Sound Fusion "Sound Boosters"
Roy Harris
I
became aware of the Sound Boosters at the 2005 Home Entertainment Show.
Located in Canada, Sound Fusion was established in 2002 as an associate
of Global Wood Concepts, a major manufacturer of office furniture in North
America, with revenue greater than 2 billion dollars in 2004. Its mission
is the manufacture of speakers and audio accessories. Its products include
speakers, speaker stands and anti-vibration devices. The design of the
Sound Boosters entailed a 6 year research and development effort. The
company chose the name "Sound Booster" because it believes the
product enhances sound from all components in any stereo system. The company
name was derived from the concept of fusing technology with "truthful
musical sound".
Product
Description and Technology
A
Sound Booster consists of a tapered "donut" attached to a solid
cylinder with 3, 4 or 5 connecting ribs. The top of the "donut"
is 3 1/4 inches in diameter and the inner circle is 2 3/4 inches. Thus,
the solid portion is 1/2 inch thick. The bottom part is approximately
2 5/8 inches in diameter, with an inner circle of 2 5/16 inches and a
thickness of 5/16 inches. The solid cylinder is approximately 2 3/8 inches
in diameter and 1 1/8 inches in height. When a component weighs less than
20 pounds, the 3 rib version is suggested. If a component weighs between
21 and 40 pounds, the 4 rib version is recommended. If weight exceeds
40 pounds but less than 70 pounds, use the 5 rib version. For weights
between 61 and 70 pounds it is advisable to place 5 Sound Boosters under
the component; otherwise, 3 or 4 should be used, depending upon the weight
distribution.
Pricing
is as indicated below:
4 Black $35.99
4 Silver $39.99
Sound
Boosters are composed of skinned polyurethane foam of varying density
for each version. The product is a passive damping device designed to
eliminate vibration. The inside (solid) cylinder acts as a shock absorber.
The ideal set up is to suspend a product in mid air, i.e., levitation.
Unfortunately, this is not possible. The company believes that its products
are the best alternative to eliminate the effects of gravity.
Listening Results
Components treated with Sound Boosters included the PS Audio Power Plant,
VTL amps and Audio Note cd player. The Sound Boosters replaced specially
designed 4 inch x 1 3/8 inch Sorbothane pucks, DH Cones and furniture
foam. Four Sound Boosters were placed under each component.
Holly
Cole, DON'T SMOKE IN BED, Alert Z28102, track 1, started off the listening
festivities. The acoustic bass solo was weighty, yet articulate and had
realistic bass extension. Holly Cole's voice was clear with little sibilance.
Overall, the Sound Boosters may have reduced sibilance and increased bass
energy, relative to my reference anti resonant devices.
Ravel's
"Alborado del Gracioso", conducted by Ernest Ansermet, London
414 046-2, is one of the better sounding orchestral CD recordings. There
are several facets of this recording which can serve as a benchmark for
evaluating stereo systems, notably, the treatment of wind instruments,
the sound of cymbals and soundstage depth. The clarinet solo was deep
into the orchestra--no loss of depth here. The timbre and tone of the
clarinet was consistent with the sound of a clarinet from a distance.
The cymbal crashes were located behind and to the left of the left speaker.
The sound of the cymbal had slightly less treble energy relative to sorbothane,
foam and DH Cones. The bassoon solo, also located deep into the orchestra,
was very natural sounding--a reminder of what a live bassoon sounds like
when listening at a distance.
Steely
Dan, AJA, track 3, "Deacon Blues", MCA 37214, was my next selection.
Donald Fagen's voice was less sibilant than I had experienced with my
reference materials, without a loss of clarity. Cymbal sounds were slightly
lower in pitch. Pete Christleib's tenor sax solo often sounds like an
alto. Using the Sound Boosters, there was a slight downward shift in the
spectral balance. The result was a saxophone sounding more like a tenor
and less like an alto.
Von
Wessanaer's "Concerti Armonici", track 5, Naxos 8.555384 features
an ensemble using original instruments. The sound of violins can be a
bit strident on some stereo systems. String tone was fuller and less harsh
without a loss of detail in comparison to what I have heard using my reference
materials. Britten's "A Young Person's Guide to the Orchestra",
conducted by the composer, JVCXR 0226, is a "mini" concerto
for each instrumental section of the orchestra. Brass instruments sounded
slightly lower in pitch and were positioned at the back of the orchestra.
The double basses had more weight than I experienced with my reference
anti-resonant materials. The timpani were reproduced with such realism
that one could aurally experience the texture of the surface of the instruments.
The pitch of the triangle and cymbal was slightly lower, creating a more
natural presentation.
I
selected acoustic jazz as the last source. "Sweet Georgia Brown",
track 2 from TEST CD #4, OPUS 3 CD 9200 is a setting for jazz quartet,
including vibraphone, organ, bass and drums. The vibraphone had a bit
less presence due to a slight attenuation of treble harmonics. However,
there was a sense of fullness and lack of edge to the sound of this instrument.
A drummer could be heard striking the side of a snare drum. The contrast
between wood and steel was unmistakable. If one listens attentively, one
can observe each tap distinctly. After an organ solo there is a loud cymbal
crash. Often the cymbal sounds steely. In this case, the pitch was slightly
lower, producing a sound closer to that of brass than steel.
Conclusion
A
consistent pattern emerged from my listening sessions. Replacing my reference
materials with Sound Boosters affected the spectral balance, but had no
perceivable impact upon soundstage width or depth. There was a slight
loss of treble energy as manifested by a reduction in pitch for instruments
such as strings, triangle, cymbal and vibraphone. The attenuation in treble
harmonics was associated with a more natural timbral presentation.There
was also a slight increase in bass energy. The result of this "rearrangement"
of frequency response was a more even spectral balance, which was achieved
without a loss of resolution.
Associated
Components
Speakers: Quad 63
Amplifier: VTL Deluxe 120 Monoblocks
Preamplifier: Conrad Johnson Premier 3
CD Player: Audio Note Cd2
Interconnects: Sound String and Legenburg
Speaker Cable: Legenburg
AC Cords: Synergistic Research, Clarity Audio and Legenburg
Accessories: PS Audio 300, PS Audio Ultimate Outlets, PS Audio Juice Bar
Enacom Filters, Sound Boosters and Blue Circle Audio
Sound Pillows Mk III
The Sound Fusion "Sound Boosters"
Manufactured by Sound Fusion Inc.
1111 Flint Road, Unit 1,
Downsview, Ontario,
Canada M3J 3C7
Tel: 416-645-1726
Fax: 416-645-1727
E-mail: info@soundfusion.ca
