L E S S  I S   M O R E

Technology - Cone

PYRAMIDALLY SHAPED

OMNIDIRECTIONALly MOUNTED

Our choice for an omnidirectional speaker maybe needs some more explanation. Our first prototypes were in fact also directional mounted drivers with conventional shaped cones. As the months and even years went by we did more tests with different shapes, cabinets and placing. We found that the current setup offered the most realistic soundstage.

Optimized radiation pattern because of the inversed "pyramidal" shaped cone.

  • Omnidirectional sound dispersion with an exceptional in-room far- and near field power response                       (Power response is a much better reference for measuring in-room performance compared to frequency response)

  • Optimal horizontal alignment and tilt and as a result of this :

  • Less doppler effect at listening position compared to a directional 2-way speaker. How much is depending on your listening position as doppler occurs in the direction of the moving cone. So if you are seated in front of the speaker (as you would do at normal listening), the effect is even more dramatic and can reach up to 300% less doppler effect. Anyway, absence of doppler is translated into more tranquility in the sound. This is one of the reasons why 3-way speakers have been invented (but this type of speaker has other limitations such as complex filtering and thus more components in the signal path. But also 3 drivers all do have their own distortions, non-linearities and absorb energy). This is why we believe that a very good developed full-range 2-way is the way to go.

  • Highly realistic 3D soundstage with coherence between individual instruments and performers. Just like you would experience in a live (non amplified) performance, you will notice the sound coming from a specific point in the soundstage but evolving much faster to a bigger halo around the source (instrument or voice). There's a subtle balance in small and big sounds present in the soundstage. Imaging of small sounds can be pinpoint present in 3D. A big sound can originate in a point and after that fill the complete room and draw you into the music.

  • Most instruments and sources have a 360° radiation pattern, like piano and drums for example. The horizontal alignment and tilt of our mid-bass has been carefully chosen in order to mimic real instruments as much as possible and at the same time put them on their specific place in the soundstage.

We have developed cones with paper, composites, kevlar, carbonfiber, aluminium and mixtures of all these materials in variable quantities. The old school simple - but widely used - hard impregnated paper proved to be the best choice to our ears. This choice has been made by listening. Every material has it’s pro’s and contra’s but the proof is in the pudding.

Size DOES matter

 

We tried  different dimensions ranging from 10cm to 30cm in diameter. Too small couldn't provide enough air displacement for the lower octaves. On the other hand, cones which were too big were also too heavy.

And because of their weight they had more inertia problems and kinetic energy storage (which is bad for speed). We found 15,5 cm (which corresponds to a classic 8"/20cm driver) the ideal compromise between sufficient air displacement and speed.