Lawrence de Martin, Chief Science Officer, Electro-Acoustic Luthier, Acoustician, Meta-Sound Designer and Recording Engineer. Designed the Spectrum space and a dozen custom speakers for integrated electro-acoustic performance and live recording, and recorded over 500 sets there. The unique system is based on three decades of experiments and surveys in psycho-acoustics and psycho-electro-acoustics.

He attended the first semester length class in loudspeaker design at University of Colorado in 1974 as part of his Electrical Engineering curriculum. In sidebars, Professor J. Robert Ashley explained why every knob and process in a recording studio generated temporal and spatial distortion. Obsessed by the feel of live albums and this knowledge, de Martin built a series of recording studios culminating in a 24 track mobile unit for Sanborn Productions in 1978. The truck achieved unequaled specifications: tuned flat from 50Hz-15KHz acoustically with no equalization; 25dB noise level with air conditioning running and five minute air exchange; total electro-galvanic isolation and Faraday cage that eliminated all radio signals; five years and 100,000 miles with zero failures - no connections nor piece of gear broke.

de Martin served as Technical Director and Recording Engineer for Sanborn, Back Door and Red Door studios, also technical consultant for Mountain Ears Studio, Winter Park Jazz Festival, Telluride Bluegrass Festival, popular artists like Waylon Jennings, Lynn Anderson, Prince and Steven Stills, etc.

de Martin pursued other interests from 1985-1997 including designing water recycling systems for residences and greenhouses, building the world standard of water quality, designing carbon analyzers necessary to make every silicon chip, liquid crystal display and hard disk and developing the memory software technology that made Windows a real product.

In 1997 he discovered how bass speakers distort rhythm and pitch and started building experimental speakers optimized for specific signals: bass, speech, violin family, piano, percussion, etc. The criteria included temporal, dynamic, transient and spatial accuracy; and the visceral impact of the original source.

Further studies in spatial hearing including a seminar with Dr. Manfred Schroeder resulted in formulation of the OVOMOS principle: all audio chains should be comprised of one voice, one mic and one speaker, because MIXING IS DISTORTION. Multiple voices are handled by separate parallel channels, for example a string quartet is a cello speaker, viola speaker and two violin speakers. Every audio process is replaced by acoustic function so recording stereo is also one microphone per speaker. Spectrum includes facility for acoustic mixing, acoustic EQ, acoustic compression, acoustic reverb, transparent amplification, electro-acoustic voicing of electronic signals, seamless blending of acoustic sound and electronic signals, electro-acoustic balancing and electro-acoustic reverb.

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