ALL which is in the Extasium impacts
the sound quality
The main picture, "The Door of the Ecstasy" consists of four panels of
1,20m of sides each, is 2,40m x 2,40m. He is surmounted by the fifth
one, "The Royal road" of 1m x 1m.
This set includes approximately one thousand five hundred LEDs cabled
in the hand which liven up in music thanks to a multitude of electronic
modules conceived specially. The paint includes four very different
levels each which appear only according to the lighting, white, in
color, fluorescent or phosphorescent in the black.
Seven paintings on the side walls and at the bottom are fixed by
metallic gudgeons assuring a connection solid and removed from the wall
of 2cm. They have several functions:
—The first one is a pictorial decoration in white light resuming the
structure of the main picture.
—The second is to give a very soft perspective in color to listen to
the music using LEDs placed behind the painting in an artistic
—The third, and main, is to sculpture the sound so as to give the
illusion that walls disappeared acoustically. That is why these
paintings were baptized « Sound-Sculptor".
The cloth of all these paintings is coated in front of and behind from
fifteen to twenty layers of various varnishes which, by the produced
tensions, are transformed into gigantic passive loudspeakers plunging
the auditor into an acoustic environment of a breathtaking realism.
The cases of Sound-Sculptors are also covered inside and outside with
numerous layers of unknown special "varnishes" in the universe of the
Up to the gudgeons of bindings which are surrounded with synthetic
leather covered with several layers of these special varnishes.
A sound system specially conceived
Loudspeakers sculpture the sound actively.
They represent two characters: " Mister i and Lady o « . The eyes
represent those of the artist and of his godchild Melody. They have the
peculiarity to work with a single said loudspeaker " wide range " by
loudspeaker. Having no filtering they give a perfectly coherent sound.
They get a sound realism impossible to achieve with the traditional
loudspeakers which use several speakers with filters very disturbing
when we wish a sound which really makes real.
Their shape is the resultant of the flow) of the sound energy in the
material and in the volumes following the dynamic, static and
aerodynamic principles applied by Alain Gabriel.
A particular attention was brought to the treatment of the internal and
external surfaces which are covered with several layers of varnish
special as all the rest of the room. This ensures a very big impression
of TRUTH while listening.
The cables of connections —Between the ampli, the reader CD, the
loudspeakers where they are welded with silver directly on the modified
loudspeakers, including the microphones of very high level — are all
realized in the hand and are identical so that the sound is not altered
by various models. They take back architecture very former but
forgotten by stiff cables improved by the use of deoxygenated copper
covered with silver.
The electronic devices are covered with a dressing which aims at
protecting them of the vibrations parasites aerials or coming from the
ground and at filtering those whom they send back in the room.
The acoustics of
Usually the professional acousticians are interested first and foremost
in the frequency of echo of the room. To delete it, they use very
voluminous materials which decrease largely the available space and the
obtained sound countered more or less suffocated.
The principle developed here does not take into account it because it
gives priority to the processing of a very big subtlety of the
harmonious and the unwanted standing waves. Against the latter, we
arranged four columns along the wall of the bottom taking back a known
architectural method since Antiquity. They are surmounted in capital of
oblique volumes. The set aims at assuring a dispersal optimum of these
The whole room is covered of a kind of skin constituted by diverse
uncommon materials in acoustics. It varies in thickness of very fine,
1mm approximately behind surrounding walls in more thick towards sides
and more still towards bottom, approximately 2cm. The visible part is
leather synthetic painted and covered with nine layers of various
varnishes alternating the mat and the brilliant according to very
precise places and finely sanded.
Seats coming from a cinema were reshaped a large number of time so that
their presence does not alter the reproduction of the sound and
compensates the possible lack of spectators. They are covered with the
same skin as the walls with them even layers of varnish.