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Showing posts with label overview. Show all posts
Showing posts with label overview. Show all posts

Kanto Sub 8

SUB8 is a sealed box front-firing subwoofer offering 250W of powerful bass extension, perfect for music or home theatre. A precise low-pass filter makes sub8 a perfect match with any Kanto speaker, allowing you to dial in the perfect cutoff frequency. Its 8” paper-cone driver enables true sub-bass reproduction with low-end that has real weight. Phase adjustment, power saving auto-off and full L/R line level input round out this high-performance package.

Kanto Sub 8

Kanto Sub 8


sub8 features a specially designed grille which protects the driver from impact and dust while allowing sound through with minimal diffraction.


Every space is different. Precise dials for volume and cut-off frequency offer exacting, responsive control that lets you shape your bass to fit the unique character of your room.


sub8 is available in a Gloss Black, Gloss White, Matte Black, and Matte Grey to suit your personal style.


sub8’s acoustic MDF enclosure is engineered to reduce undesired resonance and reverberation inside the box, providing clean, deep sound.


Although designed to be a perfect match with Kanto speakers, sub8 features stereo inputs allowing use with any source. Anything from vintage stereo receivers to high-end amplifiers with stereo sub output can be connected, so you don’t have to sacrifice quality for convenience.


Solid rubber feet keep sub8 firmly planted on any surface. De-coupling the housing from the surrounding environment allows for unmatched clarity and separation from lower-mid frequencies, and reduces vibration.

Kanto Sub 8



Woofer: 8 inch Paper Cone Driver


Amplifier Type: Class D

Nominal Impedance: 4 Ohm

Sensitivity 1W/1m: 88 dB

Total Harmonic Distortion: < 0.3%

Low-Pass Filter: 40 Hz – 120 Hz

Phase Switch: 0° and 180°


Input: 1 x RCA L/R Line Level

Input Sensitivity: 100 mV

Frequency Response: 35 Hz – 175 Hz

Input Voltage / Frequency: AC 100V – 240V 50/60 Hz (auto switching)


Power Output: 250W

Standby Power Consumption: < 0.5 W


Dimensions: 11” W x 11” D x 11.9” H (28 x 28 x 30.3 cm)

Net Weight: 16.8 lb (7.6 kg)

Gross Weight: 20.9 lb (9.5 kg) (boxed)

Shipping box dimensions: 15.6″ x 14.4″ x 14.3″ (39.6 x 36.6 x 36.3 cm)


Power cord


Lakmé Floor standing speakers

Lakmé Floor standing speakers

 The Lakmé is a story standing, single-tower, three-way, inactive radiator amplifier included two separated at this point joined cupboards. The Lakmé, which is accessible in glossy silk white or dark, includes an enhancing and effectively replaceable front woofer board. The top bureau incorporates an exclusive neo ring arch tweeter and a wide-range midrange. The base bureau houses one aft woofer and two latent radiators. The two cupboards are disconnected by a unique elastomer and the base cupboard is floor-coupled by means of an aluminum stand with three movable feet. The Lakmé displays a high 91 dB SPL 1 watt/1 meter affectability and acquires from probably the best Verity Audio innovations.

Dabs in succession

The Lakmé's remarkable elements ensure phenomenal acoustic execution across a wide scope of room setups and situations. Verity Audio picked a double aloof radiator geography for simpler room arrangement. This decision gives a great unique reach and expanded air speed, giving phenomenal execution in little to average-sized listening rooms.

Lakmé Floor standing speakers

1″ (25 mm) SD-2 delicate neo ring arch tweeter

5" (127 mm) covered regular paper mash SD midrange

6″ (152 mm) covered regular paper mash woofer

2 x 6" (152 mm) covered normal paper mash radiators


18 watts (8 ohms)


91 dB @ 2.83Vrms and 1 meter on-pivot


8 ohms ostensible/4 ohms least

Aspects W X D X H

15.2 x 15.4 x 41.5"/(387 x 392 x 1054 mm)


