The sound quality in your room is primarily determined by your speakers and how they interact with your room.
To achieve that, we’ve developed a number of technologies, such as:
- Acoustic Cardioid Midrange
- Boundary Coupled Bass
- Minimum Diffraction Waveguide
- Room matching
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.
Boundary Coupled Bass.
How we make destructive waves become constructive.
The 8c’s have two high-excursion woofers in the back of their cabinets. These woofers operate below 100 Hz only. Inspired by the work of the late speaker designer Roy Allison, the 8c is designed to leverage Boundary Coupling. Boundary Coupled Bass (BCB) offers three main advantages:
- Boundary coupling avoids the destructive interference between the speaker’s direct sound and the boundary reflection.
- Low-frequency headroom is increased by up to 6 dB.
- Increased directivity in the bass, for a good directivity match between the Boundary Coupled Bass and the cardioid midrange, which takes over above 100 Hz.
The 8c’s have pre-programmed settings that let the 8c’s easily adapt to a specific distance between the back of the 8c and the front-wall (in accordance with the professional and scientific literature, we call this wall the front-wall: listener-orientation is the reference, not the speaker’s). The best results are obtained by placing the 8c’s between 10 and 50 cm from the front wall.
The distance presets in the 8c assume a solid wall. Only if the 8c is placed in front of a solid and rigid wall, does Boundary Coupled Bass work exactly as predicted: the 8c’s bass drivers acoustically couple to the front-wall, and the 8c and the wall effectively combine to become one single source. This combined 8c/wall-system radiates sound in a phase-coherent hemispherical pattern. The preset that corresponds with the actual distance between the back of the 8c and the wall, does two things: 1) it assures that the 8c/wall-system and the cardioid midrange driver in the 8c’s front baffle are time-aligned; and 2) it makes sure that the 8c together with the wall has flat frequency response.