Diffusion At Source
The acoustics of your listening space need no longer 'colour' the sound you hear.
Preventing mirror-like reflections made by the typical listening space, 'Diffusion At Source' means the playback sound more accurately recreates the recording.
As such you hear the recorded cues unchanged - it's just like being at the recording. Diffusion At Source enables your hearing to construct a more 'apparently real' perception.
Consequences - Benefits
The original recorded spatial cues do not become lost among listening space specular reflections. Perhaps more importantly, those cues are not distorted by the un-avoidable product of conventional loudspeakers - swirling sound intensity off axis.
NEWS - Dr Toby Gifford presented A3D science to the Acoustic Engineering Society's Burlingame Conference. The paper (featuring Dr Gifford's 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 Gifford (He's Australian!).
What follows are Dr Gifford's words of explanation, based on his unique understanding of the Mathematics that reveal what A3D actually does:
"A3D technology emulates a point source: i.e. the sound-field 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 conventional loudspeakers. As a consequence, the 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 conventional loudspeaker created minor perturbations, noise if you will, appear to be audible to human audiology and hence significant to our perception.
A3D also 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). Such phantom images 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 (as 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 with A3D, the spatial cues communicated to the listener are only those encoded in the recording - the direct sound, without the overlay of the particular spatial cues (typically undesirable) created by reflections caused by the geometry of the listening space."