120 lbs (54 kg)/pair

Revel Ultima Rhythm2 powered subwoofer


Revel Ultima Rhythm2 powered subwoofer

Revel Ultima Rhythm2 powered subwoofer

Strong, huge, and costly, Revel's Ultima Rhythm2 subwoofer ($10,000) deeply inspired me when I originally saw it in Harman International's suite at the 2013 Consumer Electronics Show. Its specs read like no other sub's: 196 lbs; 18" cast-outline woofer; double 4" voice-loops; 4kW pinnacle power from twin interior speakers that produce 1kW RMS; 115dB pinnacle acoustic result; a completely configurable, high-goal, 10-band parametric equalizer (PEQ); an inner hybrid with high-and low-pass results; and PC-based arrangement through USB. The Rhythm2's patent-forthcoming plan is said to allow barely sufficient air to move all through the bureau to forestall any mutilation actuating tension because of warming of the voice-curls. What's more its facade, shape, inclined top edges, and base plinth radiate the quality viewed as in Revel's first in class floorstanding speaker, the Ultima Salon2, with which I was natural. The Rhythm2's back board was without the Sub30's bunch switches and minuscule, difficult to-understand names. What remain are: a power switch simply over the delta for the AC rope; a three-position turn-on switch (Auto/On/Trigger); an increase dial; both ways channel inputs; high-pass yields (XLR, RCA); a solitary result for driving different subwoofers; in and out jacks for a 12V trigger; and a USB port. As an other to that large number of handles and switches, the Rhythm2 is constrained by Revel's Low Frequency Optimization (LFO) programming, installable in the purchaser's PC. With the PC associated with the Rhythm2 by means of USB, LFO autonomously changes the sub's low-and high-pass hybrid channel settings from 50 to 100Hz, in 1Hz augmentations; chooses among six channel slants (first-, second-, fourth-, or eighth-request, Butterworth or Linkwitz-Reilly); and postpones the subwoofer's result (up to 631ms) to time-adjust it to the fundamental speakers. LFO likewise deals with the Rhythm2's PEQ to exactly change the principle speakers' recurrence reaction up to 300Hz, and "makes up for room-related normalities by applying a comparing revision bend." Arrangement Revel delivered me one Ultima Rhythm2 and two Ultima Salon2s. A truck with a lift door showed up with two beds: 417 lbs of Salon2 on one, 243 lbs of Rhythm2 on the other. The overseers carried the supported containers into my home, up the short stairwell to my listening room, unloaded every one of the three speakers, and set them in the room. They likewise left a little heap of materials close to my listening seat: the Rhythm2's removable grille, separable power rope, and 10-page speedy beginning aide. Yet, where were the subwoofer advancement manual, the LFO programming, and the CD-ROM loaded with test signals? Incidentally, all manuals, test signals, target bends, and arrangement programming can be downloaded from Revel's site, where they can be refreshed as frequently on a case by case basis. I busied myself with putting and interfacing the three Revels. Following the speedy beginning aide, I slid the sub into the room's right front corner, and the Salon2s into the spots typically involved by my Quad ESL-989s. This put the Salon2s' inward edges 7' 6" separated, their external edges 2' 10" from the sidewalls, and their front astounds 7' 2" from my ears when I plunked down. The Rhythm2's front bewilder was 4' behind the right-channel Salon2, and 9' 2" from my ears when situated. I paid attention to the Rhythm2 without its grille. I ran a couple of adjusted interconnects from the results of my Bryston BP26 preamplifier to the Rhythm2's bits of feedbacks, and one more pair from the Rhythm2's high-pass results to the contributions of a couple of Theta Digital Prometheus monoblocks (audit to be distributed one month from now). Unadulterated Silver Cable R50 twofold lace speaker links associated the intensifiers' speaker terminals to the Salon2s. I downloaded and introduced Revel's pink-commotion test tones, target reaction bends, and LFO programming on my Lenovo X220 PC, which runs Windows 7, and utilized a 6' USB link from my printer to associate the PC to the Rhythm2. I began the LFO programming, turned on the Rhythm2, and tapped the Connect button on the LFO principle screen. The product's association status pointer became green and recognized the sub as "Rhythm2," letting me know that LFO currently controlled the sub. I then, at that point, set the sub's result level to – 19dB, as recommended by the LFO manual. The Master's Calibration A few days after the fact, Kevin Voecks, Revel's New Product Development Manager, shown up to enhance its arrangement for my room. This included matching the sub's recurrence reaction to a progression of restrictive objective room-reaction bends that had been created utilizing JBL's Adaptive Room Correction and Optimization System (ARCOS). Voecks expressed that these bends give the "way to great room coordination" for the Rhythm2, and permit LFO to "act like 'ARCOS light' in certain regards." To take his estimations for advancement, Voecks utilized my Studio Six iTestMic, a savvy, proficient grade test and estimation amplifier that plugs straightforwardly into my iPhone 4's 30-pin connector, and which John Atkinson additionally suggests. The combo has demonstrated exact enough to precisely quantify, enhance, and match subwoofers to principle speakers. Studio Six's Audio Tools application, accessible from iTunes, gives the Fast Fourier Transform (FFT) programming expected to register and chart the mike's result.

