Mode-Equalized DistribUted Subwoofer Array, 5+ pieces
No comparable commercial system, a unique solution from nature. The room’s preexisting fixed modes + four new “Golden Ratio” modes = flat response and the smoothest, most musical and natural bass throughout the listening room. “Room Gain Complementary” tuning (Duke LeJeune) compensates for boundary reinforcement <100 Hz. Unsurpassed pitch definition with the “elastic” qualities of bass in a large commercial space.
No after-the-fact band-aid as per every other bass mode “cure”. No EQ. No “hot spots”. No acoustic treatment. No proximity effect.
A new state-of-the-art reference for music. Conservatively rated 113 dB @ 20 Hz, power to spare for knockout HT punch.
"The reason is that a domestic room (a small space, as compared to a commercial size room such as a theater) affects sound waves differently above 200 Hz vs. below 200 Hz. In effect, the domestic sound room is two rooms in one. It follows that the ideal domestic audio system should be similarly split into two functions.
Domestic rooms have “modes” related to room dimensions causing irregularities in bass performance. In my current room the response dips and peaks below 200 Hz are so audible that it is preferred without deep bass except for this distributed bass array. Bass modes cause many audiophiles to prefer smaller speakers with higher bass cutoff and with little bass power.
Professional reviewers often describe a laborious, time-consuming process of siting speakers for ideal, smoothest bass performance, then readjusting again for preferred mid/treble performance. The process repeats, presumably till attaining the best sonic compromise. The deeper and stronger the bass, the greater the modal effects and the greater the juggling process.
In October 2011 Jeff Hedback (Hd Acoustics) and Nigel Mellor (Acoustic Frontiers LLC) published Acoustical Measurement Standards For Stereo Listening Rooms. Hd Acoustics clients include Ozzy Osbourne, Lifehouse, and Trevor Horn. Page 19: “To obtain the best possible LF response…boundary interference issues can be tougher to address. Varying the fixed distances from ‘speaker to boundary’ and ‘listener to boundary’ will reduce strong cancellations. It is a balancing act as one location that may offer a smoother LF response may not provide the optimal midrange and treble response…” (emphasis added) Page 20, paragraph two: “…everyone desires a ‘flat’ LF response and no modal ringing. Simply, this is a tough achievement. The absurdly large collection of interrelated variables between two fullrange speakers and the room (speaker design, speaker/listener location, room size/construction and acoustical control within) makes this so. It is up to the individual to determine what their limits are as regards placement and acoustical treatments…” (some emphasis in original, some added…note the term “absurdly large”)
Listen carefully to music in a theater; the higher the system performance the better. Notice the “elastic” quality of the bass, perfectly integrating as one seamless whole with the mid and treble range, resulting from larger boundary spacing vs. a domestic space. Conversely, bass in a domestic space reproduced with full range single column speakers sounds “mechanical” and a-musical, separate and disjointed from the mid/treble, as if it occurs in a different dimension (manufacturers like Audio Note and others minimize this effect by specifying corner-loading, trading one set of problems for others). After careful consideration you might agree the phenomena described above is the biggest difference between music in a concert hall and reproduced sound in a domestic space. (Dynamic compression and reflected-vs.-direct energy are not-too-distant seconds.)"http://www.audiocircle.com/index.php?topic=61810.0http://jamesromeyn.com/home-audio-gear/ ... es-4k-usd/http://www.harman.com/EN-US/OurCompany/ ... ltsubs.pdf