PaperMan: Sounds like a dream project that’s all about balance and precision. First, I’d keep the satellite’s core a perfect cylinder, because symmetry keeps vibrations predictable. On that cylinder I’d mount a ring of high‑fidelity speakers that rotate along a circular track, like a ring road for sound. Each speaker would be anchored to a gyroscopic stabilizer that keeps its orientation fixed relative to the satellite’s spin axis. The geometry of the chamber would be a set of concentric cylindrical shells. The innermost shell, where the music is produced, would have a slightly larger diameter so the bass waves can travel a bit further before reflecting. The outer shell would be a resonant chamber, a little narrower, so the sound is forced to bounce back and forth, amplifying the low frequencies. Between the shells I’d install a honeycomb lattice of carbon‑fiber ribs; that gives rigidity without adding much mass, and the hexagonal cells help distribute the acoustic pressure evenly. To make the building itself an amplifier, I’d line the inner walls with a foam that’s engineered to reflect only frequencies below a certain threshold – that’s the bass range you want to amplify. The foam would be angled slightly, like a fluted surface, to scatter the waves and reduce standing‑wave hotspots. Finally, for tuning the whole system to the satellite’s orbital frequency, I’d use a computer‑controlled servo system that monitors the vibration spectrum in real time. It would adjust the positions of the speakers in the ring and tweak the pressure of the foam panels by tiny amounts. With that kind of closed‑loop control, the geometry and the mechanics stay in sync with the spin, keeping the bass resonant and the structure stable.