Revel Ultima Rhythm2 powered subwoofer

Prior to taking any estimations, Voecks utilized the LFO programming to set the Rhythm2's inner hybrid channels to 80Hz for both the high-and low-pass channels, and their inclines to 24dB/octave, in view of his past experience planning and advancing the sub's presentation with the Salon2s. He likewise set the sub's infrasonic high-pass channel to Normal

Prior to taking any estimations, Voecks utilized the LFO programming to set the Rhythm2's interior hybrid channels to 80Hz for both the high-and low-pass channels, and their slants to 24dB/octave, in light of his past experience planning and streamlining the sub's presentation with the Salon2s. He additionally set the sub's infrasonic high-pass channel to Normal, which rolls off the Rhythm2's result underneath 20Hz. Since the sub's inherent leveling supports its intensifier's drive as the sound sign's recurrence plummets, huge yet indiscernible woofer journeys beneath 20Hz can drive the sub's twin speakers into cutting.

Voecks crushed the Rhythm2's result level change for the more exact and more dependable settings accessible through LFO. He later found that the back board's manual result control shut off the sub when contacted. He let me know that, to fix this issue, the seller would essentially supplant the back board and its gadgets with another get together without transportation the sub back to the plant. Whenever he'd made the entirety of the set-and-fail to remember changes, Voecks played an advanced record of uncorrelated pink commotion (accessible from Revel's site) that he'd copied to a CD-R, and matched the result levels of the satellite speakers to the Rhythm2 utilizing Audio Tools' SPL meter. Then, at that point, he utilized the application's FFT module to quantify every speaker's acoustic result briefly at every one of five unique areas assembled around the highest point of my listening seat. These were then arrived at the midpoint of, put away on my iPhone, and remotely imported to the LFO programming. full reach, no subwoofer or evening out, 1?3-octave reaction in LG's listening room Voecks then, at that point, shown the arrived at the midpoint of FFT room-reaction information on my PC in LFO, which showed the outcomes from 10Hz to 4kHz. Utilizing LFO's 10-band PEQ, he found the middle frequencies of the room's hubs, diminished the levels at those frequencies, then, at that point, tweaked the quality variables (Qs) of those decreases. Utilizing the PEQ, he matched the subsequent bends to foreordained objective bends (fig.1), then, at that point, changed the subwoofer's room reaction to all the more likely fit the particular objective bend (fig.2). At the point when Voecks had gone, I checked the Salon2s' full-range room reaction with Audio Tools' Real Time Analysis (RTA) module by bypassing the subwoofer and its inner hybrid. The RTA module is enhanced for the reach covered by subwoofers, as is generally precise in the scope of 20Hz–1kHz, above which the mike's reaction tumbles off. The Salon2s' low-recurrence room reaction, when the floorstanders were run full reach, showed a little top at 250Hz, a plunge at 125Hz, one more top at 63Hz, and a delicate ascent beneath 40Hz (fig.3). I reinserted in the sign way the Rhythm2 and its advanced hybrid and PEQ settings, then, at that point, rehashed the room-reaction RTA estimations. The subsequent chart was a lot compliment from 25Hz to 1kHz (fig.4). Tuning in Throughout the following two months, I paid attention to numerous accounts of artists, pipe organs, and film soundtracks. I started by decreasing the Ultima Rhythm2's result by 2dB, to – 21dB in light of the fact that I would have rather not lose the inborn bass power and augmentation of the Ultima Salon2s. These full-range speakers have delivered the absolute best profound bass expansion and haul I've heard in my room, and it was hazy to me what more the Rhythm2 could add

