Isoacoustics Orea vs Townshend Seismic Pod on Components

@millercarbon I already have the speakers in the podiums. Given the dimensions of my room, those are the room modes and as far as I understand there isn't much it can be done, practically because the room has to continue to function as a living-room. 

The standing energy at 28.5Hz might be able to be tamed by the subs orientation and lowering a little the volume but if it does not improve then I will live with it because as far as I can ear the room's acoustics are pretty flat.

BTW do you know what app Townshend used in their videos and if they used an external accelerometer?

I got a couple of apps but none are sensitive enough on an iPad.

It might be an Android. I don't know. 

Note mechanical is only one part of the energy going into walls, there is also acoustic energy. Main point I'm trying to get across is measured modes are not always entirely due to the shape of the room and speaker locations. Those are a big part of it but the room itself has resonant frequencies determined largely by the composition and structure of the room itself. 

Walls in other words, made of 2x4 and sheetrock, absorb energy and resonate, releasing energy back into the room. Another reason why a DBA is so much better than the old school one sub with EQ and tube traps. 

I have to wonder though, 28.5Hz? Never in my life heard anyone say Wow your system sounds great! All except for that dip at 28.5 Hz. Either you have perfect pitch, or....

Thank you to all the posters! Bookmarked.

I have learned muchly.

Can you kindly explain me what is "pitch" used for in music terms in English? 

The 28.5Hz is about the sound, but more about how the some of the notes feel. Is hard to explain, but for example  notes like D#0 --- E#0 --- F#0--- G#0--- A#0--- B#0---C#1--Pedal C-- D#1 and even E#1s sound and feel exaggerated; sometimes their decay and, I believe, resonance(?) (if I use Google to translate it says blooming to the feeling I want to express) feel like hitting a hump in the road... especially in some specific passages in the following pieces Dvořák – Cello Concerto in B Lalo – Cello Concerto in D Minor, Schumann – Cello Concerto in A minor, Shostakovich – Cello Concerto No.2 Edvard Grieg's Piano Concerto, Boccherini – Cello Concerto in B Flat, Brahms’s Rhapsody in G minor (Op.79; No.2), Alexander Scriabin, Piano Sonatas, Debussy’s Isle Joyeuse.

I know I am being very precise or delicate (?) on how the music sounds but I promise that it can be listened and felt.

Walking away from the room as I did to come back to my family, will be useful to see how the memory of the room sounds reflect on when I listen it again. 

To be frank, I am really surprised how far well this modest system sounds. I do not know if because I did all the work myself, instead of having my partner and dealer set it up, so I notice every incremental step, or the Tannoy Kensington, with the 2 REL, PL300, Steelhead, Acoustic Sound and Koetsu are just a fantastic combination. 

When the 2 new Solid-Tech Rack of Silence, the Montana and the Pathos Heritage arrive to the USA I will spend a couple of days rearranging the system and see where these components take the room.

Now that I think, maybe the extra energy can be modified with the Koetsu gain?

Pitch in music is relative frequency. Perfect pitch is when you can tune for 440 A (for example) without the tuning fork. If you are trying to tell me your perfect pitch is so perfect you know it is 28.5Hz, good one. Mine go down to 18.372 Hz but are down 3.8dB, unless I move my head 3" to the left and then absolutely flat. Try Bela Fleck Flight of the Cosmic Hippo, see what I mean.