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Discussion Starter · #1 ·
This was the wierdess deal I've ever heard. Those here that know me understand I'm not a fan of $25000 speaker wire and $5000 cable holders but this "tweak" was unreal.


Yes there was a distinct difference. Was it better? Maybe but it was different and I preferred the tweak (damn I can't believe I just put that in writing) in place...


At the Synergistic Research room they had small metal graphite carbon fiber something or another made balls placed about the room on the wall at varing heights. A larger sized set of balls
was placed behind the room about 6' high and on the floor. When he took them down and placed them on the floor the highs, soundstage and imaging took a nose dive.


BTW the speakers were the Wilson Sophia's and electronics from Burmeister (??).


It was cool if nothing else!
 

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thats interesting. that sounds like room treatment more so than the cable "lifters" that suposedly keep interference down from blocking the vibrations. are the balls a product for sale?
 

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How large were the larger balls?
 

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Discussion Starter · #4 ·
Yes the balls are for sale.


$3200 MSRP they had them for $2200 but by show end I think $2000 got you a set of balls.


It was all about the resonant frequency of the material and how they interacted the room and speakers. That was what I was told. So in theory you were listening to the "ringing" if you will of the balls.


Again it was way cool.
 

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Quote:
Originally Posted by mmiles /forum/post/15549411


A larger sized set of balls
was placed behind the room about 6' high and on the floor. When he took them down and placed them on the floor the highs, soundstage and imaging took a nose dive.


It was cool if nothing else!

I have heard the very same thing happen when balls hit the floor, although, I found nothing "cool" about it whatsoever!


I apologize but you had to know this was inevitable.


Please, do tell more of your recent experience with various sized balls and where they were placed.
 

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Would love to see this comparison done blind --that would take real balls (Sorry. I couldn't control myself) . This reminded me of a demo at CES a number of years ago when some company had wooden "thingies" placed at various spots around the room and the "developer" (a term I use loosely) had everyone convinced there was a difference with and without the "thingies" (and of course you couldn't make your own wooden "thingies" because these were made of some exotic wood).


I still never cease to be amazed.
 

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Discussion Starter · #7 ·
AG, I kinda sorta did that. I turned back to as they say so our balls would not touch...


He played the same track from the CD at the same volume level (I paid very close attention to the setting of the electronics and inspeceted the room after the demo).


No balls hit the floor since they were not that big but they varied in size say from 2" to 6" in diameter. The latter is quite a set.
 

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Quote:
Originally Posted by mmiles /forum/post/15549653


No balls hit the floor since they were not that big but they varied in size say from 2" to 6" in diameter. The latter is quite a set.

It doesn't matter if the glass hit the stone or the stone hit the glass, it's going to be bad for the glass.

Those balls were on the floor, it doesn't matter what the circumstances were.


So, I take it you found these balls to be quite attractive? At the very least there use is unique.

Would you consider them a substitute or addition in correction.


I am so ashamed of myself.
 

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All kidding aside miles, I for one realize that you are not a "tweak-freak". So, something about this product apparently grabbed your, shall we say, attention.


Are these things supposed to be "just" an additional tweak to an already well designed room? Or, do they actually consider their product a replacement for panels of various types and/or sizes?

Is a "set" meant to cover a specific sized room, like X amount of sets/ft?

If not, do you know how they would have you determine how many sets you might require and is it known where in the room they should be installed/located, like a 1st reflection point as example, to obtain the intended or desired result?


I may have found the wording and the visual kind of humorous but all things considered, $2,200-$3,200/set is not exactly a joking matter when trying to squeeze out our hi-end dollars these days.

Of course we'll all understand if you may not have spent enough time in there to have all of this sorted out and just made an interesting find and observation.
 

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Strange phenomenon, this is being reported from several. Is it a resonant frequency deal that impacts our percievement of the sound field/stage?


I have a hard time figuring out why it wouldn't deter the piercive soundstage instead of "improving" it. Was there any drugs involved with the balls?
 

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We listened to this demo quite closely, and with skepticism. The spheres I will call them were placed floor front center, front 2/3 up wall (a split full sphere), on the side walls 2/3 up at the reflecting point (half spheres open side up), and somewhere on the rear wall. First the music was played with the treatment, then they were removed. The difference was there, but I couldn't put my finger on it. Then they put the spheres back up, and the effect was astounding. The sound stage opened up , and was much wider and deeper. The upper mid, lower treble was much smoother and more musical, the bass was tighter. The spheres were again withdrawn, and the soundstage collapsed, the music became more strident, less involving. Back up everything opened up again. The effect was not subtle.

I'm told the materials and shapes were trial and errored over a period of 2 years before they got it the way they wanted it. The spheres apparently create some sort of room boundary dissipation by removing reflections while the sphere on the floor is supposed to control bass resonance. Who knows?

The system was a good mid priced system using Synergistic Tesla cables, and Enigma active shielding with the Wilson Sophias. The spheres are said to be hit with 2 million volts from the company's Tesla coil before sale. Again, who knows? They are said to work in conjuction with other room treatments as well (absorbtion & diffusion.)

