How we make the room disappear.
It is common knowledge that the sound that you hear in a listening room is an interaction between direct sound from the speakers and the reflected sound bouncing of the rooms surfaces like walls, ceiling and floor.
The direct sound comes from the front of the loudspeakers and most of the reflected sound is originating from the side and back of the loudspeakers.
The direct sound has the shortest distance to travel (a straight line) to the ear and therefore arrives first relative to the refections. The reflections have many different paths to travel and therefore all arrive at different times, delayed relative to the first direct wavefront. The delayed reflection energy and the direct field energy are complexly summed at the position of your ear. Together they form the acoustic signature of the listening room.
Now imagine a symphony orchestra playing a concert hall. The orchestra in itself also produces a direct sound path to your ears and many reflective delayed sound paths due to the surfaces of the concert hall. Those combined sound paths are again responsible for the acoustic signature of the concert hall. There are many famous music venues around the globe all with their specific acoustics and tonality.
It is not hard to conclude that when you listen to a recording made in one of the above venues the acoustics of the concert hall blend with the acoustics of your listening room. To come closer to the actual recording one might want to eliminate the acoustics of the listening room. In studio control rooms this is achieved by taking extensive acoustic measures, more or less modeling the room around the speakers. Something that is very unlikely to happen in a domestic living room situation especially when taking the SAF* into account.
* Spouse Acceptance Factor
That is why we came up with a different solution in finding ways to conquer local acoustics. The 8c has side vents that produce a wavefront that is derived from the back energy coming off the midrange driver, to cancel out the midrange energy that tends to bend around the cabinet corners. In this fashion the side and backside of the loudspeaker cabinets do not produce energy and therefore do not excite the listening room with reflections. And so, by taking the local acoustics out of the equation, the listening experience comes much closer to the actual recording.
Engineers call this dispersion behavior “cardioid” because the plot of energy dispersion coming from the loudspeaker is heart shaped. Normally, adapting this technology on a loudspeaker would have severe impact on the frequency and phase response. By using our internal DSP and proprietary software however, we were able to overcome these drawbacks. This technique is quite unique and due to its complex design process seldomly used in Hi-Fi loudspeakers.