Synergistic Red Fuse ...

Al

You are the expert on patents..I do have limited exposure on these matters and open for many corrections and have been.

I don't ever remember saying the paint patent had anything to do with the blue fuse. Somehow all that became mixed together. You and I found the new paint patent and I agree it has nothing stated about the fuse.

Acoustic paints and surface additives are very intriguing and so is the SR patent.  In claim 1 of the paint patent it states.... a resonant frequency so that the crystalline material will resonate in response to the sound generated by the source. What is the source? Could the source be another SR product as from the Atmosphere series?  Thinking out loud. Will music or crowd noise be specific in frequency and  level to activate a desired  resonant response? Tom

Thanks, Tom.  Yes, it was a different member, not you, who has been asserting that "the patent for ’UEF Technology’ is the paint," claiming that Mr. Denney’s Acoustic Paint patent is what SR’s description of the Blue Fuse is referring to when it states that the fuse has been "engineered with our patented UEF Technology." As you realize, I have disagreed with his assertion, and I have also stated that none of the four patents you and I have discovered to have been granted to Mr. Denney have anything to do with fuses.

All of this has been in response to a question that was posted several days ago asking if someone could identify the patent referred to in the Blue Fuse description.

Regarding your question about the sound source, the claims appear to be worded broadly enough to encompass any audible source of sound in a listening room. While it is stated elsewhere in the patent that "in many cases, the sound is emitted from a speaker ...."

I can’t answer your last question.

Best regards,
-- Al

Crystals react to energy. The energy could be acoustic waves, I.e., mechanical energy or vibration such as structureborne vibration. Both are application of my crystals. In other words crystals act as "resonators" and dissipate (unwanted) energy. Along the lines of those tiny little resonator bowls. If an entire wall was painted with a crystal bearing paint it seems to me the "wanted" frequencies would be dissipated along with the unwanted ones. Kind of like using too much Sonex or whatever. The room would become an anechoic chamber, which is probably not a good thing. But I’m just guessing how acoustic paint would actually be applied to room walls. If acoustic paint was used sparingly on walls, in specific locations such as first reflection points, then it would make more sense.  The crystals could also react to energy of RFI/EMI in the room, presumably reducing the level of same.

 While this is as patently exciting as watching paint dry, may I get back to Al on my REL subwoofer hookup?  
Al, thanks for your research into REL's instruction manuals for the proper wiring of a mono block amp to the sub's balanced input.  I have not experienced any adverse effects from my equipment by combining the yellow and red wires onto the (+) speaker output terminal and the black onto the (-) terminal, and I hope this is because I have been using the unbalanced input on the REL all along.  On the Bryston 4BSST stereo amp I used to use with only one REL Stata, the yellow and red were each attached to the left and right (+) speaker output terminals respectively, and the black was attached to one of the (-) output terminals, user's choice on that one.  With going to a mono amp for each channel, I was told to combine the red and yellow as first described, but as you have informed me, this does not account for the full amplitude signal from the (-) output.  I am hoping the unbalanced input on the REL does account for it, as the system does sound very pleasing as is, but I am interested in revising the hookup to the balanced input, as well, per your invaluable advice. 
Regards, Joe