Roundffusor1 theory

R1 in simple words

 

Low frequency-Why?

 

Do - Don't Carefully

 

R1's Tests

 

High - End

 

Finishes

 

Ideas & Sound

 

How to buy R1

This site is made, written and updated

by

 zainea liviu

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Roundffusor1

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.

 

When you are acquiring our Roundffusor1, the specific acoustical study is free of charge

  For best technical and economical advises we need some pictures from your listening or

home cinema room  or music hall and of course the room dimensions

 

 

 

Mr. Zainea Liviu Nikolae - The R1's inventor

 Email: liviu@zainea.com

Member of Acoustical Society of America from 1991

 

 

 

Cyprus

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

 

 

       

 

 

 

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PLANET REC Athens

THE FIRST EVER RECORDING STUDIO BUILT IN GREECE USING ONLY R1 

Kaliris - video clip

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Swiss

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 ''expected'' wrong stereo image becomes a wide natural well defined stereo.

The traditional boring sweet spot becomes obsolete

(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 (Rubanoïde 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 absorption...

What about ultra damped

with various absorption materials Home Cinema's rooms?.. :)

Clean diffusion means clean music and natural voices timbre !

WORLDWIDE ENTHUSIAST DISTRIBUTORS WELCOMED !

We are searching  Roundffusor1's representative for USA / Canada 

 

 

Here below, some  R1's samples of

 industrial painting

marble, onyx, various wood finishes

 

 

 More about R1's presentation at Finishes

 

 

Various 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

R1's 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

 

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Reference Project  <

ROMANIA

Chief Architect: Ioana Mihaiescu

 City 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 architectural rhythm

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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]

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''

but

for rooms with problems with plenty of bass or resonances and worst

  tending geometrically to a cube...

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 units than the ones laterally mounted which are parts from the complex made like ''bass traps''.

           

Ex.2

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.

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.

          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.

 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 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 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>

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 Question

 

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 ... 

 

 

Taiwan

 

 

 

 

Hungary  

Double Reed Co. - R1's Demo room Budapest , Hungary

 

Italy Milano

     

Milano hi-end 2006

 R1 again at Milano High End 2011

>  FOR THE MOMENT WE DON'T HAVE A REPRESENTATIVE IN ITALY  <

 . . . . . .

         United States Patent 7,261,182 -  Zainea Liviu Nikolae

Title: Wide band sound diffuser with self regulated low frequency absorption and methods of mounting

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Some U.S. special projects

                        

Mr. Ray Kimber special recording sessions at the Utah University Music Hall -U.S.A.

 

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The Track Recording Studio - Dallas, Texas

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A private U.S. recording studio

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 Ukraine

Audio Systems  Demo room : R1's exclusive representative Kiev, Ukraine

www.audiosystems.com.ua

 

 

Spain

 

Australia

Thomas Tran- Sydney Australia- Private room

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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

                                             

Vangelis Katsoulis (on the left)  Zainea Liviu (center) and Dimitris Petsetakis ...few years ago

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Christos Rafalides with Maria Markesini 

  

Christos Rafalides with Mimi Plessas 

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A so small recording booth

   

but working very well

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Konstantin Karamanis Home Cinema

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STUBEAT

Drummer Fotis Demertzis (front left) with the STUBEAT

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

      Fotis Demertzis recording studio

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

 

Stergios Kourou - a YouTube drum solo in the recording studio with the blue R1

 

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

WOOD

STONE

ROUNDFFUSOR1

MUSIC

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Graal Studios  &  Kostas Voutsas in Athens

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A private two rooms recording studio in Athens for a composer & singer - Maria Voumvaki

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A new private studio in Athens

   

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PRISM STUDIOS 

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Our participation to the  High-End Audio & Video Show 2010

HOME ENTERTAINMENT CENTER

 

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SKY TV - video editing suite

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Advanced Home Cinema - An all in one solution - everything is black and R1s are painted black. The automatic screen is mounted above the R1's surface. The projector is on the ceiling on the opposite side. No sound equalization needed...

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''ALL IN ONE'' private recording studio in Athens. Owner Mr.Rigopoulos Konstantinos

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ARTRACKS STUDIO Athens  www.artrackstudios.gr    Phone: 210- 67 40 567

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Damianidis Recordings

2011 Studio D@mian

 

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When music matters... Thanassis Moraitis laboratory - Athens

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Stelios Mitsunis Demo rooms

 

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ESR ACOUSTICS DATA

Company address : Mr. Zainea Liviu Nikolae / ESR,  14 Peresiadou street, TK 11141,  Athens,  Greece   

 Communications data

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

Email: liviu@zainea.com    Skype: zainea.liviu

 

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