Synergistic ResearchAtmosphereOriginal owner, mint condition, requires an ipad or iPhone to function as a remote. Many excellent reviews. Includes Atmosphere Tuning Module which retails for $700 and adds four additional Scene...1595.00

Synergistic Research Atmosphere includes ATM Module ($700 value) REDUCED [Expired]

no longer for sale

Original owner, mint condition, requires an ipad or iPhone to function as a remote. Many excellent reviews. Includes Atmosphere Tuning Module which retails for $700 and adds four additional Scenes. Stereotimes Most Wanted Component. Please add 3% for PayPal. The story of the Synergistic Research Atmosphere: Atmosphere began when our lead designer Ted Denney contemplated why system’s seem to sound better late at night and worse mid-day. As a pioneering designer of the first high performance power cord, the original AC Master Coupler of 1994, and his later work in 2007 to develop the world’s first patented non-current limiting AC filter found in our PowerCell AC line conditioners, he knew there must be more to the mystery of what we hear late at night vs mid-day than just the state of AC coming out of the wall. After all if it were only AC than power conditioning and high performance power cords would have solved this problem long ago. So we began researching variables that could contribute to the mystery of midnight vs. mid-day system performance and came to the conclusion that man-made and solar RF must play a significant role. This led us to research of factors that contribute to fluctions in the Earth’s ambient RF environment. Ted reasoned that if differences in RF can degrade sound, then RF can be modeled and shaped to improve sound. In a nut shell we discovered that during the day ambient RF is stronger while the Earth’s Schumann Resonance is weaker in relation to overpowering solar and man-made radio frequencies. Typically speaking the ambient RF environment is at a higher frequency and is more complex during the day, and at a lower frequency and somewhat less complex late at night as our planet turns away from the sun. While charting Solar Flare, Coronal Hole and SDF activity we learned that the prevailing RF environment is affected by solar activity much more during the day, and less at night and this led to the discovery of specific RF environments conducive to what we perceive as good sound. An Unexpected Discovery: In the early stages of Atmosphere’s development we were looking for ways to overcome the chaotic high frequency RF environment of day and replace it with the soothing lower frequency environment we experience at night. While working to recreate the perfect RF environment we built a single ELF field generator and like so many others found the Schumann Resonance, 7.83 Hz, to be a powerful talisman against high frequencies generated by solar activity as well as man-made factors like cell phones, Wi-Fi, lighting, and radio. We also found the Schumann Resonance to have significant limitations. Generate 7.83 Hz one way and sound was improved but also ‘darker’, like switching from an open sounding cable to a darker sounding cable that warms a system as it steals resolution in equal measure. Generate 7.83Hz another way and the sound opened up but at the expense of low frequency weight and control. In other words broadcast the same frequency in two different ways and you get two different results with neither being exactly right. The observed differences created by a single ELF generator eventually led to broadcasting over multiple separately tuned ELF and SLF generators. By working with multiple frequencies and variables we effectively sidestepped the inherent tradeoff of single frequency conditioning. With multiple tuned generators we were able to create an RF environment without tradeoffs by shaping multiple frequencies instead of relying on a single generator operating at a single frequency. What we never expected as we experimented with multiple signal generators was the realization that we were affecting, all aspects of sound. As we continued to alter the output parameters of our multi wave generators we found we could control soundstage width, depth, and height. We also found we could shift perceived frequency balance making sound warmer or more open at will. Likewise we could control low frequencies making them sound fuller or tighter. Mid-range was also within our control allowing us to match the perceived mid-range of our systems to better compliment a given recording. By shaping literally millions of potential settings for Atmosphere we can place a performer in-between a set of speakers or when recordings calls for something massive like a full orchestra, we can ensure the room and system are capable of projecting a massively layered soundscape. It was not long before we had cataloged dozens of what we were now callings ‘scenes’ to better match different types of music. Atmosphere is a multi-channel signal generator with millions of potential adjustments and when properly calibrated compliments an infinite variety of music, different systems, and even rooms with known issues, like an abundance of glass or hard reflective surfaces. To control Atmosphere there’s an included iPad app. Simply pick from the 3 base scenes- Intimate Acoustic, Hologram, and Grand Canyon to calibrate Atmosphere’s field to the type of music you’re listening to.
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