Text från sidan 317-318 ur Philip Newells bok "Recording Studio Design" som förklarar idén med gälarna /sågtandsabsorbenterna:
13.1.2 Directional dual acoustics
Also during the mid 1970s, Wolfgang W. Jensen, in Europe was producing rooms as depicted in Figure 13.2. These rooms used ‘sawtooth’ absorbers, which tended to absorb much of the incident wave from the loudspeakers. They had reflective surfaces at angles where they could reflect back sounds created within the room, such as by the speech and actions of the personnel. They would not , however, cause reflexions directly from the monitors. Total absorption of the incident wave was not intended, because the Jensen rooms still sought to maintain a room decay time on the low side of the ‘standard’ domestic range, in accordance with well-established recommendations. Reflective rear walls were quite common in these rooms, though most examples had a rather absorbent rear wall.
The rooms of Jensen were interesting because they made a clear distinction between the acoustic conditions required for the monitoring (relatively dead) and the perceived acoustic needs for a sensation of comfort within the room(relatively live). The absorber openings were facing the loudspeakers only, although the wooden panelling, used to provide reflective energy to speech within the room, would also act as general low frequency absorbers. The rooms were clearly bi-directional in the same way as the recording room shown in Figure 7.3. The Jensen rooms, like the Westlake rooms, usually featured flush-mounted (built-in) monitors as standard, which were normally of their own designs and custom tailored to the rooms. This was an important advance.
(Bilden fick jag inte med men den stämmer med Adzers förutom att högtalarna är försänkta i frontväggens hörn i stället för fristående. Frontväggens hörn är också vinklade mot sweetspot.)
http://www.scribd.com/doc/25817275/7870 ... dio-Design