I will say the effect was unmistakable, and I believe easily discernible by any trained listener, probably untrained as well. They sold a lot of these (100's) at the show. I did not buy them, but I intend to investigate this phenomenon further. Regards, Norm
 

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Pinch me, the balls sound promising.






The inspiration for the Acoustic ART system came to our lead designer Ted Denney four years ago while sailing the South Pacific. During his sabbatical, Ted visited Buddhist Temples and observed how Tibetan Prayer bowls altered temple acoustics. These singing bowls affected a sudden shift in acoustics whenever they were activated, and when additional bowls of varying tone were also activated, the acoustics continued to change. Ted reasoned that a system of resonating bowls could be developed to discreetly treat room acoustics without the need for large unsightly tuning devices.


However, it wasn’t until after Ted returned to the mainland and developed his Tesla Series cables that he revisited the idea of treating room acoustics with resonating bowls. We began our research by studying Helmholtz resonators, which have been used for over a century to tune low frequencies in an acoustic environment. We worked to modify Helmholtz resonator principles to incorporate the full spectrum of sound - not just low frequencies. We found we could tune music with a system of resonators working together in harmony at key acoustic pressure points. Further research led to several patents-pending. The first deals with the use of magnets to contour activation and decay properties of the Vibratron and Magnetron Satellite resonators. The second includes a new resonator shape called the Vibratron that radiates in a 360 degree pattern over a scientifically-arrived-at frequency range. The third utilizes a unique dispersion baffle to precisely control how the Bass Station resonator affects a rooms’ low frequency acoustics. Later we discovered that using spikes to mechanically couple the Bass Station to a room further enhances control of low frequencies (the Bass Station's Stilettos). Next began a painstaking process to find resonator material with the correct mass that would operate at mathematically-arrived-at frequencies with target decay patterns. The acumination of these scientific principals sets the Acoustic ART (Analogue Room Treatment) System apart from all other room tuning methods.
 

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vibratron...are we sure they are audio treatments?


yep, we had a gtg to 'hear' the acoustic resonators at work, umm the results were less than stellar.


markedly affects the bass eh? same claim as made for the tiny resonators. these are slightly bigger, but still, any audible effects in the bass would easily be measured.


unless of course the same caveats apply as in the case of the resonators, 'we can't measure everything we can hear'.


same old suspects, including magnetism.


where are the good old quantum effects I wonder?
 

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Sounds like a bunch of BALLocks to me.
 

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Quote:
Originally Posted by CINERAMAX /forum/post/15550500


Pinch me, the balls sound promising.


The inspiration for the Acoustic ART system came to our lead designer Ted Denney four years ago while sailing the South Pacific. During his sabbatical, Ted visited Buddhist Temples and observed how Tibetan Prayer bowls altered temple acoustics. These singing bowls affected a sudden shift in acoustics whenever they were activated, and when additional bowls of varying tone were also activated, the acoustics continued to change. Ted reasoned that a system of resonating bowls could be developed to discreetly treat room acoustics without the need for large unsightly tuning devices.


However, it wasn’t until after Ted returned to the mainland and developed his Tesla Series cables that he revisited the idea of treating room acoustics with resonating bowls. We began our research by studying Helmholtz resonators, which have been used for over a century to tune low frequencies in an acoustic environment. We worked to modify Helmholtz resonator principles to incorporate the full spectrum of sound - not just low frequencies. We found we could tune music with a system of resonators working together in harmony at key acoustic pressure points. Further research led to several patents-pending. The first deals with the use of magnets to contour activation and decay properties of the Vibratron and Magnetron Satellite resonators. The second includes a new resonator shape called the Vibratron that radiates in a 360 degree pattern over a scientifically-arrived-at frequency range. The third utilizes a unique dispersion baffle to precisely control how the Bass Station resonator affects a rooms’ low frequency acoustics. Later we discovered that using spikes to mechanically couple the Bass Station to a room further enhances control of low frequencies (the Bass Station's Stilettos). Next began a painstaking process to find resonator material with the correct mass that would operate at mathematically-arrived-at frequencies with target decay patterns. The acumination of these scientific principals sets the Acoustic ART (Analogue Room Treatment) System apart from all other room tuning methods.

The real story of the "discovery": The designer thought to himself: "Hey, fools are already paying thousands of dollars per foot of copper wire, let me get in on the action."
 

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From the article


"One can learn a lot from the French patent bureau. By means of a silver tripod, the resonant cup is secured atop its wooden block and placed within the vicinity of a sound source (read, loudspeaker). Sound waves from the loudspeaker excite the cup and it starts to oscillate/vibrate. Depending on size and material density of the cup, it will respond to a specific range of frequency similar to a tuning fork. The listener responds to this action as sensing a widened soundscape and enhanced sound density."


It does seem Frank has a patent for this design






Quote:
Originally Posted by AndrewChen /forum/post/15550588


Certainly looks like a total knock-off of the Acoustic System Resonators from Franck Tchang. Those have been around for years. Ted's story of South Pacific/Buddhist Temple really sounds pretty bogus!!


6moons' review of the Acoustic System resonators from 2006


I guess if Franck hasn't got a patent on them, its his loss.
 
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