Aurally this will be sensed as bodiless or lack of energy. There is no sure relationship between such low frequency absorption and Fletcher - Munson / Dodson- Robinson loudness curves, simply because energetically, the massive or diaphragmatic bass frequency absorbers will not follow our hearing capacity as shown in the Loudness curves related with the source levels.

At low levels, almost all bass absorbers – commercially or at the research level available, will react little or very little with the low frequency energy. The ‘’stretched modes maps’’ will stay like that and because the Loudness curves, statistically have proved as being true, there will be less proved ‘’work’’ to our ears done by the bass absorbers. As the low level source increase, the low frequency absorbers, the way they are mounted will interact more or less efficiently.

The existence of more than one bass absorber in a room will have in the build up time and after that a non symmetric action, resulting, for a symmetrical two sources situation, an ‘’image stretching ‘’. Even for steady tones or slow sweeping, the sweet spot will be gone.

More, turning slightly our head left and right, the already non symmetric situation will be more disturbed. Note that until now, at the research or practical level, there was not such a construction able to ‘’filter down’’ or produce a notch exactly the same as calculated. There will be always a lateral ‘’inflation’’ and preferentially related with the source level and position. The resulted bass absorption will differ enough from the calculated one.

Please note also, that we never used the word music, searching only the symmetry situation. As you know, even in electrical signal processing, the filters are never ‘’perfect’’. Even at this stage of analysis, the far away, child - toy kaleidoscope memory will not stay ‘’absolutely’’ centered as our memory did.



2. The ‘’live’’ situation We have the same situation as above, but replacing the tones or sweeping with music, just a 10-15 second from a recording contains few instruments, and surely a contrabass or an electric bass. With more than one bass absorber mounted on one or more of the room walls, the field will tends to be steady stretched from one more powerful energetically and level dependent absorption. Because there is impossible to have two bass absorbers, for two spectrum part, being mounted in the same place, there will be at least two moments in time – t1 and t2 , true, slightly different, because, now we are in the music domain, and we are not listen music in infinite spaces. The t1 and t2 [resulted form the different time that energetically the incident waves enters and are ‘’processed’’ by our experience of at least two bass absorbers] are still away from the threshold of more than 35 msec where the preceding effect begin acting [two sources of a same signal separated in time by more than 35 msec are perceived by our ears as different].

In small and medium sized rooms, the preceding effect will tends to be perceived only if the rooms are ‘’naked’’ empty, and even the listener bodies being absent, an absurd situation. Note that some absorption will results from our bodies as listeners, our clothes, small reflections from the equipment and loudspeakers.  

Even in extreme situations like an empty room used for music listening, the slight diffusion augments as the room become bigger and in the opposite situation, as the room is smaller and smaller or a cube, the natural diffusion will be covered by the more and more low frequency modes, and the word boominess will becomes more frequently pronounced. That is, as the room decrease in dimensions, the same sources producing no evident ‘’low frequency damages’’ in bigger rooms, will be a real problem.

Here is the moment to introduce the complex phenomena of masking and dynamic masking.  There is the ‘’war’’ of searching to calm the low and very low modes culpable of ‘’ boominess’’ but without reducing them so much in order to go the undesired direction of letting the listener without the bass energy , from where the music takes the body and contour and feeling of warmness. Seems a no way situation because one action will tend to cancel the other.

The theoretical and practical way until now was even to electronically process the signal  going to the loudspeakers or actively merging from them and electronically analyzing the acoustical result to continuously treat the signal in again electronically, or, to treat the room as much and as well as to have no disturbingly and annoying low modes, literally named ‘’ boominess’. The first, electronically way, even with good results, put the listener in the ‘’absolutely centre statue’’ position, even the slight head moving resulting in the stereo image loosing. The acoustical treatment have had always better results , but because of not exact filters – bass absorbers working there was always a more spectral energy absorption as needed.

