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made, written and updated
A New Way to Hear Everything Better !
Who wants to join me and the R1, fighting the obsolete , overused absorption?
Projects made in Europe, USA , Australia , Taiwan
Why and where Roundffusor1? Using our R1 you can obtain pristine natural acoustical environments for Recording Studios , High-End rooms, City Halls & Conference halls, Music Halls, Swimming pool, Listening rooms, Home theaters, CD mastering, Film mix and dubbing stages, Music Schools and practice rooms, shock waves attenuation in tunnels, Churches . We can also tune your existent room to subtle musical requirements.
Usual question : Should I combine the R1 with other acoustic treatment ? No, R1 is designed to be a complete acoustical solution, offering clean mid and high frequency diffusion and adaptable absorption from complex Helmholtz resonators with large apertures for low and very low frequencies.
Absorbent materials will limit or eliminate the effects of diffusion. also lowering the intelligibility. The absorption is reducing the sound energy in the mid and high frequency zone, there, in the ''heart'' of music. * Absorption also, is reducing some initial part (2 to 5 msec, depending upon absorption quantity) from the signal's impulse *, ''reducing'' meaning that simply you cannot hear it. Half efficient diffusers or simple geometrical diffusers also produces absorption or just some near field reflections. Foams or porous materials covered with fabrics or perforated panels are mainly used to reduce the echoes or RT60 but this is not quality musical acoustics but a bad comeback or continuity to *Low Fidelity*, even for speech or singing, name it... Office acoustics !
Using absorption of such type, along with the reduced tails of echoes, someone is loosing the beauty of the music - the mid and high frequencies. Remember, in concert halls, people bodies are absorptive at the same mid frequencies. Transparency in sound, to be recorded or reproduced is incompatible with absorption. If you understand all this and don't want to pay tons of expensive absorptive materials covering all walls and the ceiling in any kind of rooms, try to stay away from the absorption's troubles and use the R1. Passive and inertial thinking are not music's best friends.
Why we insist promoting the R1? Because many people are ignoring the acoustical materials reality, being confused from such plethora of materials , practically being so heavy manipulated towards absorption.
Using absorption of such type, along with the reduced tails of echoes or sibilance and some collateral phenomena, someone is loosing the beauty of the music - the mid and high frequencies. Remember, in concert halls, people bodies are absorptive at the same mid frequencies.
Transparency in sound, to be recorded or reproduced is incompatible with absorption. If you understand all this and don't want to pay tons of expensive absorptive materials covering all walls and the ceiling in any kind of rooms, try to stay away from the absorption's troubles and use the R1.
Some are believing that the perception of musical dissonance might be solved by absorption (obtaining the good opposite - consonance) but is wrong. There are clear correlations between room resonances, the consonance and dissonance phenomena and of course signals time propagations (multi paths) in room, I mean stereo signals in the continuum musical signals / room acoustical interface and auditory perception. All are first related to clean and real diffusion and simultaneously to the R1's adaptability of calming the room resonances - the low and very low frequencies.
Seems that there is a little ''secret'' around: the grouped R1 surfaces are ''controlling'' the air in the room, bringing almost everything to harmony , to consonance. The huge R1's complex diffusion lobe resulting in real time contains the music plus room interactions. Say, a kind of dynamic hologram and as known, each small part of it contains everything audio is inside the room. That's why in rooms treated with R1 the sound is so musical.
As you may perceive in this page, all recording studios or dedicated rooms for music or speech made using only R1 looks like the initial rooms, just 10% - 20% of the total room surface being covered with them, the necessary absorption being provided by the complex R1's diffusion. As all true inventions of our time, the R1 is very efficient and the most affordable from all other materials. R1 is a proof that our mind, experience and inspiration are more powerful than any computer program. The Renaissance way is still alive.
For best technical and economical advises we
need some pictures from your listening or
cinema room or music hall and of course the room dimensions
Liviu Nikolae - The R1's inventor
Member of Acoustical Society of
America from 1991
World's best sound application, a
Hyper High-End one
From the 2 coils per 12 meters heavy metallic horn to the listening position there are some 22 meters !
( 200 Kg each coil , working from 1 Hz to 100 Hz)
Only 74 units R1 were used here : 50 on the back wall and 24 on the ceiling
The World's unique ''One Million +'' system !
It is a 5 way system, using two 12 meters long 4000 kg metallic horns working from 1 Hz !
What we obtained is very near to perfection, a delightful musical perfection
easily perceived by the cultivated people - aurally and mentally
PLANET REC Athens
THE FIRST EVER
RECORDING STUDIO BUILT IN GREECE USING ONLY R1
click the above picture to see a 6moons pictures report
Roundffusor1 wood imitation hand painted by the professional painter Babis Velonides
Equal front and back radiation speakers
needs careful R1's positioning - only behind the speakers
Seems that such a combination brings the sound to realistic timbre and dynamics , you know...musicality
Despite the fact that in this
situation we have only half wall
covered with Roundffusor1, here we have
an evidence that using the R1 the
acoustic field is ''forced''
to symmetry, or ...the
stereo image becomes a wide
natural well defined
boring sweet spot becomes
(this means that you don't have to stay like a statue exactly in the triangle's place)
With R1 you can sense everywhere in the room the natural stereo image
Why? Because we have R1 there...
