 PHENOMENAL
Electrical,
mechanical and magnetic phenomena do matter in audio. Some visitors of my pages
certainly do remember the loudspeaker cable debate which started around 1978.
The first experiments were done by a few freaks who would buy the thick cables
used to connect car batteries, then isolate them and connect them between amplifier
and loudspeaker cabinet, at best directly to the circuit board of the power amp
and the loudspeaker filter, eliminating bananas, sockets and binding posts. They
reported about the audible benefits. There were well known reviewers who laughingly
wrote that the moon had to be in the right position to hear the differences, ridiculing
the seriousness of those who have a deeper sensitivity. Today it is generally
accepted that impedance, resistance, long crystals, dielectricum, bronze, copper,
tellurium, rhodium, silver, mass, resonances, and what not, do matter.
Today
only fools do not know that resonances occur in all sorts of materials and that
grounding (as instructed by the designers of Goldmund) is of a blatant significance;
that lead can be a disastrous material if used unwisely; that electrical currents
have their effects; that electromagnetic fields generated by transformers do deteriorate
the digital to analog conversion in a CD player; that... you just name it.
Going
a step further is discussing the benefits and also the drawbacks of certain AC
Power Line Filters or specific Power Conditioners.
But that is still talking
about materials inside the chain in connection to dynamics, audio frequencies,
the frequency curve, the extension of the frequency band and the reproduction
of transients and the possible harmonic distortion, all occurring within the system.
That is still standing with both feet on the ground. It
is true, a shiny design is very appealing. But fortunately there are also those
who do hear the intrinsic value of the various combinations of materials, the
composition of components, the topology on circuit boards, and the way a specific
component is constructed, be it an amplifier, a cable, a loudspeaker.
When
evaluating equipment we often have discussed the phenomenon that on certain days
the reproduction is lacking in detail, firmness and definition. Those are the
days when the air is humid, and a moist blanket is draped over your electrical
and acoustical world. The energy has seemingly been neutralized by the rain. The
tension which gives firmness is missing.
When it is freezing
cold and the air is dry, we noticed that the reproduction gained in sharpness,
firm detail and assertiveness. That is bullocks to many. Roughly 85% of listeners
content themselves with restricted information and maintain that they do not hear
the differences. As said, this group includes a few reviewers as well. If they
are happy with it, happy they shall be, like that music lover who wrote his "views
on digital and analog" on the Bearac Blog. But to the good hearing crowd
it is a serious and acknowledged phenomenon.
I mention this, because there
are newcomers to the game who themselves are experiencing some of these symptoms,
occurrence, and phenomena. Needless to say that the other 15% are considered to
be the fools. Well, let me tell you, I belong to that last category. And you may
as well.
Now your brain
has the ability to filter out disturbances, distortions, disorder. Classical collectors
of historical material can easily listen to the background noise of an old record.
But they frown their eyebrows if the sound is not harmonic. The brain gives priority
to the essence of the sound. Sensitivity of hearing has led to many experiments.
We witnessed demonstrations of CDs being treated with a demagnetizer. It ruined
the sound of the instruments and the orchestra. It took hours for the CD to be
"normal" again.
In the early nineteen
nineties the Audio Engineering Society (AES) held their meeting in the Netherlands,
in the city of Leiden. A member demonstrated the effect of Tourmaline when placed
on the binding posts of the loudspeaker system. Again the sound was more liquid,
but also weaker, lost some of its harmonics. Although many in the audience said
they could hear it and preferred the sound, my editor and I gave our firm opinion.
Many of these trials
stem from the desire to make the sound reproduction (especially from digital sources)
better, to make it more analogous. Specific materials can be used of course. But
the application should not be implemented afterwards, but incorporated during
the design stages. Silver cable can be very good, but you have to design the loudspeaker
systems specifically while they are connected with silver cable and determine
the positions and relations between the units, the shape of the baffle, the volume
for proper loading, the filter sections, etc. Chunks of tourmaline on the binding
posts? OK! But you have to put them right there from the start when constructing
the system.
I relate these old facts so the younger audiophile gets an idea
that many experience he is doing and discussing in forums, have already been explored
by earlier generations. To err is human, but to forget about the past is a mistake.
It means that the technique of today is the result of a development which he should
not ignore.
It
all depends what your personal reference is. Not long ago I spoke to a visitor
from Taiwan. He is an analog adept. I advised him to attend a concert in the Concertgebouw.
He told me that a few days ago he already had witnessed the orchestra in the great
hall on two occasions. And he added: "One distinctly hears the Philips sound."
Indeed the Philips engineers used the hall for many recordings, but they also
knew to convey in their recordings the spaciousness of it. Living in Amsterdam,
the Concertgebouw is my favorite sound reference, and then sitting in row six
or ten preferably. In any case not too far away from the orchestra. There you
have the left right experience, the impact of dynamics, etc. I once attended a
concert of the New York Philharmonic with Zubin Mehta in Lincoln Center's Avery
Fisher Hall and was rather disappointed about the acoustics.
