Neodio B2 resonance device

Thanks, Todd. And thanks for having inspired us with this useful thread that revealed us the existence of the B2s.

Yes my room is well treated and perfectly symmetrical (maniacally, so to speak).
View attachment 128104

Stephane Even suggested me to place them in contact with wood or natural materials around the room more than metal chassis of the equipment too.
I’ve just tried putting the B2s also under the cables behind the speakers, I largely prefer the result when placed in front of them.

To be continued…
Hello, Thank you for the picture. Your room is very beautiful. I see so many places to experiment with them that I am certain would produce a very positive result. Here are some of my thoughts.

I see you have REL subwoofers. Place one on each subwoofer. I would put it about half way between the square metal plate and the front edge to start. I would suspect you will hear that the edges of the soundstage become more illuminated and alive.

I would place one on the top of the MSB amplifier. Again, you will likely have to experiment with the exact placement. Put it centered from left to right and about 1" back from the front edge.

Also try one on one of the two shelves in the middle.

1712322993100.png
 
Hello, Thank you for the picture. Your room is very beautiful. I see so many places to experiment with them that I am certain would produce a very positive result. Here are some of my thoughts.

I see you have REL subwoofers. Place one on each subwoofer. I would put it about half way between the square metal plate and the front edge to start. I would suspect you will hear that the edges of the soundstage become more illuminated and alive.

I would place one on the top of the MSB amplifier. Again, you will likely have to experiment with the exact placement. Put it centered from left to right and about 1" back from the front edge.

Also try one on one of the two shelves in the middle.

View attachment 128146
Have you tried the B2s with the ASI resonators in play also ?
 
I think it could be interesting to hear a comparative video in a transparent system with and without the B2's. @sbnx?

This type of comparison would be simple to do and is the most useful application for system videos, imho. As evidenced by the Ted Denny video demonstrating his device (a resonator resembling planet Saturn), the difference and improvement was easy to hear.

There are a lot of passive resonators on the market. They all have their (usually vague at best) explanations for what they actually do. This doesn't negate that to do... do something, but the Junior Scientist in me is always frustrated at the explanations.

Neodio states they are damping water molecules. And they also state they can be effective placed under components (like with isolation footers) and on top of components, wood shelves, etc. I wonder if they are damping these water molecules in the materials themselves or in the air or both.
 
Last edited:
I have not experimented a lot with the ASI resonators at this point. The system has a lot of different elements that effect different things. Of course, I am planning on expanding this. But first things first. I need to get my DuoGT's in the correct spot and setup in my room. Of course, I am in the process of defining which electronics are going to go with it. A lot of moving parts.

When I get the DuoGT's setup I can do a couple videos with and without the various "elements". The nice thing about the DuoGT setup is that the room is not treated in the traditional acoustic sense. This is much closer representation of the typical audiophile room environment.

I don't fully understand the science either. I understand that resonators work. That part is simple -- vibrating air excites the resonator. This can absorb certain frequencies and emit other frequencies. I can see how this can influence how we perceive the music being played. They certainly change the percieved sound in the room and are very tunable. It would be easy to get carried away with them. The key is to listen and assess what any given "element" does to the sound. Was it good or bad? Was there something good but also something not so good. I would definitely not call resonators "plug-n-play" devices.

I am planning on taking some acoustic measurements with and without the various "elements". I am particularly interested in the RT60. But to be honest I am not expecting to see anything.

Also, I am not sure neodio would call the B2 a resonator. But to me that is how it is behaving. I personally think it has a very, very low frequency resonance (< 20Hz). I have no data to back this up. It is simply that a big part of what I get out of B2's is very similar to what a really good, well integrated subwoofer does to the sound.
 
  • Like
Reactions: Amir and wil
Hello, Thank you for the picture. Your room is very beautiful. I see so many places to experiment with them that I am certain would produce a very positive result. Here are some of my thoughts.

I see you have REL subwoofers. Place one on each subwoofer. I would put it about half way between the square metal plate and the front edge to start. I would suspect you will hear that the edges of the soundstage become more illuminated and alive.

