INDUSTRY VETERAN JEFF HIPPS AGREES OUR APPROACH WORKS GREAT FOR ONE ROW

POSEIDON - GEN. 2 IMMERSIVE WALLSCREEN CINEMA

PROPRIETARY information - all rights reserved.

In order to expand upon the accomplishments achieved in SOLFAR, which represents a 35-year culmination of our focus on immersive audio exclusively for large, solid screens, and to remove the loudspeaker placements utilized for secondary audio formats that caused disruptive reflections on the videowall, our next project aimed to meet or surpass the most extreme directivity index and "Harman Score" SQ standards set by Audio Science Review, CEA-2034 as adopted by the CEDIA RP ANSI standards committee. We sought to accomplish this without encountering issues related to room modes and SBIR, while also preserving the 3D imaging parallax, which is typically lost with in-wall speakers.

A singular client who had previously visited Audioguy's exceptional Wisdom/JVC Projection Theater in Atlanta and Anthony Grimani's PMI demonstration facilities in San Francisco, had the opportunity to experience the system at SOLFAR. Within ten days of their visit, the client provided their feedback, which led to the creation of the following design.

We carefully positioned and angled the loudspeaker canopy array and created an acoustical model to precisely target the audience, using minimal overhead aperture and lateral window of phase coherent diffusion in a room with plenty of glass. Traditional absorption, scattering, and diffusion ratios were ineffective due to excessive reflections. Our search led us to choose a highly-regarded multi-channel studio speaker brand with a high directivity index that extends into the bass frequencies. This brand offers a speaker with a cardioid bass response and extensive CEA-2034 documentation, confirming its top-rated "Harman score." It's worth noting that the same cardioid subwoofer module developed for the Solfar leather-wrapped steel phase-coherent diffuser columns is also ideal for use in large channel counts in immersive wallscreen cinemas.

TOP GERMAN MULTICHANNEL SPEAKER BRAND

HAND BUILT 22 CENTURY AUDIO FROM A MEDIEVAL EAST GERMAN HAMLET

Using speakers with cardioid bass response characteristics and mounting them a few inches (7”) away from walls and ceiling in a Dolby Atmos home cinema or media room can provide numerous benefits. By positioning the speakers away from walls and ceiling and directing them towards the main listening area, the room reflections can be lessened, resulting in a more accurate and precise soundstage. This can create a more immersive and realistic listening experience for the audience.

The cardioid bass response characteristics of the speakers can also help to eliminate "SBIR" (speaker-boundary interference response) and reduce sound transmission to other units, minimizing the potential for conflicts with neighbors. It also removes harmful vibrations away from the videowall, which could cause cabinet and module seams to open. Mounting the speakers a few inches away from walls and ceiling can further reduce room modes, enhance the Haas precedence effect, and improve the dynamic headroom of the system (especially when coupled with a modern anti-sound room correction solution). Immersive audio with a deep parallax 3D imaging effect at the listener level is a modern requisite that is generally preempted by the use of in-wall speakers and wide dispersion speaker designs.

To ensure a consistent soundstage and precise imaging of sound, it is recommended to use speakers with the same diameter coaxial high-frequency element as the woofer's. This will provide a more accurate and consistent soundstage. For instance, a 3-way active speaker with cardioid characteristics in the bass frequencies is ideal because it has dedicated drivers for the lows (2), mid, and high frequencies, allowing each driver to operate within its comfort range, resulting in good directivity. To reduce beaming at the crossover frequency, it is recommended to have a small difference in driver size. In this case, the bass and mid drivers are the same diameter, and the highs are nested coaxially inside the midrange, acting as a waveguide to control the directivity away from reflective surfaces. Additionally, all the module cabinets are the same size, have triple 8" driver arrangements, ensuring the same frequency response, phase response, and directivity from every channel.

“A REALLY GOOD IDEA!

MATCHING THE ACTUAL THROW DISTANCE WITH THE SINGLE OR TRIPLE TWEETER COAXIAL.” - OLAF AUGUST DIRECTOR MEG

LFE AND DIRECTIONAL BASS SCHEME

10-40 is from Ascendo 24’s. So it is 12 x Basis 13 in 6 zones @ 40 hz it is 115 from the individual woofer or 122db all 6 zones driven.

EAST GERMAN BRILLIANCE

“Each speaker is a custom-made one-off. After production, which is carried out entirely by hand, each loudspeaker is electrically measured and acoustically tested in an anechoic chamber.”

 In Geithain the size of the company and the comparatively small number of loudspeakers that are sold per year make this very special quality possible. Each speaker is a custom-made one-off. After production, which is carried out entirely by hand, each loudspeaker is electrically measured and acoustically tested in an anechoic chamber. The measurement logs of all manufactured boxes are kept. If a loudspeaker is repaired after 30 years because foam parts should be replaced due to age, it is still possible to determine whether it sounds the same as on the first day.

