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.

PaperMan: Graphene dust in the foam is a clever tweak; it’ll absorb the very lowest tones without adding weight. The micromirrors are a bit trickier—if they’re too large they’ll start scattering rather than reflecting, but a fine‑grained array could create a subtle acoustic well. For power, a miniaturized black‑hole extractor is science‑fiction at best, so a high‑efficiency Stirling engine that shares its shaft with the speaker ring makes more sense. That way you spin the ring and the engine together, keeping the mass low and the heat dissipation manageable. The spin rate needs to match the desired beat frequency. If you want the bass to sync with a 10‑second orbital period, you’d aim for a spin of about 6 revolutions per minute, so the acoustic field rotates at roughly 1 Hz. If you go faster—say 30 rpm—the beat rises to about 5 Hz, which might be too sharp for sub‑20 Hz harmonics. A moderate 10–15 rpm gives a sweet spot where the structural stresses are low and the bass resonance can be tuned with the micromirrors. Keep the moment of inertia tight with the honeycomb ribs and the graphene‑infused foam, and you’ll stay within the energy budget.