I would place one on the top of the MSB amplifier. Again, you will likely have to experiment with the exact placement. Put it centered from left to right and about 1" back from the front edge.

Also try one on one of the two shelves in the middle.

View attachment 128146
Thanks, I’ll do my homework and share my thought.
 
They absolutely boosted bloom in the system I heard them, totally beguiling. That was with a B2 in front of each speaker. The ones under monoblock amp stands (not footers, sitting "unsecured") had less effect imho, despite the other guys in the room registering positives.
 
  • Like
Reactions: Chop
Following Todd comments about B2 abilities to react in some ways to lower frequencies in the room, I’m wondering if the in-front-of-speaker-placement is correlated to woofer drivers firing direction.
So I’m doing an experiment with my Otello loudspeakers, that have rear fire woofers, placing the B2s on the floor behind the speakers, right in front of the woofers. Guess what? I prefer them in front of the speakers, towards the listening position.
 
Last edited:
They absolutely boosted bloom in the system I heard them, totally beguiling. That was with a B2 in front of each speaker. The ones under monoblock amp stands (not footers, sitting "unsecured") had less effect imho, despite the other guys in the room registering positives.
Bloom is often associated with ‘blur’. The interesting thing about the B2 is yhat is actually seems to add clarity at the same time.
 
I’m a little bit embarrassed having to admit that I’m liking the Origines B2. Why? Because they sound nice in my room.
I tried different positions and on the floor in front of the speakers is the most relevant to improve the effect. With other 2 pieces on each side, between the stereo amp and the speaker. Under the Puritan conditioner had less success than on top of it. Also on the front wall I like the results.

Call it psychoacoustic but I’m pretty sure the B2s are able to elevate the listening experience in a very pleasant and audible way but this time a different way too.

The emotional tension of a crescendo, the prolongation of the state of waiting (suspense) before the change of rhythm, the involvement in the most delicate passages that touch the chords of the emotions, the melancholy is more intense and the good peace of serenity envelops you in a visceral calm.

In short, the result is relevant to the sphere of sensations that greater contact with music can stimulate, amplify, ignite. I want to say that I’m becoming passionate about what I’m listening to not with my ears but with my soul.

These Origines convey the musical message in an excellent way, bringing emotions in bunches in a truly pleasant and engaging way.

In the meantime, not only have I decided to keep them but I will order 4 more because… I really like what I am perceiving with all my senses, not just hearing.

Let me add that I personally found more engagement from these B2s than from fuses and footers or Furutech tools lately. Life is strange, Italians even more, my friends!
 
Bloom is often associated with ‘blur’. The interesting thing about the B2 is yhat is actually seems to add clarity at the same time.
Ah, I was very careful to differentiate those. Bloom from the B2s was not blur. A friend of mine who has better good ears and no reticence in calling out foo, will hear them in the same system next week, looking fwds to his reaction.
 
Yes. Shun Mooks did something slightly different than what we get out of the Neodio G2 in my ECO system. Remember, all tuning devices require discipline, time, understanding your room acoustics by yourself, and a lot of conviction in knowing and trusting your ears. Change has to be for the better. In my store, for instance, I have one placed on the right of my P10 audio unit box towards the middle, which produced improved performance in my ecosystem. It felt like the musical image became structured, improving the flow and removing the need to know what was coming in the following passage, allowing me to enjoy and stay in the present. We must remember that what works in one person's system depends entirely on his room, cables, power placement, personal choice of setup, and, above all, his listening style. Todd and Stirling have done a masterful job in their system using Lasers; I have implemented a chart to understand where I started and gave it a rating from 1 star to 5 stars. Using a laser, knowing the center of the room, and working in angles get you to spots rather quickly. These are just some suggestions. Implementation is the key, and a great setup is divine. Not having a great setup leaves several deep holes in one's ecosystem.
I was exhibiting at CES ‘97 with Mapleshade and Pierre had placed a knock-off Shun Mook Mpingo disc I’d given him on the floor between the speakers. When who should walk in one day, the two dudes from Shun Mook! The Shun Mook ebony stuff works great as a resonator because they are directional, both top to bottom and in the azimuth direction. So, knocking off a Mpingo disc isn’t as easy as it appears. This also why resonators can sometimes hurt the sound. Use caution. Same for Helmholtz resonators, crystals, etc.
 
