Copper Magazine · Issue 73 · A free PS Audio publication
Issue 73 IN MY ROOM

5400 Hours of Fun, Part 2

5400 Hours of Fun, Part 2

[Ken Fritz has abilities and ambition that put most of us to shame. Ken decided to build his own speakers—and the listening room for them. As you’ll see, he did everything in a big way. Having  produced tooling for the cast polymer baffle for the Thiel CS5, Ken says, “I thought I’d cast baffles for this system also.” As one would. ;->

The scope of the work required to build both speakers and room will take at least two articles to convey—maybe three. Meanwhile: take a look, and be amazed. Part 1 of the article appeared in Copper #72 — Ed.]

Like Paul McGowan, I too have gone to extremes to build a music room, loud speakers, and electronics to produce music that I will listen to until I go to my grave.

The room is 30 x 55 ft., with a 12 ft. ceiling at the front and 17 ft. at the rear. I appropriated the ceiling design from a concert hall in Osaka, Japan. It changes height 5 times from the front to the back.

The walls are 12-inch cinder block that was laid with Durawall steel mesh between each course. Each vertical cavity was filled with 1-inch rebar and then with 3500 PSI pea gravel concrete.

The walls were then fired out with 2×6 studs on 12-inch centers, and purlins every 2 feet vertically. Next, 4 x 8 x 3/4 plywood was glued and screwed to the studs. Then, two layers of 5/8-inch fire code sheetrock glued with Durabond 90 and screwed to the plywood. This construction technique was suggested to me by Jim Thiel. My company did the patterns, masters, and production fiberglass molds for the Thiel CS5 loudspeakers.

 

 

More from Issue 73

View All Articles in Issue 73

Search Copper Magazine

#236 Magic Boy: The Jimi Hendrix Experience, Live and Rediscovered by Frank Doris Nov 02, 2026 #236 The Great Rhythmic Divide: Composer David Chesky Asks, Why Doesn't the Symphony Orchestra Groove? by David Chesky Nov 02, 2026 #236 More Record Reviews: Roni Eytan’s Microtonal Harmonica, Jane Ira Bloom, and a Frank Zappa Freak Out by Frank Doris Nov 02, 2026 #236 An Album of Inviting Beauty: Goodnight Moon from Acoustic Eidolon, And an Interview With the Artists Who Created it by Frank Doris Nov 02, 2026 #236 Never Ignore Your Inner Voice by B. Jan Montana Nov 02, 2026 #236 Composer Joseph Bertolozzi Uses Bridges, Structures and the World as Musical Instruments, Part One by Joe Caplan Nov 02, 2026 #236 Transmission: A Powerful Horn-Loaded Album from the Huntertones by Ray Chelstowski Nov 02, 2026 #236 Les Quatre Saisons du Québec: a New “Four Seasons” on Tour and on ATMA Classique by Robert Schryer Nov 02, 2026 #236 From The Audiophile's Guide: A Glossary of Terms for Today's Audio Systems, A – M by Paul McGowan Nov 02, 2026 #236 From The Listening Chair: An Introduction to Audiophile Tweaks by Howard Kneller Nov 02, 2026 #236 The Vinyl Beat Grew Two Inches Since October! by Rudy Radelic Nov 02, 2026 #236 How to Play in a Rock Band, Part 29: Figuring Out How to Play the Songs by Frank Doris Nov 02, 2026 #236 The Return of the Residents: Eskimo is On the Road by Wayne Robins Nov 02, 2026 #236 PS Audio in the News by PS Audio Staff Nov 02, 2026 #236 The People Who Make Audio Happen – Fun In Las Vegas at…CES 2026? by Harris Fogel Nov 02, 2026 #236 The Forms of Things Unknown by Frank Doris Nov 02, 2026 #236 Prophetic by Peter Xeni Nov 02, 2026 #236 Here's Looking at You, Kid by Rich Isaacs Nov 02, 2026 Favorites From T.H.E. Show SoCal 2026 by Cam Martin Oct 05, 2026 #235 Singer/Songwriter John David Schrader: On the Need to Create, Part Two by Joe Caplan Oct 05, 2026 #235 A Life in High-End Audio: The Roy Hall Interview, Part Two by Frank Doris Oct 05, 2026 #235 Grammy-Winning Producer, Songwriter, and Guitarist John Leventhal Goes Instrumental With National Drift by Ray Chelstowski Oct 05, 2026 #235 From Swimming Pool to New Listening Room—to Founding an Accidental Audio Company by Gilles Laferrière Oct 05, 2026 #235 The Vinyl Beat’s Size Matters Edition by Rudy Radelic Oct 05, 2026 #235 The Sublime Complexities of Nature by B. Jan Montana Oct 05, 2026 #235 How to Play In a Rock Band, 28: Growing Older and Dealing With It by Frank Doris Oct 05, 2026 #235 Young Rascals: From Bar Band to Stardom by Wayne Robins Oct 05, 2026 #235 Duncan Sheik: In Memoriam by Ray Chelstowski Oct 05, 2026 #235 From The Listening Chair: The Meze Audio 105 Silva Headphones by Howard Kneller Oct 05, 2026 #235 Checking Out Some NOLA Loudspeakers – and Some Thoughts About Audio Writing by Frank Doris Oct 05, 2026 #235 The Kanazawa Phonograph Museum: Music from a Time Capsule by Sebastian Polcyn Oct 05, 2026 #235 PS Audio in the News by PS Audio Staff Oct 05, 2026 #235 From The Audiophile’s Guide: Making the Most Critical Choice by Paul McGowan Oct 05, 2026 #235 Evolutionary Growth by Frank Doris Oct 05, 2026 #235 Speed Racer by Peter Xeni Oct 05, 2026 #235 Happy Halloween! by James Schrimpf Oct 05, 2026 #234 A Life in High-End Audio: The Roy Hall Interview, Part One by Frank Doris Sep 07, 2026 #234 Jason Greenlaw Offers His Personal Perspective on Jazz Guitar in Vantage Point by Frank Doris Sep 07, 2026 #234 Transcendent Phoenix: Lucina Yue Brings the Ancient Konghou Into Modern Times by Frank Doris Sep 07, 2026 #234 We Must All Follow Our Bliss by B. Jan Montana Sep 07, 2026 #234 How to Play in a Rock Band, 27: Leveling Up by Frank Doris Sep 07, 2026 #234 Ross Valory: Traveling Into New Musical Territory With All of the Above by Ray Chelstowski Sep 07, 2026 #234 Singer/Songwriter John David Schrader: On the Need to Create by Joe Caplan Sep 07, 2026 #234 The People Who Make Audio Happen: More From T.H.E. Show SoCal 2026 by Harris Fogel Sep 07, 2026 #234 The Vinyl Beat Digs Into the Gadget Box by Rudy Radelic Sep 07, 2026 #234 The Rolling Stones: Foreign Tongues Spoken Loud by Wayne Robins Sep 07, 2026 #234 Musical Moments by Rich Isaacs Sep 07, 2026