JL Audio Fathom f113v2 Hochglanz schwarz


JL Audio Fathom f113v2 Hochglanz schwarz

In my last segment, in the November 2015 issue, I discussed Marantz's AV8802A preamplifier-processor and two frill: UpTone Audio's USB Regen, and a DIY battery supply for my DAC. The current month's section is about frill, and for me that is surprising. A few things, as interconnects and speaker links, are normally viewed as frill since they're not major parts (eg, source, intensifier, speaker), despite the fact that they're fundamental for getting any solid whatsoever. All things considered, an extra is something without which your framework would in any case turn out great. By definition, embellishments are particular, not fundamental: You get them with the expectation that they'll work on your framework, or make it simpler or more helpful to utilize. Back in simple days, I could choose whether an alternate tonearm stabilizer was smart on the grounds that my undergrad investigation of material science took care of the mechanics of mass, consistence, and recurrence. I could likewise grapple with the electromagnetics of transformers and engines. At that point, computerized signal cycles were still generally hypothetical. Today, I'm losing ground. While I handle in excess of a touch of how music is carefully encoded and decoded, I think that it is hard to see how various information transmission strategies (USB, HDMI, Ethernet, FireWire, and so on) influence the nature of the simple result signal and, at last, listening pleasure. Consider such items as the AudioQuest JitterBug and UpTone's USB Regen. Many individuals, regardless of whether gifted or naãve, one-sided or fair, have endeavored to test such contraptions, however I'm not mindful of any individual who has exhibited a connection between factors in information transmission—past fundamental equipment specs—and what we can really hear. Of the relationships we truly do see between equipment/programming factors and the state of an item's result signal—estimations that can uncover either enhancements or disintegrations in signal quality—most changes are so slight as to be considered underneath the degree of discernibility, producing no change by any means. (Obviously, in every single such case, one can address whether important boundaries were being tried.) Then again, a few makers offer items joined by a specialized depiction and an assertion of objectives for that item—however without test-seat specs. "Attempt it!" they say, and deal bring advantages back. Trust and assumption assume enormous parts in choosing whether to add a sound extra, picking the specific one(s), and deciding if they're worth the expense and trouble. Assumption predisposition is a companion to such sellers, whether or not the item has a fundamental effect or is a fake treatment. Is there trust? I suspect as much. Initial, a few sites are facilitating continuous, clearly real, and regularly disagreeable public conversations of the testing and estimating of information transmission frill. When everything settles down, this compromise can have driven uniquely to better comprehension of these innovations. Restricted by my specialized skill, I am a secret eavesdropper, yet it's enjoyable to watch the flashes fly. Concerning the "Attempt it!" approach, that works, as well. A large portion of us have a wardrobe loaded down with old frill that didn't endure for the long haul. I've purchased numerous contraptions, trusting they would work on my framework by somewhere around one perceptible augmentation, yet most I've thrown to the side. Some had no effect consistently. Others offered an underlying flush of energy, however the impact blurred throughout the resulting months. Scarcely any adornments have kept going long in my framework: As sound innovation progresses, the beneficial enhancements affected by the present embellishments are in some cases joined into the upcoming new essential parts. Nowadays, I may attempt a frill due to verbal, insofar as it doesn't cost the sky. Regardless of my overall doubt of changes and frill, I'm as much dependent upon assumption predisposition as anyone else. I'll simply stop for a minute I hear; concerning the rest, I'll trust that the residue will settle. AudioQuest JitterBug USB channel
John Atkinson and the team at (reference 1) have as of now investigated this little device ($49), and everybody appears to like it. How should I not check it out? I was especially keen on utilizing it in my end of the week framework in Connecticut, in which dwells my previously overachieving miniDSP U-DAC8 multichannel USB DAC: Getting eight channels of USB D/A for $299 is stunning—and spending plan evaluated items consistently appear to be ready for tweaking. Furthermore, as I revealed last time, UpTone's USB Regen—a USB signal regenerator planned to seclude sound peripherals from PC framework commotion—had made a tremendously fulfilling improvement in that framework's sound: Surely, the miniDSP would be a reasonable mate for the bruited 'Bug. At the point when I asked AudioQuest for one, they sent two: AQ suggests utilizing two—and no more—JitterBugs on each USB transport. I looked through the JitterBug's crate, and AQ's definite directions regarding how to utilize JitterBugs with different USB-associated gadgets, for any data about definitively what it does, and how. I tracked down just two significant articulations "JitterBug is intended to eliminate undesirable clamor flows and parasitic resonances from both the information (correspondence) and Vbus (electrical cables) of USB ports. . . . "JitterBug's double hardware quantifiably diminishes undesirable commotion flows and parasitic resonances. It additionally diminishes jitter and parcel mistakes (at times, bundle blunders are totally disposed of)." Indeed, that is splendid—however how? JA couldn't find, in his estimations, any distinction in DAC yield coming about because of the addition of a JitterBug. Others have revealed something very similar—yet some have seen an adjustment of the computerized sign's "eye design," as seen on an advanced oscilloscope. An eye design is a method of addressing the accuracy of the advanced heartbeats, which preferably ought to be square, in this manner showing that the on-off change is impeccably characterized on schedule. Clearly, the JitterBug applies some sort of channel so that the squarewaves' risetime is somewhat expanded—something contrary to what we need to diminish jitter.