Last edited:
I was exhibiting at CES ‘97 with Mapleshade and Pierre had placed a knock-off Shun Mook Mpingo disc I’d given him on the floor between the speakers. When who should walk in one day, the two dudes from Shun Mook! The Shun Mook ebony stuff works great as a resonator because they are directional, both top to bottom and in the azimuth direction. So, knocking off a Mpingo disc isn’t as easy as it appears. This also why resonators can sometimes hurt the sound. Use caution. Same for Helmholtz resonators, crystals, etc.
Busted with a knock-off. That is funny now but maybe not so funny then. How did they handle it? They could have said "Nice try. Let me show you how a real Mpingo disc works compared with what you have."

I agree. There are small details in the real design that a knock-off never really gets right.
 
Oh, I see, you mean like the crystal hidden inside? Plus they already marked the disc for direction in the top - bottom direction but It’s up to the audiophile to figure out the rest.

By the way, the two Shun Mook dudes did not spot the knock-off or if they did they didn’t say anything. I assume they might have been in shock seeing one at the ‘97 show.

Knocking off their Mpingo based Spatial device requires a little more thought.

As Bob Dylan says at the end of his records, good luck to everyone.
 
Last edited:
I’ve spent the last 2 days positioning the second set of 4 B2s and I’m really surprised. Never heard a similar feeling of organic, realistic and engaging sound.

Placed on the front wall and floor, they create a beautiful, relaxed, haze-free, vibrant environment where music can easily touch your soul as if more vivid and intelligible.

There is a tension in the music that keeps the attention alive, leaves the emotions suspended and floating gently in the air, clear and sweet, attractive and dreamy, delicate and fascinating. What a great feeling!

I need 4 more of these things!
 
I had a few emails exchange with Stephane that I was allowed to share on the forum, he is a very nice guy and was so kind and patient with me. I’m glad to copy here below what he wrote to me because can be useful for other member to better understand his story and the professional effort in developing his product.
I asked him to elaborate how B2s works and this is his answer
—————-
As I know you are posting on the WBF I will try to explain my work to the other members of the forum too. I know that I have customers that want to understand the B2. Sorry to be long here but it’s complicated to summarize more than 20 years of research.

I am in the HiFi business since 2002. In 2000 I left a comfortable job in the industry to follow my passion for HiFi. I am an electronic engineer specialized in analog circuits and sensor. I am not a digital guy and I am very curious of the vast number of physical things we still don’t understand. When I started what will become Neodio, I was thinking that the quality of sound was a question of measurable things and I designed an amplifier with a special focus on Electro Magnetic Compatibility and performances. At that time I thought the non-musical behavior of some amplifiers was the result of bad electronic designs.

So In 2000 I was designing my first commercial amplifier, the Neodio Model 100. I had already designed 2 prototypes since 1988 and I was confident in the path to follow. After all I had already designed more complicated things such as integrated circuits for sensors. This development became much more tricky than I had thought not because of the electrical behavior of the amp but because of the non-correlation between the quality of the circuit and the quality of sound that I perceived. “Little” problems appeared that had no explanations. An example? When I mounted the toroidal transformer with the washers, the bolt and the screw, the sound quality dropped by let’s say 20% or more.