5400 Hours of Fun, Part 2

5400 Hours of Fun, Part 2

[Ken Fritz has abilities and ambition that put most of us to shame. Ken decided to build his own speakers—and the listening room for them. As you’ll see, he did everything in a big way. Having  produced tooling for the cast polymer baffle for the Thiel CS5, Ken says, “I thought I’d cast baffles for this system also.” As one would. ;->

The scope of the work required to build both speakers and room will take at least two articles to convey—maybe three. Meanwhile: take a look, and be amazed. Part 1 of the article appeared in Copper #72 — Ed.]

Like Paul McGowan, I too have gone to extremes to build a music room, loud speakers, and electronics to produce music that I will listen to until I go to my grave.

The room is 30 x 55 ft., with a 12 ft. ceiling at the front and 17 ft. at the rear. I appropriated the ceiling design from a concert hall in Osaka, Japan. It changes height 5 times from the front to the back.

The walls are 12-inch cinder block that was laid with Durawall steel mesh between each course. Each vertical cavity was filled with 1-inch rebar and then with 3500 PSI pea gravel concrete.

The walls were then fired out with 2×6 studs on 12-inch centers, and purlins every 2 feet vertically. Next, 4 x 8 x 3/4 plywood was glued and screwed to the studs. Then, two layers of 5/8-inch fire code sheetrock glued with Durabond 90 and screwed to the plywood. This construction technique was suggested to me by Jim Thiel. My company did the patterns, masters, and production fiberglass molds for the Thiel CS5 loudspeakers.

 

 

0 comments

Leave a comment

0 Comments

Your avatar

Loading comments...

🗑️ Delete Comment

Enter moderator password to delete this comment:

✏️ Edit Comment

Enter your email to verify ownership: