Diffusion at source
A3D Technology - Diffusion At Source - not only mitigates against specular reflections (proven to corrupt the acoustic envelope we listen to) but also, perhaps more importantly, A3D enables loudspeakers to output their energy in a purely radial flow. In short, the acoustic energy of A3D speakers travels outward in a radial pattern, whereas conventional loudpeakers create a number of 'zones of confusion’ in which the energy flow (acoustic intensity) is not radial (i.e. toward the listener) but is tangential (think of it as a bit like the wake of a boat) - effectively robbing sounds' pure spherical wavefront of the energy we listen for.
This ‘energy conservation’ is very important. When all the acoustic energy is travelling radially from its source, there can be no energy travelling in a direction that might corrupt the sound-wave. This is not the case for conventional speakers, which will corrupt the sound-wave with their off-axis tangential energy (the main reason the ‘sweet spot’ of conventional speakers is so narrow).
The above is particularly pertinent to stereo/ambisonic signals, where timing cues are critical to our audiology’s ability to reconstruct the sound-stage of the original recording. Conventional speakers’ non-radial acoustic energy distribution corrupts the timing (and intensity) of such cues, leading our highly sensitive audiology to create a ‘false reality' of the playback sound (something which we readily recognise as ‘not real’). Tangential energy locations might even appear as 'phantom loudspeakers’, producing cues that have nothing to do with the audio signal! We're of the opinion that this is why recordings mostly 'sound like recordings’.
A3D’s energy conservation, and much bigger sweet spot, means A3D'd speakers deliver even more accurate cues when configured in a stereo pair. As such, the resultant sound is perceived as having more reality. A3D playback of good quality recordings sound ‘real’.
A3D’s radial flow of acoustic energy has many positive consequences for designers of sound systems:
For in-car sound, the soundstage might be presented to all passengers through dashboard (or A-post) mounted loudspeakers. The passengers would experience the sound as they might if sat in consecutive rows in the middle of an auditorium. The resultant wide sweet-spot and reduction in specular reflections combine to obviate the need for multiple drivers throughout the cabin. Presenting a 3D sound stage purely from the space they face toward (the windscreen) makes for a more ‘real’ experience too.
Also with TV sound, the ability to present Ambisonic cues acccurately, offers the potential to make more immersive sound without the need for additional ‘rear’ speakers. This might also be exploited by games, Video Conferencing, etc.
For Public Address, the radial flow of acoustic energy and resultant energy conservation, means that all sounds travel equally - throughout the larger sweet spot. This ensures that, even at a distance, all of the sounds can be heard. Intelligibility is maintained.
A3D’s mathematical modelling shows exactly how A3D speakers work - and exactly why conventional speakers can’t match them. But don’t just take our word for it - do the maths yourself. We’ll share ours with you if it helps - drop us an email.
Following the latest Mathematical analysis, we are confident that A3D is the most significant contribution to the playback of recorded sound since the invention of the Dynamic Loudspeaker. In fact, all the data - and listening tests - suggests that A3D speakers behave, pretty much exactly, as an 'idealised point-source'. Whilst this has always been considered the 'gold standard' it has always been considered impossible - until now!
A3D's 'acoustic apodisation' through 'Diffusion At Source' enhances the listener’s perception of Intimacy, Envelopment and Clarity.
Listening through A3D technology really does sound 'like being there when the recording was made'.
Basis of the Technology – Several methods
The benefits of A3D technology can be achieved through several different methods:
Reflector – the original. Using a modified Quadratic Residue filter, the sound is bounced off it to create ‘Diffusion At Source’. This produces a clearly audible (and measurable) effect in the frequency band that contributes to our spatial awareness. This approach is readily compatible with conventional speaker-driver design, construction and components.
Array – the second method realised. Using multiple drivers and digital delay techniques to create ‘Diffusion At Source’. This method is particularly suited to high-power applications such as concert PA.
Manifold – 'the third way'. Using a multi-port design to create ‘Diffusion At Source’ from a single driver, this low-cost method is particularly suited to applications in consumer audio, TV, Smartphone, in-car audio and, information PA and ceiling speakers.