Another example : after some modifications, I was able to reach a fantastic quality and thought the job was done. The day after, this fantastic sound had vanished! I began to understand there was something that was evolving and changing over time and that the quality stability was a major challenge. In 2001 I had the pleasure to meet a researcher at the national french electricity company (EDF). Strangely, he was working on this subject. His name is Pierre Johannet. He explained me that what I was living was normal and most audio designers had to deal with such problems. He had a very interesting theory called MDI for “micro décharges d’interface”. This meeting changed my vision of the problem. He designed his own solutions that led to cable prototypes and the” ionostat” but those devices were very difficult to manufacture and impossible for me to understand. Pierre Johannet was a pioneer but I had the feeling he was losing himself in a too complicated theory with too many hidden zones. Another person to quote here is Peter Belt in the UK that is probably the first to have understood that there were strange things in our hobby. This gentleman’s work was based on Ruppert Sheldrake theories such as the morphogenetic fields. Very interesting but too far from my engineer approach. I still believe in science and measurements but my point of view now is larger than it used to be. Those people have open doors on the complexity of nature, even in a “low tech” area such as music reproduction…

So I started to do experiments by myself to understand the nature of this phenomenon. I took me 15 years, after thousands of experiments on accessories, cables, electronic components to figure out was it certainly was. This permanent research led to what I call the HIFI ANOMALY. Some examples :
  1. Cables, including power cables have a huge impact on sound. They should not make any difference if we look at the electricity rules. Explanations given by the majority of manufacturers are poetry at the best.
  2. There is very little correlation between what we hear and what we measure, except for speakers where the correlation exists but is not sufficient to explain everything.
  3. The quality of sound is not constant over time. It is different in the morning and the evening. It is different from day to day. There are good days and bad days.
  4. All components of our so loved chains seem to have an impact on the quality of sound. That includes electronic components in speakers, amplifiers, digital sources, the cables, the racks, the furniture…
I asked myself for many years what was the link between all these observations. The life of an audio designer like me is full of baffling moments where we doubt of knowing anything about sound reproduction. But there are also moments when we understand something that open doors and for me that was in 2015. One day I understood that the only link between all the observations made was the air itself. Music reproduction is just moving air in a very specific way. All components of my room, including me are in the air, no? Is air a so simple medium? What does it contain? What if the cables of my system had an interaction with the air itself, but not in a classical acoustic way? That led to another phase of intensive research for me that brought me close to nervous breakdown. I understood that the water molecule certainly was the culprit. At one moment I had spent a lot of time and energy and had no solution in hand. So I decided to improve my already existing B1 with my new approach. I had learned a few things about the way water molecules interact with themselves. They have a tendency to glue to each other (hydrogen bonds) and so there is no single water molecule in our environment. There are everywhere : in the air, in our bodies, in hygroscopic materials such as wood, natural fibers and on non-hygroscopic materials such as metals, glass, ceramics. In this case, water molecules are adsorbed (adsorbed not absorbed) on surfaces. They are all linked and they interact with the sound. Among all those molecules, some are on the diaphragms of our speaker drivers. What if they are moving, like a noise that does not create acoustic pressure? What could be the result of a shaken layer of molecules on the diaphragm if this this diaphragm is supposed to give motion to the surrounding air? Think of billiards, football, tennis. If you hit something with a ball and with an effect you can have strange trajectories. Maybe the problem is that we have eluded the fact that the movement of the speaker membrane does not imply that the movement of air will be the same. And what about the cables and the rest of the system? If all water molecules are linked, it means that what happens on every object can have an impact on this ”noiseless noise” on membranes.

The B2 acts as a damper that reduces the vibrations of the water molecules in its environment. There are water molecules inside it that are protected from sound and electro-magnetic fields (I forgot to tell you that water molecules are polar, they orient themselves in an electric field). By applying B2’s at different places you can have improvements in the sound quality because they act on what I call now the “water molecular field” (WMF? Let’s try this acronym - we will see if it works).

Just to finish now, maybe one day, all serious music reproduction systems will be so good that audiophiles will be completely satisfied with their stuff. Music deserves all our efforts!