You know that
the live performance is an important reference. People who play one or more acoustic
instruments have a better knowledge of what sound is like and how a recording
should sound. But even for them there is a danger that the audio set is going
to be the reference.
ADDING
A NEW COMPONENT TO YOUR AUDIO SET
The
human being is susceptible to changes in his life. Following a new diet, moving
to a new home, buying a new component...
Discovering an influence which was
hitherto unknown can shed new light on one's place on this earth. But it is for
every individual to find out if changes are to the benefit of the personal existence
or not. 
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When
a friend sent me a link of a page featuring the Ultra Low-Frequency Pulse Generator
RR-77 of Acoustic Revive and added the annotation: "I think these people
are crazy", my curiosity was sparked. The immediate thought was: How can
you presume insanity if you do not investigate?
IN
TUNE WITH THE UNIVERSE? The
researchers and designers of Acoustic Revive let us walk into a complete
new dimension. It is the knowledge of a basic phenomenon occurring in a much larger
realm than our listening rooms. And it is the application of it to our music systems,
if we want to. The phenomenon we are dealing with is the Schumann Resonance which
occurs in the earth's cavity, the space in between the surface of the earth and
the ionosphere,
55 Miles above it. 
SCHUMANN
RESONANCE This
cavity has a very low fundamental electromagnetic frequency which is brought about
by the discharging between the positive ionosphere and the negative surface of
the earth. This discharge produces an extremely low frequency (ELF). Although
it was German scientist Winfried Otto Schumann (May 20, 1888-September
22, 1974) who suspected, predicted and finally calculated that frequency (eventually
with his students), it was in fact Nikola Tesla (July 10, 1856 – January
7, 1943) who discovered the discharge phenomenon. Enlightening in this respect
is Earth
Breathing, a comprehensive article about the phenomenon which is an essential
ingredient of biological life. Schumann calculated that in the cavity an electromagnetic
frequency occurs of round and about 7.8 Hz.
I
literally quote from Tony
Smith's website:
"The
fundamental frequency of the Schumann resonance is roughly the fundamental frequency
of a spherical shell whose inside boundary is the surface of the Earth and whose
outside boundary is the ionosphere, acting as a spherical shell electromagnetic
waveguide cavity. The
fundamental frequency ought to be roughly the time it takes electromagnetic radiation
to go all the way around the spherical shell.
Since the speed of light
is about 300,000 km/sec., and one cycle is the circumference
of the Earth,
which is about 40,000 km/cycle,
the fundamental frequency should be on the
order of:
300,000
km/sec
_____________________= 7.5 cycle/sec
40,0000 km/cycle
A cycle/sec is just a Hz, so that 7.5 cycle/sec is 7.5 Hz.
The Schumann
Resonances are actually observed by experiment to occur at several frequencies
between 6 and 50 cycles per second; specifically 7.8, 14, 20, 26, 33, 39 and 45
Hertz, with a daily variation of about +/- 0.5 Hertz.
The 7.8 Hz observed
fundamental resonance is close to the rough theoretical estimate of 7.5 Hz."
| Electromagnetic
radiation is a form of energy. It has properties of both an electric and a magnetic
wave and travels through a vacuum with the speed of light. The space between the
surface of the earth and the ionosphere is not exactly a vacuum but comes close
to it. DISTURBED
Scientists
have found that the Schumann Resonance and the other resonances mentioned, are
an essential ingredient of life. It is a natural occurrence. This electro magnetic
field has always been there right from the moment when the earth had settled.
In theatrical terms one could say that it is not just a prop but a basic part
of the set. The resonance is said to be essential to the proper functioning of
the human brain. (It has an effect on the Alpha waves produced in the brain.)
However in industrial regions, in large towns and big cities, this electro magnetic
field is generally disturbed, obstructed, is weak, or it may be missing and does
not occur in one's existence. This impairs the well being of every living creature
in that region, be it human, animal or plant. It is said that the absence of the
Schuman resonance could make you ill.
(NOTE: In contrast, high electromagnetic
frequencies and radiation generated by industrial plants and components, have
a negative effect on the human brain, although the electricity companies and the
manufacturers of cell phones do not want to admit this. Research seems to prove
that high electromagnetic frequencies (pulses) do transport heavy metals, which
are normally filtered out, to the brain and have a negative health effect). LISTENING
TEST
So there is an effect of the Schumann Resonance on the human brain. The workings
of the RR-77 was easily established by listening to music, first with the RR-77
switched off, and then with the generator switched on. The instruction is that
the RR-77 is to be placed at more than 1.50 m above the listening room's floor.
That was simple enough by extending a record shelf, just enough to place the RR-77
on.
But was it the brain effect? Or was it something else? How could I find
out? I decided to do a few tests with the RR-77 Generator. My ears would be used
as a measuring probe. First of all I put on a record and listened to the familiar
sound of my system. Then I connected the RR-77 to the mains and put on this same
record. There was a distinctive difference. The first impression was that there
seemed to be some sort of congestion I had not been aware of or at least did not
think it was disturbing. The congestion in the sound was in the mid high frequency
band. Now with the RR77 switched on, this congestion was gone. Now the notes sounded
without restraint. The sound opened up. RECORDING
Now
the question is: Does the Schumann Resonance have an effect on the working of
components as well? And to what extent?
