About Our Design Engineer

Hi, my name is Mark Fitzgerald and I am the owner of Rosewood Sound. I have worked in audio for 30 years. My early work included many large national tours, but as the volume levels escalated I lost interest. I spent most of the next several years at Syracuse University where I designed my own degree program in audio, taught recording studio and worked for the Audio Archives and lab. I became matriculated as a graduate student in Electrical Engineering and completed many courses, including those in boundary value problems and both Fourier and Laplace Analysis. I have written papers on Horn Theory, Signal to Noise Ratio, and Time Delay Spectrometry. This has equipped me to pursue the state-of-the-art in audio, and stay abreast of every new development in design. materials, hardware and software. That has given me a vantage point, which enables me to precisely separate the "wheat from the chaff" as new claims are made by various manufacturers. Additionally, my education has enabled me to carry on research and design work that has led to Rosewood Sounds advanced designs. Ours are resonance free, virtual point source speaker systems.

About Our Systems

Our 4 and 5 way systems have the widest bandwidth and dynamic range in the industry. Our capacity to achieve uniform coverage of the entire seating area is also without parallel.

By providing virtual point source arrays of ultra low distortion, ultra high efficiency horns, we achieve unsurpassed clarity.

Previously unfeasible techniques such as “phase linearization” of the speaker system guarantee the most natural and thoroughly uncolored listening experience.

Rosewood Sound utilizes equalization techniques that will improve the system transient response. Traditional methods create “time smear” and cross modulation distortion products, a form of audible distortion.

Our electronics and signal processing are the most advanced available, and are completely tunable in all parameters f or uncompromising ears.

Our amplifiers utilize state-of-the art Mosfet output devices for a sound so true it has to be heard to be believed.

In my opinion no other system For large concert setting matches our capacity to provide realism in audio.

Our commitment is to accurate reproduction of acoustic instruments. Our engineering is focused on reliability, clarity and fidelity.


About Our Monitors

We possess three distinct styles of monitors

Our 3 way ultra high fidelity monitors are the most subtle and natural sounding I have ever heard. Their transient response is beyond compare. They are best suited to low level applications.

Our coaxial monitors are very low profile bi-amplified speakers with the clarity of a studio monitor.

Since big band and folk rock require more output we also have larger bi-amplified monitors. They too, are application specific and include several wide throw models, which will allow us to cover a large area without ‘cluttering” the stage.


On Resonance

Resonance is what happens when an inertance and a compliance (perhaps a spring and a mass, or perhaps an inductor and a capacitor, or perhaps a chamber of air and a mass of air in the port or “neck” of the chamber) exchange potential and kinetic energy

Resonances are a part of music! Indeed all instruments resonate.

However, should a sound system resonate, it will mask the next tone with the (artificial) decay of the previous tone. Indeed false harmonics, sometimes called “frequency aliases” are formed, and the very harmonic structure of the music is then modified by these “cross modulation products” which did not exist in the original music. This is only the tip of the iceberg. The loss of transient response due to “spurious resonances” in the speaker system, crossover network or equalizer results in a severe loss of detail, and therefore impacts the musicality of the presentation.

Therefore, our research in reducing the energy–time curve (ETC) of our sound systems is one real reason why our sound systems can be used to create the illusion that the artist is not being amplified. This “illusion” will occur in spite of the fact that we are raising the audio levels throughout the concert hall to a suitable level.