JL Audio Fathom f113v2 Hochglanz schwarz

Tannoy TS2.12 powered subwoofer


Tannoy TS2.12 powered subwoofer

Ten years sooner, our family was joined by my child in-law, who was brought up in Dublin, and spent his school seemingly forever in London. I was changing this audit during one more involvement in our young woman and grandkids, and Justin became energized by how I was reviewing a subwoofer made by Tannoy. He incited me that, in the UK and Ireland, Tannoy had for a significant length of time been a nonexclusive term for public-address structures, similarly as Hoover had come to depict any vacuum cleaner, paying little mind to producer. Despite the way that Justin gave up that this use was the smartest choice "old school," he prodded me that I was assessing a PA speaker for an audiophile magazine! My child supposedly with Tannoy's status in the British Isles included for me the affiliation's long history in the speaker business: their setting up in 1926, and the essential work they played during the 1940s, giving the British military. Thusly reminded, my encounters with the Tannoy TS2.12 subwoofer took on altogether more splendor! Moderate and Light At 17.2" high by 16.75" wide by 14.75" huge and weighing just 40 lbs, the TS2.12 ($921) is about a similar size as my past humble subwoofer champ, SV Sound's SB13-Ultra, yet a tremendous piece of the weight—and somewhat more than a colossal piece of the expense. Like the Bowers and Wilkins DB-1 subwoofer, the TS2.12 has two conflicting with, 12" drive-units, their combined surface region equalling that of a solitary 18" cone. In any case in the TS2.12, just one of these is driven by the enhancer; the other drive-unit, which Tannoy calls an Auxiliary Bass Radiator (ABR), is removed, and is depended upon to change not actually settled forever cone to confine authority vibrations; both drive-units are made with multi-fiber cones and butyl adaptable incorporates. Within, 500W intensifier is a related class-D plan, constrained by what Tannoy calls their Tri-State Pulse Width Modulated advanced sign processor (DSP). The last decision grants change, in the general locale, of combination rehash, stage, and gain. Perceived evening out licenses the construction to reach under 30Hz. The TS2.12's bureau is made of two layers of 25mm MDF, to diminish colors and add settling mass. As Tannoys says on their site, "The strain made by twin drivers referenced that the TS2 subwoofers be created essentially heavier and surprisingly more liberally [than] fighting subwoofers as conventional 18mm MDF authority improvement would give [an] inadmissible degree of colouration." The TS2.12's blend of dynamic and inactive drivers and its fastidiously fixed nook have been expected to kill the chuffing rackets related for explicit ported subwoofers. On the back board are all of the TS2.12's affiliations and set-and-disregard to recall client changes, including line-level RCA information and result jacks for the right and left stations, a power switch, an IEC jack for the discernable electrical link, Volume and relentlessly factor Phase handles (0–180°), and a combination dial with settings of 50, 100, 150Hz, and Bypass. Right when the TS2.12 is set up, its Auto On/Off fuse takes out the need to get to the sub's controls. Standard climax for the Tannoy TS2.12 is Dark Gray vinyl; add $103 for Black Gloss, which is apparently hand-cleaned to a mirror finish. Room, Setup, Measurement