I had to isolate my ears and brain
to find that out. This is what I did.
I chose a record with prominent and clear high mid frequency content as that was
the region which had demonstrated the difference in the first place. Tsuyoshi
Yamamoto's Misty, a Three Blind Mice pressing, fulfilled the job (TBM 15PJ-1026).
Recording
music with the RR-77 switched off and on.
I put a blank disc into the tray of the Tascam CD-RW900 and recorded the beginning
of "Misty", the RR-77 not connected. Then I interrupted the recording
and switched the RR-77 Generator on. Now I recorded the same passage. In both
instances the music was not reproduced by the loudspeakers during recording. I
did not use earphones. PLAY
BACK In
order to check if there is the slightest influence of the RR-77 Generator on components,
I played back the two short recordings on a Denon CD player. The RR-77 switched
off of course, in order to eliminate the slightest influence on my brain (if
that influence was ever there and measurable). I also did not want to add any
possible influence generated by the R-77 for a second time while the reproduction
took place. 
Playback.
The RR-77 Generator switched off.
I had experienced the difference when listening with and without the R77. Now,
what would I witness by only listening to the two recordings? If there was any
effect of the R-77 on components, these two recordings would tell.
When
playing the two CD-recordings it was immediately obvious that the noise spectrum
(surface noise) is very different. With the RR77 Generator on, slightly more noise
was being heard through the simple 2-way speakers which were used for the test.
It was clear that at the same time the piano had more air. And again the congestion
was gone.
I must admit that at the time of trying the RR77, we had extremely
high temperatures and the ferrofluid tweeter of the 2-way loudspeaker system was
rather liquid and did not give much resistance to the coil compared to when temperatures
are average. The compliance of the phono cartridge was altered also because of
the tropical weather. So my experiences and findings were a sort of magnified,
but nevertheless indicative of what the RR77 does. EFFECT
The
sound is more liquid, has a more stretched out high frequency content. The frequency
band seems to be larger, wider. Slightly more hiss was noted, but that was caused
by the two low budget two-way systems used for evaluation. In high end loudspeaker
systems this will not be noted. Again there was no congestion, there was more
airiness, more space.
Many of you readers know that if you add a subwoofer
to your stereo loudspeaker systems (I mean a good one and connect it in phase!),
the high frequencies are rendered in a more refined fashion, and the mid band
becomes more airy and detailed, it opens up. A subwoofer added to your system
will give you a totally new experience. Sound thinking would tell me that there
is a certain analogy. By adding a very low frequency, in this case the Schumann
7.5 Hz. electromagnetic resonance, the high frequencies are sounding more freely,
less constrained. Listening to some beautiful violin recordings, symphonic climaxes
and energizing jazz, I noticed that specifically old mono recordings did benefit
from the RR-77. But naturally perfect pressings from the 1970's and 1980's showed
ease and realism. Transients were laid open as it were, and exact, there was more
insight, but no delay in time. ASSESSMENT
The
recordings showed that the influence on electronic components was significant.
The Pulse Generator and the Tascam CD-recorder were about 4 meter apart. Of course
this distance is not important, has no value.
The addition of the RR77 to
an audio system is not so much a matter of taste. In fact it is the choice of
the individual to combine the RR-77 with his audio set in order to bring the reproduction
possibly to a higher level. To what level depends on the rest of the audio system,
specifically the loudspeakers. Also important can be the question: Where do you
live.
I guess that there could be less urgency if you live somewhere in the
Alps, on a plain in Spain, or in Clark County, Nevada. But if you live in the
midst of a heavily populated and industrialized region where nature is in less
harmony or really disrupted, the RR-77 can be considered as an important component.
It certainly depends on what you are used to hearing and if it will add to the
truthful reproduction of music in your home. And finally there is the health matter
since the RR77 Generator can have a beneficial effect on sleep and the working
of the brain. One morning I got up and noticed that I did have a good night's
sleep. Suddenly I remembered that I had installed the RR77 the day before. ADVICE
I cannot say that you should have the RR 77 incorporated in your home. But if
you suspect that after reading this page, it may be beneficial, go to your dealer
and ask if he can give you one Acoustic Revive RR-77 Pulse Generator on loan for
a week end. That is the best way to find out and to decide. I have been living
with the RR77 for over two months now and I will continue to subject myself to
its workings (not only for my audio set but also for my well being I tend to think).
I may even update this review in due time as I will give the RR-77 on loan to
a few friends who are also very much into audio, one is a critic, another a manufacturer,
and the third one is just a music lover. I will ask them to give their evaluation. The
Acoustic Revive RR-77 Generator is a very small component. It only measures 14
x 16 x 4 cm (W x D x H) and weighs 200 gr. The pictures on the right show the
unit and its innards with the labyrinth and the small section with components.
The power consumption is 2 Watt and the generator runs on 12 Volt DC. If
you want information on the RR 77 Generator and other products of Acoustic Revive,
visit their website: http://www.acoustic-revive.com/english/index.html. |
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