“The walls, the floor and the ceiling receive significantly fewer low-frequency vibrations - and with them the neighbors, even at higher levels.”

But there was another side effect that made the box particularly interesting for this AUDIO test: too the walls, the floor and the ceiling receive significantly fewer low-frequency vibrations - and with them the neighbors, even at higher levels. Because the bass is the frequency range that "goes through '' the most through walls and buildings due to structure-borne noise transmission. This concept is as impressive in theory as it is complex to implement under control, but for a dynamic performance such a well-equipped box needs a lot of membrane area and power. Because the cancellation reduces the level in the deepest bass compared to the closed housing.

“She served the finale in perfection and completeness - for the listener, not for the visitors in the neighboring room, who were much less aware of the energy outbursts than from other boxes.”

AUDIOGRAMM 0 Superb fine dynamics, naturally resolving and neutral box with sensational bass precision and huge panorama. In the classical area, it is recommended for both ultra-dynamic and calm tones: in Saints-Saens' "Organ Symphony" (Eschenbach), the low instrument used the first movement quite unobtrusively with low registers - and over the Geithain lier? physical traces without the sub-bass pipes dominating the woodwinds and strings. When brass, piano and organ kicked off in the "Maestoso'', the 804 was also in its element: right to the point, with richly contoured, but With a never threatening foundation, sparkling piano runs and an outstandingly dynamic tutti, she served the finale in perfection and completeness - for the listener, not for the visitors in the neighboring room, who were much less aware of the energy outbursts than from other boxes.

“Then room resonance response is stimulated significantly less, the bass remains precise and is less location dependent than with conventional boxes, which almost always show an omnidirectional behavior in the bass.”

 With this, the Saxons kill several birds with one stone: On the one hand, they use the quasi-systemic precision and timing of the closed housing. Then room resonance response is stimulated significantly less, the bass remains precise and is less location dependent than with conventional boxes, which almost always show an omnidirectional behavior in the bass.

“Important are timbre neutrality, correct localization and a correct perception of distance.”

Whereupon we immediately asked about the most important basic requirements for a good home and studio loudspeaker – which Mr. Kiesler then answered in more detail:“Important are timbre neutrality, correct localization and a correct perception of distance. This is achieved, among other things, by the fact that the radiation of a loudspeaker is not broken down by drivers that are more or less distant from each other, as is often the case with multi-way systems [ME Geithain consistently uses coaxial systems that are close to the point sound source ideal.

In addition, the effect of the directional characteristics of a loudspeaker is often underestimated: Compared to other frequency ranges, the human ear evaluates the direct sound between 2-4kHz around 2.5dB higher than the diffuse sound, which must be taken into account when developing loudspeakers. Depending on the speaker model and the optimal listening distance associated with it, we make sure, for example, that the speaker is less focused in the range between 2-4kHz. Otherwise there would be an overemphasis in this area, which would neither help the timbre nor the distance finding - the sound would appear more present and subjectively move closer to the listener."

USER OPINIONS

BESPOKE WIDEBAND TRANSPARENT ACOUSTICS WITH NC20 ISOLATION.

VERY RESPECTABLE DIFFUSION COEFFICIENTS

NAMING CONVENTION: 6 OR 3 (NUMBER OF WOOFERS) 8 (DIAMETER) 3 (3-WAY) 3 OR 1 (NUMBER OF SOFT DOME TWEETERS FOR NEAR OR MIDFIELD) K (Cardioid).

THE MOST ELEGANT INTUITIVE USER INTERFACE

IDEAL FLEXIBLE 2Pi SPATIAL ROOM CORRECTION SPEAKER FORM FACTOR

2 ASCENDO 24” ULF WOOFERS ALWAYS FALL OUTSIDE ANY AXIAL NULLS

D.S. OUR ACOUSTICAL INTERIOR CONTRACTOR (ALSO WORKS FOR KYD, PARADISE, WISDOM)

POSEIDON OVERHEAD CANOPY IDEA (MISSING DOWNLIGHTS AND COVE LIGHTING (IN WENGE)

THE IOSA GHINI PH ELEGANCE TECHNICALLY FURTHERED

D.S. IS THE WORLD’S BEST YET HE SAYS THIS DESIGN IS ONE OF THE FINEST HE HAS SEEN AND IS EXCITED TO RECREATE EVERY DETAIL - WE WENT THROUGH ALL THE MINUTE DETAILS AND HE CAN DELIVER IT, FURTHERMORE HE WILL TAKE THE POCKET DOORS TO THE ORIGINAL MAXIMUM INTENT POTENTIAL BY INSETING A 1” VERSTAUNE BEHIND THE SLOTS OF THE IOSA GHINI DOOR GROOVES. TO ACHIEVE THIS LEVEL OF FIT AND FINISH IS GREAT GUARANTEED BY D.S. TO LOOK EXACTLY AS THE IOSA GHINI DESIGN THAT HE LOVES.