The one who put absorption
behind such type of loudspeakers
and all kind of electrostatics)
will absorbs mid and mid/high
frequencies - part of music. If
you don't treat the back wall
properly, you will have echoes.
Don't forget the paradox:
the clean diffusion will reduce the room
reverberation time without the known results from the harmful
with various absorption
materials Home Cinema's
Clean diffusion means clean
music and natural voices timbre
WORLDWIDE ENTHUSIAST DISTRIBUTORS WELCOMED !
are searching Roundffusor1's representative for USA
Here below, some R1's samples of
marble, onyx, various wood finishes
More about R1's presentation at
projects in Romania
State Radio station Cluj-Napoca , Romania
Studios designed and supervised by Mrs. Doina Toma - Ing. acoustician at RBC, Mobile: 0040 7451 20 567
1440kHz State Radio Station Sighetul Marmatiei - Romania
Live booth and Recording room
Studios designed and supervised by Mrs. Doina Toma - Ing.
acoustician at RBC
exclusive representative for Romania
Future Sound Studio / Bucharest - Owner: Mr. George Popa
Roundffusor1 can be mounted directly upon any kind of surfaces
here, a Radio control room from Cluj, Romania
Architect: Ioana Mihaiescu
Town Conference hall -
Resita / Romania
In this very Hall was held from 21 to 24 October an International Conference „Acoustic , Vibrations”
Acoustical Design of a Conference Hall
About 200 specialized people know
by now because they heard them...
> success is a matter of time <
R1's lateral architectural detail helping the
Important technical details
Ex.1 The ceiling's wood supports ''T'' are following the front wall's direction
The Roundffusor1 behaves much
better when the ''front wall''
wood drivers are mounted
perpendicular to the ground,
symmetrically towards the
loudspeakers middle axis.
This example is correct for normal, non disturbing room modes
[this details are here]
''10 cm distance rule''
distance between the
upper and lower R1 edges
and the ceiling or
floor, in order to let
them to ''breath''
for rooms with problems with plenty of bass or resonances and worst
tending geometrically to a cube...
The red arrow represents the main speakers axis direction, this being the right side of R1's coverings which must be repeated symmetrically on the left side of the room. As might be perceived, the loudspeakers are facing more R1 units than the ones laterally mounted which are parts from the complex made like ''bass traps''.
Another example of R1's very low frequencies absorption corner mounting
This is a better idea, with or without ceiling coverings. This kind of towards corner mounting emulates a huge ''like bass trap'' just 11 cm deep but big as the whole R1's grouped surface.
big advantage is that the same
fold-surface long-running low
dissipates the same time, the middle
and treble just diffused, resulting in a very
musically and stiff bass.
In any way
of mounting, R1
works perfectly, creating the
impression that you are in big, tidy
air is abundant, the extinction of
each note length and a delightful
texture, but the colors /
reflections absent. The result is a
beneficial calm space, with
significantly lower noise level.
Bodies are no longer fighting each
other, developing comfort with the
wealth of harmonic
formations emerge much better, and
while talks of a group /
listeners are easily
understood, even at very high
For larger / wider rooms, the solution is to mount horizontally the wood supports with no adjacent corner mounting of R1 columns , just a single big R1's surface
This solution, tends to ''correct'' the loudspeakers with rather accentuated bass frequencies, which have to be positioned symmetrically at some 1.5 - 2 meters away from the R1's surface
From the above two typical examples (Ex. 1&2) results that generally, only a maximum of 10-20 % of the total room's surface needs the unique R1, the rest of the room's rests as initially finished or as you please. Being taken just as sound diffusers, there is a (Heinrich Kuttruff)
limit of ~35% of total room surface
(including ceiling and floor) which
might be covered with R1. Using R1,
inside this relatively small area,
you are fully covered for low and
very low frequency surplus.
rare you will need that 35% limit
1. As you can see above, in
rooms for listening music -
generally we have to put grouped
R1 only behind de speakers
(mainly for electrostatic or with any kind of back radiation speakers) or, for all other situations behind the listening place or on the ceiling (if not possible in the previous places).
At least 1,5 meters must be let
between the R1's surface and the
loudspeakers. No need for R1 on the
lateral walls away from corners.
Keep everything symmetrically as
possible. About 10-15 cm must be let
between the ceiling surface and R1's
columns, the same towards the
2. For the specific recording
rooms, Music Halls or TV plateau
situations, rooms for live music of
any dimensions: many patches of at
least 8 (in a 2x4 matrix) or 9 (in a
3x3 matrix) grouped R1 must be
periodically / symmetrically mounted
, if possible on all lateral walls
and sometimes on ceiling. The R1's
matrix dimensions and locations are
dictated by the architectural rhythm
for each situation.
