Back in April 2021, Acoustics First® Posted a blog about a listening room designed and built by Ken Fritz. This is an overly-simplified statement, as he not only designed and built the structure, but also the massive speakers, the high-tech turntable, and many of the other components. The next month, John Gardner, Nick Colleran, and Jim DeGrandis were invited to witness Ken’s masterpiece of a room in person – and now, a year later, Ken is no longer with us.

让我们后退一点。这个罗的历史om goes back decades, and there is a common history between this room and the Acoustics First® HiPer Panel®. While Ken was finishing the structure back in the early 2000’s, he was focused on building a room that would help his speakers reach their ultimate potential. He had researched the geometry of the finest halls and theaters and their construction, but he was looking to take it one step further. When he was shopping for acoustic treatments for the space, he came across Acoustics First® – which was near his home. At the time, Nick Colleran and John Gardner were working on ideas for a new type of multi-layer, perforated composite, which would eventually become the HiPer Panel®. After the product completed development, and its patent was still pending, Ken’s room became the first installation of the new product.

Ken consulted with Nick and John multiple times during the long construction process, his uncompromising attitude toward his space was always looking for the “best way, no matter what it took.” His bass traps were styled after professional mastering facilities, where the entire corner was recessed and filled with low-frequency absorption. His ceiling was modeled to direct the reflections toward the upper rear of the room, above the balcony. The speakers were hand built, as was his turntable – all of which were marvels of engineering and detail.

I will never forget Ken’s enthusiasm when he indulged in listening to his favorite recording of the “1812 Overture”, complete with Howitzer cannons. The magnitude of the sound would have shaken everything in the room, had Ken not meticulously isolated and anchored everything. The sound was pure and clean, even at 105dB (standing at the rear of the room – and balanced perfectly.)

But Ken wasn’t just about the music or the gear, he also liked to educate and learn. After listening to the recording, he went on to discuss how they had recorded the cannon shots, and even had an audio sample of the different “takes” done during the setup. This was Ken… he wasn’t just interested in how it sounded, but the process of how they got there.

We hope that Ken’s enthusiasm continues to inspire those who have an uncompromising love of music and sound, and that he will be remembered as one of the most fervent proponents of “following your dream.”

Thanks, Ken.