ZR Acoustics for my control room

HI I'm in the process of designing my control room. I've spoken with quite a few designers, and I'm close to picking someone to design the room. I was wondering if anyone had heard of ZR Acoustics? It is a design technology owned by Hanson Hsu and Delta H Design of Los Angeles CA I read up on the technology, and it's very interesting that you can have a SQUARE control room. I know it sounds crazy, but i flew to LA and listened to a room(sort of), and it was strange and amazing. I was impressed. Large sweet spot, and incredible imaging even off axis!? I would like to know everyone's opinion on the technology, and is there anyone who has questions or comments about this. I would like to hear all comments and criticisms. I can not put much information on here due to a non-disclosure form, but i will put information off of Delta's website for you. Thanks www.deltahdesign.com ZR Acoustics [Zero Reflection Acoustics] is a modus operandi for designing audio production spaces with crystal clear acoustics + world class acoustic signatures. Utilizing everyday construction materials, ZR Acoustics renders rooms acoustically invisible, extending the near field environment to the entire air volume of the space. The design algorithm generates an abnormally large sweet spot 5 feet wide extending from the mix position all the way to the rear wall. Eliminating aberrant acoustical anomalies such as resonant frequencies, standing waves, room modes and bass buildup in corners, ZR Acoustic allows mixers to focus on the two remaining challenges facing all audio engineers: content and transducers. Additional benefits include Zero loss of square footage/air volume, zero phase inversion and audible image everywhere in spaces designed with ZR Acoustics. ZR Acoustics is a trademarked and patented design technology. ZR Acoustics Benefits 1. World class acoustic signature. 2. Crystal Clear Acoustics. 3. Acoustically invisible rooms. 4. Vast sweet spot: 5 foot wide corridor from mix position to rear wall. 5. Image audible everywhere in rooms. 6. Rooms retain original shape and size. 7. Inexpensive to build [50% less than traditional studios] 8. Zero Loss of square footage. 9. Zero loss of air volume. 10. Zero bass build up in corners. 11. Zero Phase Inversion at rear of sweet spot. 12. Zero impact on resale or restoration. 13. No resonant frequencies. 14. No standing waves. 15. No room modes. 16. No acoustical impact from interior designs. FAQ 1. Fits into existing 2x4 stud walls. 2. Standard Everyday materials used in construction. 3. 22 - 32 dB STC rating. [depending upon isolation design] 4. Design Time Frame is 8 weeks per room [<1000 sq. ft.] 5. Control Rooms calculated out to 10 Orders of reflections. a. 6 dB of absorption per reflection. b. 60 dB absorption after 10 orders of reflections. c. Reflections fall into noise floor before ever returning to mix position. d. Entire Room becomes a near field environment. e. Far Field Eliminated. 6. Live Rooms calculated out to 7 Orders of reflections. a. 6 dB of absorption per reflection. b. 42 dB absorption after 7 orders of reflections. c. Reflections fall into noise floor before ever returning to microphone position. d. Live Rooms designed asymmetrically.

It sounds suspicious to me, but only because they don't provide any technical explanation of what they are doing to achieve their superlative claims. Show us the design, and test data to back it up, and I'll believe....

Given Delta's pedigree and completed project list, you have to give them the benefit of the doubt. But I agree, it's suspicious anytime people use superlatives and absolutes like the ones you have posted here. Zero room modes, etc.? Zero??

i'd agree they have some nice projects listed but i think this is the case of someone taking the non-environment room model and creating a set of construction tactics which if you where to analyze John's inside-out wall as a porous absorber instead of slats, or Philip Newell's similar designs using a variety of materials to alter the absorption characteristics, you'd probably find you could make a number of similar claims. i guess one concern would be the reflections - if we assume they're correct 1/2 of the sound is reflected on each bounce, we're still seeing things calculated down to 10 reflections... what exactly are these reflections bouncing off of? it would also seem to be a fundamental altering of physics if there were no modes, standing waves, etc... maybe someone from their firm could come on the forum and openly discuss - they're protected by trademarks and patents - so it would probably be good to hear directly how they do it.