se Adding the Tannoy TS2.12 to my framework was clear. I moved the sub into the front right corner of the room and ran RCA-completed interconnects from it to the line level outcomes of either my Bryston BP-26 preamplifier or a Mark Levinson No.585 worked with intensifier. The inner edges of my Quad ESL-989 electrostatic speakers were 6' 8" segregated; the left speaker was 18" from its sidewall, the right speaker 18" from a natural divider unit; both were 5' 5" from the front divider.\ I involved various plans of rule speakers and intensifier for this survey. Following attempting several higher settings, I left the TS2.12's low-pass channel at 50Hz. At first I drove the Quads full-range with a Mark Levinson No.334 twofold mono speaker. A brief time frame later, I utilized the ML No.585 created, with its 80Hz, second-request, high-pass standard out channel set to 80Hz and the TS2.12's hybrid set to Bypass. This worked with the Quads from attempting to emulate the most inconceivable bass, permitting them to play more grounded without winding. I also separated the Quad-Tannoy structure with a few Revel Ultima Salon2s: dynamic, full-range, floorstanding speakers that produce exceptional bass, similar to that of a few little subwoofers I've disapproved. Before I turned on the TS2.12 or connected with the No.585's high-pass channel, I evaluated the Quad ESL-989s' full-range room reaction, utilizing Studio Six Digital's iTestMic and the RTA (constant analyzer) module of their AudioTools application to gauge the transfer speed of 25Hz–200kHz. For test tones, I played a general record, given by Revel's Kevin Voecks, of uncorrelated pink disturbance. The in-room rehash reaction evaluated 25Hz–20kHz, with room-mode tops at 80 and 40Hz. From 40 down to 25Hz, the Quads' reaction fell by 15dB (fig.1; the blue line is Audio Tools' discernible quality marker). I then, at that point, exchanged the TS2.12. At first I set the design volume so the Quads alone played the pink racket at a level that, at my listening seat, enlisted as 75dB on the SPL Meter module of the AudioTools application. Following to setting the TS2.12's low-pass channel to 50Hz, I changed its level control until the sub's result matched the Quads': 75dB at 100 and 40Hz, as shown by the AudioTools RTA module. I adjusted the sub's volume involving Stevie Nicks' voice in "Heavy slide," from Fleetwood Mac's Fleetwood Mac (CD, Reprise 46702-2), and tracked down that setting this handle to 7:45 o'clock killed any chesty colors from Nicks' voice, while holding the punch, drive, and clearness of John McVie's bass line.

With the TS2.12 now integrated into my system, I repeated the room-response RTA measurements. Fig.2 shows a flatter response between 40 and 60Hz and slightly higher output at 31.5Hz, just over the blue "Audibility Limit" line superimposed by Audio Tools on the RTA graph.

With both the Tannoy and Quads dynamic, I played the least recurrence tones of the Chromatic Scale track on Editor's Choice (CD, Stereophile STPH016-2). I heard every one of the tones obviously, as I did the 40 and 32Hz tones from the Bass Decade Warble Tones track on that plate. Likewise from the last option track, the 31.5Hz tone played delicately without multiplying; the 25Hz tone was imperceptible. Tuning in Everything that done, I plunked down to pay attention to the Tannoy and Quads. Right away, the profound bass reaction, drive, and elements of the Revel Ultima Salon2 amplifiers extraordinarily surpassed what the Quad-Tannoy combo could deliver. So I went ahead despite any potential risks and corrected the TS2.12's result by ear, utilizing a wide scope of accounts, vocal and in any case. I utilized John Atkinson's computerized recording (24-digit/88.2kHz AIFF) of the Toccata of Widor's Organ Symphony 5, performed by Jonas Nordwall at Portland's First United Methodist Church, to change the Tannoy's result to deliver room lock—ie, when the subwoofer and room cooperate to make a feeling of non-directional strain when notes in the most reduced octaves are played. I managed the volume back a touch so the sound of Michael Arnopol's twofold bass, which opens "Too expensive for me," from Patricia Barber's Café Blue (CD, Premonition 90760-1), was thick and strong, not overfull or swelled. This required resetting the Tannoy's result control, hustling back to my seat to tune in, and afterward rehashing the strategy. Later a few rounds, I'd expanded the TS2.12's volume control from 7:45 to 9 o'clock

EMMESpeakers DA VINCI overview

 Da Vinci technical insights

This is the EMMESpeakers The DA VINCI expounded Technical Overview; How the System works.