Please note, that we spoke nothing about the rest of the spectrum. If the bass gives the ‘’hot’ feeling, the music contour, the mid and high frequencies contains the music’s details. Search a radio station broadcasting a kind of low-fi music, with very few mid and fewer high frequencies, and you, even ‘’understanding’’ the music will feel that something is lost. In the opposite direction, which is much more frequently, meaning a real situation, if you are listening music from a radio station broadcasting without enough or little low frequency contents, you will feel more annoyed. The signal ‘’harshness’’ will keep you less time in pleasure.

Hopefully enough, the [low frequency] missing fundamental phenomenon - our brain salvation solution, will process the signal ‘’reconstituting’’ for us and our only ears, the not appearing low frequency contents. This is a frequent situation from cheaper or small ‘’ transistors’’ when mainly the information is asked and the music will just ‘’ embrace’’ our ears, as to the time will past nicer, a kind of pleasant ‘’residual noise’’. From here to the HI-FI or HI-END situation is a very long road… So, we were in the situation where cleaning the bass in a known [ until now ] way, so many problems resulted and continue to result,  that the music lovers will tends all the time [influenced by myriads of articles from periodicals] to buy or change the stereophonic equipments, a never ending situation...

For those accepting an aesthetical changing in their rooms [ when THE wife agree ] , there is a solution. It is an elegant solution because putting in the same reduced physical place all filters as bass absorbers and / or diffusers [ which until now were mounted allover the room - being voluminous, and so reducing the physical room dimensions ] will solve 99.9 % of problems. Why is this solution elegant and essentially and practically SOLVING all the acoustical room problems? Remember the times t1 and t2 for just two bass absorbers. Dynamically, these times, by the complex way that the masking effects (learn from our site what is masking), affects our hearing, results in the simple named – forward and backward masking [ which are temporal ones ] and other kind of masking as a spectral ones and the masking affecting differentially our left and right rears, as a result from a stereo or a more room distributed sources situation. As much as our hearing suffers from the direct or indirect masking phenomena, the music perception will be disturbed, there will be always a dissatisfaction feeling, difficult to cure and inertial in time.

3. Explanations To not complicate further the explanations, the way that our Roundffusor1 treats and solves all the above phenomena is just this:  being an adaptable low and very low frequency absorption – the simple masking and dynamic masking phenomena are reduced so much as not being perceived. The same object – the Roundffusor1, with a minimum area and only 11 cm depth is simultaneously a powerful wide band diffuser and an adaptable low frequency absorber. It solves the difficult problems – many filters in the same physical place and diffusing down to the frequency limit where the adaptable low frequency absorption begins.

It sounds simple but in fact, from a theoretical point of view is so complicated that the actual theoretical background level is not enough to fully explain the Roundffusors functions. Research is done by the patent holder mostly in the psychoacoustical domain , because there is the key and perhaps the answer. Until now , even with the f MRI  [ magnetic tomography - collateral research and interpretation of work done by other researchers ] we hadn't found much more. But what's more important: to have a real working device or ''absolute'' theory not practically applicable ? The Roundffusor1 is patented and his design and functions are indeed original. Being a native Romanian living in the last 24 years in Greece, perhaps I was influenced in its design by the purity and simplicity of ancient Greek art. As much as archeology unveiled the past, the ancient Greeks used no absorptive materials in their theatres, just hard materials and ingenuity.



Here are the critical R1's measurements, showing that the R1's plastic body doesn't vibrate - so doesn't produce sensible second generation sound /harmonics, and , that the air from the R1's back Helmholtz resonator function is having a double role - adaptable for low and very low frequencies, up to 181 Hz and beyond this, the mid and high frequencies are drastically damped ( only from the R1's inside ) with about 10 to 25 dB , this explaining the dramatically perceived and measurable RT60'S reduction in empty rooms containing only the R1.The front R1's surface , don't forget , is producing the clean diffused field, enhancing the room's loudness field by a factor of 1,5 -2 dB. This is a paradox, and the superposition principle is called to solve it.  > A new concept which might explain R1's complex functioning: Janus particles. I refer to my idea of passing from the micro to macro dimensional applications of Janus particles.






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Company address 

Mr. Zainea Liviu Nikolae / ESR,  14 Peresiadou street, TK11141 Athens, Greece    

Communications data

Tel/Fax: 0030 210 20 27 191   Mobile: 0030 693 66 07 321


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