MIX STUDIOS on YouTube

 Owner : Demertzis Fotis  

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.

The mixdown accuracy 

is a natural delight

Drummer Fotis Demertzis (front left) with the STUBEAT

some comparative drum sound from another players and different studios are here: one..., two..., more...and listen for yourself

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 !

Clean diffusion means clean music and natural voices timbre !

The first R1's samples of industrial painting

marble, onyx, various wood finishes

more about this , at FINISHES

Zainea Liviu - The R1's inventor

Member of Acoustical Society of America from 1991

>> Monthly site statistics for 2008 / 2009 are here < <

World's best sound application, a Hyper High-End one

What we obtained is very near to perfection, a delightful musical perfection easily  perceived by the cultivated people - aurally and mentally

The Roundffusor1 behaves much better when the ''front wall'' wood drivers are mounted perpendicular to the ground, symmetrically towards the loudspeakers middle axis

Ex.1 The ceiling's wood supports ''T'' are following the front wall's direction

The ''10 cm distance rule'' distance between the upper and lower R1 edges and the ceiling or floor, in order to let them to ''breath''

Ex2 

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 than the laterally mounted.

The 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 solid sound, a musically and stiff bass. In any way of mounting, R1 works perfectly, creating the impression that you are in big, tidy sound space. The 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 levels.

          From the above two typical examples (Ex1&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.

 But very rare you will need that 35% limit surface, always much less!

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 meter 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 floor.  

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 ...