The undertaking DA VINCI has addressed another challenger for our Company, with the desire

 to make an inventive acoustic plan encased in a progressive shape, directed by our

 regular and shameless assurance to investigate new specialized courses coordinated with "breaking"

EMMESpeakers DA VINCI loudspeakers technical overview

The project requirements were:

1) Full reach reduced shelf amplifier

2) High power dealing with

3) Sealed box

4) BSSE System (Box Shape for sound upgrade) by EMMESpeakers

5) High end sound multiplication

Those base necessities brought us soon to plan another idea of three-ways design, in which the Woofer has been situated on the back puzzle.

That arrangement, that in the principal look may seems extravagant and without a sense, offers somewhere around two benefits:

- Shift the customary vertical improvement to one top to bottom (req #1).

- Keep the acoustic place in a limited vertical region, all around the recurrence !range (req #5).

As it's apparent in the image beneath, the acoustic place moves just of 120 millimeters, between

 the Midwoofer and Tweeter, very much like a Two-ways framework however the DA VINCI is a Three-ways.

 That implies at the listening distance of 2.5 meters, the acoustic place moves under 3°

 degrees, exceptionally near a point source, with obvious benefits as far as soundstage largeness, steadiness and centralization. An extraordinary outcome for a Three-ways amplifier.

EMMESpeakers DA VINCI loudspeakers technical overview

Drivers choice:

The confining venture necessities, and the surprising woofer situating, put us in a long stage

 of looking and testing of appropriate drivers.

The picking has fallen on 1,2" Tweeter and 5" Midwoofer by Accuton, the most current CELL fired

series, because of their extraordinary sound execution (wide data transfer capacity, very low

 contortions, low stacking volume needed by the Midwoofer) (req #5), and the 10" Aluminum

 Woofer by SB Acoutics, thanks its shallow profundity and, even for this situation, low stacking volume

 necessity. also high power taking care of .

Bureau building and molding:

EMMESpeakers DA VINCI loudspeakers technical overview

Dedicated to our customary technique in bureau development, by machine made MDF layers, che

 decision has fallen soon in a shape as nearer as a cylinder, the more inflexible strong accessible.

It ensures durability, no inward resonances and of the actual bureau.

The front confound, in dark anodized aluminum with 25mm of thickness, gets from Beta and

 Gamma EMMESpeakers' amplifiers the BSSE System, wherein its shape and aspects

 are intended to "synchronize" the edge diffractions with the direct


To meet the req#1, the amplifier sizes has been restricted however much as could be expected, so the limiting

 posts have tracked down place on the lower part of the bureau

A topsy-turvy construction of anodized aluminum and hardened steel AISI 304 backings the

 speaker. On account of the adjusted thicknesses and shapes, it has a customized consistence

 with self-evening out capacity and vibrations damping.

Acoustic format and hybrid plan:

The DA VINCI, as said, has a three-ways design. As normal for EMMESpeakers, it gets over at exceptionally low frequencies with high orders of slant.

That to get exceptionally steady brilliant flaps and the most elevated detail in strong multiplication.

Investigating the organization drawing it shows up very complicated. All things considered the BSSE framework

 intercedes in the drivers' radiations, setting them up to the hybrids and making the organization

 less difficult than it ought to be without the BSSE framework itself.

The development of the hybrid sheets are made by Mundorf utilizing solely Mundorf

 parts, as per severe quality controls.

The EMMEStand:

An amplifier with a such creative plan like the DA VINCI, has required the investigation of a

 devoted stand ready to join attractive and work.

Indeed the EMMESpeakers technique for assembling, by MDF layers, has addressed

 the best arrangement, leaving us the more extensive opportunity in forming and plan.

The end-product is a strong and adaptable devoted remain, with a straightforward however delightful plan.

Four circles of tempered steel AISI 204 proposition the help focuses for the DA VINCI spikes,

 ensuring solidness and vibrations damping. With a base completion in dark matte and finished

 paint, yet ever accessible in all EMMESpeakers gets done, it offers a simple introducing in any homegrown setting.

EMMESpeakers DA VINCI loudspeakers technical overview

Technical data:

High pitch Unit: 1,2-30mm Accuton Cell Ceramic Driver Mid-Bass Unit: 5"- 124mm Accuton Cell Ceramic Driver Bass Unit: 10"- 290 mm SB Acoustic Aluminum Driver Power taking care of: 200 watts

Nomina Impedance: 6 Ohm

Affectability: 84 db

Recurrence reaction: 30-40k Hz

Aspects (hwd): 420x307,5x 300mm

Net weight each: 18,6 kg