Diffusion At Source
The acoustics of your listening space need no longer 'colour' the sound you hear.
Effectively preventing the conflicting specular (mirror-like) reflections made by the typical listening space, 'Diffusion At Source' means the playback sound more accurately recreates the recording.
By ensuring you hear the recorded cues unchanged, Diffusion At Source enables your audiology to construct a more 'apparently real' perception.
The original recorded spatial cues do not become lost among listening space reflections. More importantly, they're not distorted by the swirling off-axis intensity vectors typical of conventional loudspeakers. The listeners' audiology is then able to use the resulting accurate spatial cues to create their perception of 'being there' at the recording.
NEWS - Dr Toby Gifford presented our science at the Acoustic Engineering Society's Burlingame Conference. The paper (featuring his mathematics) explains not only how 'Diffusion at Source' is achieved - but more importantly, what it does that is so different to what conventional speakers do. His presentation "went off like a frog in a sock" (a good thing) according to Dr Toby (He's Australian!).
What follows are his considered words based on his unique understanding of the Math that reveals what A3D actually does:
A3D technology emulates a point source: the soundfield radiates power uniformly in all directions (typically, at least up to about 70 degrees off-axis). This effectively minimises soundfield distortion from the self-interference that is typical of traditional membrane drivers. In particular it streamlines the air-particle velocities along the direction of radiation, minimising off-axis (tangential) energy that is associated with non- uniform sound radiation. As a consequence spatial information encoded in stereo recording is maintained in pristine form by A3D, whereas traditional loudspeakers distort this information by confounding it with directionally confusing ‘eddies’ formed by self-interference. Such minor perturbations, noise if you will, appear to be audible to human audiology and hence significant to our perception.
A3D enhances signal-to-noise ratio by enabling physically larger drivers (with their greater capacity to excite a soundfield) to behave like small point sources.
Additionally, an A3D soundfield even has advantages over the (albeit theoretical) 'ideal point source’. Both A3D and ‘point source’ radiate power uniformly in all directions, however an A3D soundfield is directionally phase auto-decorrelated. In other words, if ϕ(θ) is the phase of the soundfield on the surface of a sphere of fixed radius around the source, at a fixed time, as a function of the azimuth angle θ, then ϕ(θ) is uncorrelated with any azimuthal rotations of itself. This is important because phase correlations give rise to phantom images when the soundfield is reflected from a hard flat surface (like a wall), which are interpreted by the brain as reverberance, and thus overlay spatial perception of the listening room on top of the spatial information encoded in the audio (and intended by the producer). Since a sound wave reflects from a flat surface according to the angle of incidence between a surface of constant phase (i.e. a wave-front) and the normal vector of the surface, decorrelating the soundfield phase means that no coherent reflections are formed. Thus the spatial signals communicated to the listener are only those encoded in the recording, without the overlay of the particular (and typically undesirable) spatial cues caused by the geometry of the listening space.