SIDE CUBICLES CONTAINING ACOUSTICAL DEVICES AND LOUDSPEAKERS BEHIND ACOUSTICALY TRANSPARENT FABRIC WITH GALLERY ILUMINATION . ALL CUBICLES FABRIC CANOPIES, IOSA GHINI PENTHOUSE CINEMA WOOD MOULDINGS EXACT REPLICA IN LOOK RECREATIONS PLUS THE TESTAROSSA PLATFORM, & ACOUSTICAL POCKET DOOR MANUFACTURING IS HANDLED BY D.S. - BEST IN THE WORLD (KYD, SOLFAR, WISDOM SHOWROOM, PARADISE, SH ACOUSTICS)

“A REALLY GOOD IDEA!

MATCHING THE ACTUAL THROW DISTANCE WITH THE SINGLE OR TRIPLE TWEETER COAXIAL.” - OLAF AUGUST DIRECTOR MEG

“ACOUSTICALLY VERY ACCEPTABLE!”- OLAF A. MEG

THE 804K MODULAR SYSTEM CONCEPT

VISIT IOSA GHINI PH

NTC 56 RATED ACOUSTICAL SOLID POCKET DOOR AS IN IOSAGHINI PH

NOTES FROM SH ACOUSTICS = TOP NYC ISOLATION ENGINEER

Here are the details for gasketing the pocket doors. Please see the attached. The first page shows how to gasket at the pocket side, bottom and top of the pocket door. The second catalog sheet includes a small detail at the top of the page showing a small pocket introduced into the casing at the side jamb opposite the door pocket to receive the door panel when it is closed. The 188S gasket that I recommend for use in this pocket is available in black, white, gray or white and clear (not shown in literature but it is available). The wall that houses the pocket door should be built as a double stud partition with insulation on both sides of the door. Preferably this insulation in the stud framing on either side of the door should be a minimum 3 pcf fiberglass board to ensure that it does not sag and potentially interfere with the packet door inside the pocket. I would love to get some acoustic treatment on the face of this door also. We could potentially get a thicker door panel and recess the treatment into the face.

CINERAMAX MOTORIZED STORAGE WITH POWER OUTLETS 120 + 5V usb

The system daisy chains 2 or 3 surround processors via aes 67, the sub bass anti sound system relies on the Storm Art to exploit the full range capabilities of the cardioid full range speakers, the most perfect possible bass with videowalls, the ear level channels are optimized with the Trinnov Altitude, and the CP-950 feeds the decoded Atmos stream using all channels in the system, a Dolby Cinema Exclusive for HDMI Home Atmos.

NEW STORM AUDIO NETWORK AUDIO SURROUND PROCESSOR AND PLAYS WITH CP-950A & ALTITUDE 32 WHEN THE AES 67 UPGRADE COMES IN. EXPLOITS THE ABUNDANCE OF WOOFERS IN THE “SUPERSPEAKERS” IN THE SYSTEM FOR ACTIVE ROOM CORRECTION. SOMETHING NOT POSSIBLE WITH TRINNOV AND VIDEOWALLS YET

CP-950A

FINETUNED ON SITE BY DOLBY DIRECTOR

CP-950A

 The processor plays back consumer Atmos over a Cinema Atmos process as best it can. Remember the TOP middle pair being the only lit pair on some movies with Home Atmos? The CP-950A will render those objects over multiple pairs (up to 7).

 Originally the CP-950A's HDMI route had a bed channel solution similar to the consumer version with Dolby Surround upmixer for non-ATMOS. On medium and larger venues with this solution, it became very apparent that most of the loudspeakers were not being utilized. People complained. 

 TheCP-950A has a super-powerful rendering engine. So Dolby re-engineered the whole home atmos process to take full advantage of the rendering engine

 STEP ONE

The OAR Original Audio renderer analyses the incoming signal that the consumer processor would channelize. re-renderers a full-blown all object ATMOS CINEMA MIX spreading the sound across multiple speakers ( no single side channels but all channels acting in unison creates a phased array-like enhanced level of precision) as best it can but with the 20 or so objects consumer atmos objects that are clustered. THERE ARE NO CHANNELS in this approach. All speakers are used, this improves the envelopment perception across all seats but in my estimation, it should super intensify the single primary listening position. 

 STEP TWO

After the Original Audio Renderer decodifies and renders to ALL SPEAKERS the signal, STEP TWO is to encode it on the fly to a full-blown Cinema Atmos.

 CONCLUSION

It is much more accurate to the Cinema version, the only difference is you are still hearing the 3 bees combined, but spatially? The freedom from BED channel coding should be night and day.