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SR ACOUSTIC ART VIBRATRON

Tratamiento acústico para salas de audición.

I have experimented with many different room treatments?none has been so overwhelmingly beneficial.? Norm Luttbeg, Dagogo

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( Synergistic Research )
€1.500,00

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I have experimented with many different room treatments?none has been so overwhelmingly beneficial.?
Norm Luttbeg, Dagogo

The Vibratron is placed on the front wall behind your main speakers approximately six to eight inches above the height of the tweeters. If a painting, video screen, or other object prevents you from using this location, mount the Vibratron below the obstruction, but as close to the ideal location as possible. You can then place a Gravatron Satellite above the obstruction to approximate the ideal Vibratron placement. This will raise vertical image placement to natural levels and smooth out high frequencies in your system.

If necessary, the Vibratron can also be placed atop a system rack or any piece of furniture located between your main speakers.

Specially developed mid-range tuning magnets are included with the Vibratron, and are used to integrate the Vibratron with your room. Try experimenting by placing all of the magnets atop the Vibratron. You should hear a noticeable increase in mid-range liquidity and warmth. Now remove them completely and listen for a lift in high frequency extension. Finally, experiment with different combinations of large gold magnets and the smaller silver magnets until the desired combination is found.

 

Hand Tuned
Each resonator is forged in the USA from proprietary carbon steel and later case-hardened with a torch. During the hardening process, each resonator is tapped with a small steel hammer. A microphone connected to a spectrum analyzer measures the acoustic property of each resonator. When the resonator reaches its desired acoustic property, it is immediately quenched in an oil bath to halt the case- hardening process. Tuning each resonator ensures proper acoustic properties are met and corrects for variations that can occur in the forging process. The final result is an acoustic treatment system that delivers sound quality like no other ?? regardless of room size or system configuration.

 

Quantum Tunneling
In late 2007 we were approached by Ken Gorres, our representative in the Pro Audio market. Ken had been blown away by a Quantum Tunneling demonstration a few weeks back. As part of the demonstration we listened to our reference system with a pair of interconnects that had not been Quantum Tunneled. We then removed the cables, performed the Quantum Tunneling process, and installed them back into the system. Our reference system was transformed with a lower noise floor, expanded sound field, and more extended and transparent frequencies. Ken was incredulous. He wondered out loud if we had ever Quantum Tunneled guitar strings. I told him we had not.

A few weeks passed and Ken was back on the phone. He wanted to bring a couple of his studio musician buddies by to hear our reference system. They showed up with French Horns in hand and after listening to the system for a few hours we headed out to our reverberant factory floor for a live jam session. It was amazing to hear the difference between a relatively inexpensive Yamaha horn and their custom hand built masterpieces. Ken then asked, ??Ted, if you would be willing, we would like to Quantum Tunnel the basic Yamaha horn and compare it to the custom horns.? Ted agreed, but warned them he would not be held responsible if the horn took a turn for the worse. They agreed and added, ??We??re not letting you touch our babies.? We set the French Horn to be struck by the Tesla Coil and bang! After five minutes we turned the coil off and returned to the factory floor for a listen. The difference was startling. Previously the Yamaha had been noticeably dull by comparison; it now flowed with rich reverberant over tones. With a twinkle in one eye, and a slight expression of trepidation in the other, they handed me their babies. After performing the procedure on their reference horns we returned to the factory for a third jam session. The difference was amazing. We later treated their silver mouthpieces and with each successive treatment, the horns became sweeter with more colorful overtones.

Fast forward to the end of the Acoustic ART development program. It was not long after we perfected the formula for each resonator that we got the idea to Quantum Tunnel them. First we treated a Vibratron, and then the Satellites and Bass Station resonators. The difference was just as it had been with the French horns. There was a noticeable increase in air, a larger sound field, deeper more extended bass, and an overall improvement in transparency. We??re not sure why hitting a resonator with a million volts should exact such a change, but we can certainly hear the difference and so will you.