Synergistic Research ATM - Atmosphere Tuning Module (Red/Green/Carbon)

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ATM

Atmosphere Tuning Module

The ATM is a tuning module for the Synergistic Research Atmosphere. Put it on top of the Atmosphere and enable 4 additional scenes (sonic settings) you can choose from. Now available in two different variations ATM Red and ATM Green.

The new “Green” ATM or is a significant breakthrough in acoustic resolution for the Synergistic Research Atmosphere Field Generator. Compared directly to the original Red ATM the Green ATM is a faster resonator portraying acoustics and recordings with a lower noise floor for enhanced detail and air. Notes seem to decay into a darker background while the overall sound field seems to extend further in all directions; front to back, side to side and top to bottom.

The Atmosphere without the Tuning Module (ATM) provides 3 different scenes (sonic settings). The ATM adds 4 more scenes you can choose from:

Simply replace your original Red ATM with the new Green ATM and you’ll experience music and acoustic space in a whole new way. The Green ATM is fully compatible with the Red ATM’s Atmosphere control scenes and will favor rooms that are well sorted with Synergistic Research HFT’s or UEF Acoustic Panels and with systems utilizing Synergistic Research UEF products including cables, power conditioning, and isolation platforms. 

A word from Ted Denney

"We were looking for a powerful way to overcome the higher frequency RF environment of day with the soothing low frequency environment we experience at night. While working to recreate the perfect RF environment, we built a single Ultra Low Frequency (ULF) generator. Like so many others have found, the frequency of the Schumann Resonance (7.83 Hz) was a powerful talisman against higher frequencies generated by cell phones, Wi-Fi, radio, and natural solar activity. We also found the Schumann Resonance to have significant limitations. Generate 7.83 Hz one way and the sound was not only improved but also ‘darker’, like switching from an open sounding cable to a darker sounding cable that warms the system as it steals resolution in equal measure. Generate 7.83Hz another way and the sound opens up, but at the expense of low frequency extension and control. In other words, broadcast the same frequency in two different ways and get two different results, neither being exactly right. The observed differences created by a single ULF generator eventually led to broadcasting over multiple separately tuned ULF generators. By working with multiple frequencies and variables, we effectively sidestepped the inherent tradeoff of single frequency conditioning as is commonly found in most Schumann devices. With multiple tuned ULF/ LF Generators we created the perfect RF environment without tradeoffs by manipulating multiple variables instead of relying on a single frequency or transmitter. What we never expected as we experimented with controlling multiple ULF 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 that we could control soundstage width, depth and height. We also found we could shift the frequency balance making sound warmer or more open at will. Likewise, we could control low frequencies making them either fuller or tighter sounding. Mid-range was also within our control and we went so far as to match the perceived mid-range to better match a recording. By manipulating literally millions of potential settings for Atmosphere we can either place a live performer in-between a set of speakers or when a recording calls for something massive like a full orchestra, we can ensure that the room and system are capable of projecting a massively layered soundscape. It was not long before we had catalogued dozens of what we were now callings scenes to match different types of recordings and systems."