The repetitive mounted patches of R1 are reducing dramatically the RT60 or ''echoes'', to a ''constant'' 0,4-0.5 sec. or less. If needed, the loudspeakers play with excellent results. The sound field will be very homogenous and musically clear. See above the <reference project>
How can we explain musicality ?
Musicality is a complex human action as a result
of many factors. The first pre-requisite is the
feeling for rhythm and the ability to reproduce
the preset rhythm. An exact ear or the
understandings of acoustical sensations is
absolutely necessary as the next pre-requisite
as well again the ability to reproduce
acoustical sensations in precise pitch. But this
are pre-requisites only.
The other important requirements: an instantaneous understanding of written rhythm and written music including all different expression and dynamical marks. But not enough: instantaneous understanding of the given mood is also necessary, plus the ability to integrate one's own playing into the organism of the music and/or of the ensemble. Again, this is not enough: one has to understand where to place the beat or more emphasis, one has to understand one's own importance or unimportance as part of the musical action. One has to know also which notes are more important than others, where to reduce the dynamics even for up to two steps or where to rise the dynamic level even for up to two or sometimes three steps.
And again, this is not enough, as one has to understand the musical forms & miniforms ("gruppetti") instantaneously. Some of this abilities can be acquired by hard work or simple experience: rhythmical training, ear training, recognizing forms knowing the works very well. Exact memory for music is a good tool also, but requires some analytic memory. Feeling for forms & the interaction between forms can be developed by great experience in the arts, in all arts, which can be acquired by visiting museums, reading encyclopedias, specially about the classical arts from Egyptian arts to Greece & Rome. So one gets a feeling about aesthetic.
But most of it, musicality is depending on intelligence as it is part of the intelligence. Provocative ? Me ? Yes ! You should know, that shaking the body more or less within the rhythm or starting grinning while listening music or starting humming less out of tune than others, that's not musicality. Musicality is more. Playing a piece in tune, playing the right notes at the right place, is not enough. Musicality is more.
Like intelligence it is a gift of nature,
plus much work. If you listen to certain
chords, and it starts running down your back
ice cold, and your flesh begins to creep,
that's where musicality starts. If you
listen to music, and you feel like flying in
outer space, that's where musicality starts.
If you listen to music, and you become angry
or sad, that's where musicality starts. And
if you are able, to bring others into the
moods said above by your playing, well, then
you are a musical musician. Prof.Hans
Pizka. Think about ...
Double Reed Co. -
Budapest , Hungary
Milano hi-end 2006
R1 again at Milano High End 2011
> FOR THE MOMENT WE DON'T HAVE A
REPRESENTATIVE IN ITALY <
States Patent 7,261,182 - Zainea
Title: Wide band
sound diffuser with self regulated
low frequency absorption and methods
Some U.S. special projects
Mr. Ray Kimber special recording sessions at the Utah University Music Hall -U.S.A.
The Track Recording
Studio - Dallas, Texas
A private U.S.
Audio Systems Demo room : R1's exclusive representative Kiev, Ukraine
Thomas Tran- Sydney Australia- Private room
ON LINE GREEK MAGAZINE FOR PROFESSIONAL AUDIO, LIGHTING, VIDEO, MUSIC TECHNOLOGY
Mix is the world's leading magazine for the professional recording
and sound production technology industry
Greek site for Audio Video & Home Entertainment technologies
Various projects in Athens
The Vangelis Katsoulis Recording Studio
A place where I've learned many things
(on the left) Zainea Liviu (center) and Dimitris Petsetakis
...few years ago
Rafalides with Maria Markesini
Christos Rafalides with Mimi Plessas
A so small recording booth
working very well
Fotis Demertzis recording studio
Drummer Fotis Demertzis
(front left) with the
In control rooms with R1 mounted on the back
wall, the sound engineer and practically all
people in the room, senses the heights of each
microphone, meaning the 3D performer's position
relative to the mike
As much as archeology
unveiled the past, the
ancient Greeks used no
absorptive materials in
their theatres, just hard
materials and ingenuity.
As the R1 easily ''solves''
acoustically small and medium
sized rooms- which is known as a
very difficult matter -
obviously, bigger halls benefit
the full R'1 potential
drum sounds from
another players and
listen for yourself
Graal Studios & Kostas Voutsas in Athens
A private two rooms recording studio in Athens for a composer & singer - Maria Voumvaki
private studio in Athens
Our participation to the High-End Audio & Video Show 2010
SKY TV - video editing suite
Advanced Home Cinema
- An all
in one solution - everything
is black and R1s are painted
The automatic screen is
mounted above the R1's
The projector is on the
ceiling on the opposite
No sound equalization
''ALL IN ONE'' private recording studio in Athens. Owner Mr.Rigopoulos
ARTRACKS STUDIO Athens www.artrackstudios.gr Phone: 210- 67 40 567
When music matters... Thanassis
Moraitis laboratory - Athens
Stelios Mitsunis Demo rooms
ESR ACOUSTICS DATA
Company address : Mr. Zainea Liviu Nikolae / ESR, 14
Peresiadou street, TK 11141, Athens, Greece
0030 210 20 27 191
0030 693 66 07 321