Best regards,

Stéphane Even
 
  • Like
Reactions: Amir
Ah, I was very careful to differentiate those. Bloom from the B2s was not blur. A friend of mine who has better good ears and no reticence in calling out foo, will hear them in the same system next week, looking fwds to his reaction.
And my reaction was…I preferred them out of the system, however the other 3 people at the listening session preferred them in. If I had to describe what they appear to do is they seem to add a sympathetic resonance, kind of like adding a 2nd harmonic to the presentation. I may be more familiar with this effect as I use SET amps In my system.

How they would behave in my system I‘m unlikely to find out.

But many thanks to my host and new found friends for allowing me to hear them in action.
 
Last edited:
  • Like
Reactions: Republicoftexas69
Yesterday I had the pleasure to discover an exceptional system .
After a few hours of listening to get to know this system , I was really impressed by how this system was able to transmit the musical message and the beauty and emotions associated with it .

I did came with 4 B2 in my bag and I proposed to my host that we tried them on his system . I did put one in each of the medium horn ( black "flag" pavillon ) ,one on the left wooden table top of the CD cabinet and one on a wooden table in front of the listening spot.

The results .... immediate and really impressive . It did open the top , improved clarity as well as the transient . It did made the rendering of voices , piano ,etc... much more enjoyable .
I think the owner of the system will very quickly become a B2 owner .

In my experience with B2 , it is the biggest gap I have experienced , quite an achievement as this system without B2 is already an exceptional one.

View attachment 125327
JMA6, Unfortunately, I have to tell you that the system was far from a top set-up at your appointment. I was on site for the last three weeks and have fixed all the problems and in 4 weeks the customer's system will also be ready in the analog branch. The drive is running again and soon the passive switches will be installed. Just look around again and enjoy.
 
I think this looks like Sven's/Horn solutions WE 66, as I have heard Dietmar's and Sven's this must be France. With Aries Cerat. Does he have the Caeles as well?
Bonzo, of course, you are right that the system is from Hornsolutions and is in France. But it's not comparable to the one you once heard from me. This is the original version of the new Masterpiece series. Octahorns with 680 Kg per side and no WE66, but the 15a, which is twice as large and can therefore not be used from 180, but from 90Hz. Probably, considering the space, the best there is to reproduce music. The Turntable is not the Caeles, but "The Q". A world of difference. If you want to come around, I'll be happy to get in touch. Kind regards, Swen
 

Attachments

  • IMG_5799.jpeg
    IMG_5799.jpeg
    817.4 KB · Views: 14
  • IMG_4270.jpeg
    IMG_4270.jpeg
    780.3 KB · Views: 13
  • Like
Reactions: bonzo75
Bonzo, of course, you are right that the system is from Hornsolutions and is in France. But it's not comparable to the one you once heard from me. This is the original version of the new Masterpiece series. Octahorns with 680 Kg per side and no WE66, but the 15a, which is twice as large and can therefore not be used from 180, but from 90Hz. Probably, considering the space, the best there is to reproduce music. The Turntable is not the Caeles, but "The Q". A world of difference. If you want to come around, I'll be happy to get in touch. Kind regards, Swen

Thanks, would be happy to listen to it in France at some point this summer
 
Thanks, would be happy to listen to it in France at some point this summer
We saddle over to France in 2-3 weeks. Just send a pm or a mail and we will find a way. Best Regards Swen
 
  • Like
Reactions: bonzo75

About us

  • What’s Best Forum is THE forum for high end audio, product reviews, advice and sharing experiences on the best of everything else. This is THE place where audiophiles and audio companies discuss vintage, contemporary and new audio products, music servers, music streamers, computer audio, digital-to-analog converters, turntables, phono stages, cartridges, reel-to-reel tape machines, speakers, headphones and tube and solid-state amplification. Founded in 2010 What’s Best Forum invites intelligent and courteous people of all interests and backgrounds to describe and discuss the best of everything. From beginners to life-long hobbyists to industry professionals, we enjoy learning about new things and meeting new people, and participating in spirited debates.

Quick Navigation

User Menu

Steve Williams
Site Founder | Site Owner | Administrator
Ron Resnick
Site Co-Owner | Administrator
Julian (The Fixer)
Website Build | Marketing Managersing