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15 Audio Magic room correction bells ($600 for the set) arrived in a blue plastic case along with a one-page instructional diagram on where to place the bells on the walls. No explanation of how they work was supplied so I contacted Jerry Ramsey to inquire. The following is my summary of the conversation: "The bells are custom made of OFC copper and tuned for high frequencies. They are cryogenically treated and ‘nano-streamed’ (an in-house proprietary treatment). The bell’s thickest point is at the back and it gets thinner toward the edge. Inside the bell, one or two Himalayan quartz crystals are epoxied at the bottom. This crystal type was chosen after auditioning many different types like amethyst, smoky quartz, rose quartz etc. Each crystal type sounded different but the Himalayan crystals were the most tonally balanced. There also needs to be a certain quantity of crystals in the bell to provide for the correct amplification.

"The bells work by absorbing high frequencies in the crystals. They amplify what they absorb and broadcast it back out in a broader dispersion pattern. As such they operate as a room diffractor and high-frequency energy dispersion device. They also operate a little lower in frequency and are broader band than the Synergistic Research HFTs. If you look at the normal high-frequency dispersion pattern in a room, the highs are bouncing off walls and the sound can be confusing. The bells broadcast the high frequencies in a more uniform pattern. The sonic benefits are better tonal balance which is especially noticeable in the midrange. You have to play with them quite a bit to maximize what they do. Each room varies in the number of bells that is optimal." Jerry uses about 22 in his room.


I left my Stein Harmonizers in the room and the Synergistic Research FEQ on for auditioning the Audio Magic bells since Jerry did not warn against using the bells with other acoustic treatments. I started out with all fifteen bells in place. The most noticeable sonic effect was that midrange instruments and vocals sounded fuller and had better tonal purity and body. However the full complement of fifteen bells actually flattened the soundstage. After talking with a friend who was also experimenting with them, he said that he got his best results with just ten bells. I followed suit and did indeed find that I was able to get the increased midrange body with little or no flattening of the soundstage. Playing the Thin Lizzy "The Boys Are Back In Town" cut again, I also found that the Audio Magic bells made the vocals more coherent and intelligible. The bells did not seem to expand the soundstage or add ambience as much as the Synergistic Research HFTs or Steins. In fact as I found out, too many bells will have adverse effects on soundstage depth.
I then heard through the grapevine that Jerry Ramsey had just finished another room correction bell design. This version was of larger diameter and designed to work just like the high-frequency bells but targets the midrange frequencies instead. Only three midrange bells are supplied and to be placed on the front wall as directed in the included diagram, replacing three of the high-frequency bells. Much like the high-frequency bells benefited the midrange, I found the sonic benefits of these new midrange bells to be in the lower midrange and upper bass. The record that showed this well was Count Basie’s Evergreens [GM 2201]. 


With the power of Count Basie’s big band, the sonic benefits were not difficult to discern. The midrange bells added both weight and punch to the lower midrange and upper bass. However, upon extended listening and an email exchange with Jerry Ramsey, I found that I preferred leaving all of the high-frequency bells in place and positioning the midrange bells immediately below the three. Removing the three high-frequency bells diminished some of their benefits and the midrange got less full-bodied and smooth. Also I sometimes preferred the sound without the midrange bells. On the Earl Hines/Budd Johnson Linger Awhile [Classic Jazz 129], the extended standup bass solo in the cut "The Dirty Old Men" was made a bit too prominent in the mix for my taste.


While I found the effects of the Synergistic Research HFT and FEQ devices to be more powerful  or overall easier to hear than the Audio Magic devices, they both had distinct merits. The Synergistic HFT devices had dramatic spatial effects while the Audio Magic devices were more about improving (purifying, clarifying, increasing impact for) distinct frequency ranges. I have no idea if they can be used together and did not try to do so. Primarily I was averse to the idea of having so many devices attached to my walls. Reflecting back on Synergistic Research’s demo of their HFT/FEQ devices at Rocky Mountain Audio Fest 2013, I think they were clever to demo with a Bose Wave Radio.


In my estimation the soundstage expansion effects of their devices would be more noticeable when the music starts out coming from a smaller source than the typical two-speaker stereo system on demo. I’m not implying any trickery or deception. The HFT/FEQ system has very real and audible benefits that, in my experience, are both powerful and cost effective when you compare them to many other acoustic devices and room treatments on the market. My only caveat would be regarding the effect of the HFT devices on the high frequencies. Your own reaction to "extending and clarifying the high frequencies" will depend on your speakers, room acoustics and your own taste of course. From what I have heard in talking to others who own or have tried them, most have been very pleased to downright ecstatic. Synergistic Research offers a 30-day home trial so you have nothing to lose by trying them.
Synergistic Research website