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16 items / €28,767.00

16 items €28,767.00

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Bowers & Wilkins 705 S3 Signature The 705 S3 Signature is expertly engineered to deliver sonic brilliance in a more compact form. Crafted. Honed. Perfected. Featuring optimized technology from our most advanced loudspeakers, as well as our proprietary Continuum mid-bass drive unit and Tweeter-on-Top, the 705 S3 Signature utilizes an upgraded mid-bass motor system, improved capacitors, revised speaker terminals, plus a more open tweeter grille mesh, as developed for our 800 Series Signature loudspeakers.

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Bowers Wilkins 705 S3 Signature

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€3,999.00

Bowers Wilkins 705 S3 Signature

Bowers & Wilkins 705 S3 SignatureThe 705 S3 Signature is expertly engineered to deliver sonic brilliance in a more compact form. Crafted. Honed. Perfected. Featuring optimized technology from our most advanced loudspeakers, as well as our proprietary Continuum mid-bass drive unit and Tweeter-on-Top, the 705 S3 Signature utilizes an upgraded mid-bass motor system, improved capacitors, revised speaker terminals, plus a more open tweeter grille mesh, as developed for our 800 Series Signature loudspeakers.

Bowers Wilkins 705 S3 Signature

Επιλογή

Fyne Audio Vintage Classic VIII SM

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Fyne Audio Vintage Classic VIII SM

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€4,120.00

Fyne Audio Vintage Classic VIII SM

Fyne Audio Vintage Classic VIII SM

Fyne Audio Vintage Classic VIII SM

Προσθήκη στο καλάθι

PMC twenty5.22i

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PMC twenty5.22i

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€4,150.00

PMC twenty5.22i

PMC twenty5.22i

PMC twenty5.22i

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Dali Rubicon 2 C

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Dali Rubicon 2 c

ΗΧΕΙΑ, Ενεργά αυτοενισχυόμενα ηχεία

€4,398.00

Dali Rubicon 2 c

Dali Rubicon 2 C

Dali Rubicon 2 C

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Graham Audio ls5.9

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Graham Audio ls5.9

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

GRAHAM LS5/9 BBC Studio Monitor
Το διαχρονικό ηχείο σχεδίαση του BBC : GRAHAM LS5/9.

Graham Audio ls5.9

Graham Audio ls5.9

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STIRLING BROADCAST LS3.6

STIRLING BROADCAST LS3.6

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STIRLING BROADCAST LS3.6

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€4,550.00

STIRLING BROADCAST LS3.6

Το φημισμένο Μonitor LS3/6 που σχεδίασε το BBC για δική του χρήση και βασίστηκε στην παραγωγή μουσικής & ηχογραφήσεων για πολλά χρόνια. Το ηχείο είναι εξαιρετικά αχρωμάτιστο, ισορροπημένο και ασυμπίεστο, αποτελεί ένα reference standard ακόμα και για ηχεία πολλαπλάσιας αξίας της τιμής του. Άριστη απόδοση των φωνητικών με όλες τις λεπτοφυείς λεπτομέρειες και αρμονικές απολήξεις. Εξαιρετική τρισδιάστατη εικόνα και ambience ηχογράφησης, με φασική ισορροπία και ομοιογενές σώμα σε όλο το φάσμα χωρίς λεπτύνσεις και προβολικότητες. Η διαφάνεια και η ανάλυση του κινούνται σε κορυφαία επίπεδα. Από τα ελάχιστα ηχεία με σωστή απόδοση μεσαιοχαμηλών συχνοτήτων. Ο ήχος είναι φυσικός, ανθρώπινος, ματ κατά ένα τρόπο, χωρίς γυαλάδες, χωρίς προβολικά συριστικά.

STIRLING BROADCAST LS3.6

STIRLING BROADCAST LS3.6

Προσθήκη στο καλάθι

Audio Note ANK-LX Details The Audio Note ANK-LX is a compact "bookshelf" design, using two drive units per cabinet to cover a very wide frequency response, given its modest dimensions. Unlike many "bookshelf" designs, the AN-K is relatively efficient and offers the amplifier an easy "load," making it highly suitable for our range of superior quality, low-powered valve amplifiers. The majority of the high-end audio marketplace is occupied by ill-conceived low efficiency loudspeaker systems. These designs usually consist of several less-than-ideally matched drivers and a very complex crossover, crammed into a cabinet that exhibits the tonal and textural qualities of reinforced concrete. Their designers are blinded by the dogmatic quest for high sound pressure levels and flat response. But what of the other factors which are essential for emotionally involving music reproduction? What about coherence, full natural micro—as well as macro—dynamics, inner detail? What about LIFE? What about EMOTION? Sorry, they’re just not part of the “High Performance Audio” design brief. And music suffers for it. The design of the AN-K Loudspeaker, by contrast, follows an altogether different philosophy. It calls for a cabinet that complements the chosen drive units, rather than fighting against them. Instead of trying to kill the resonances, we tailor the cabinet to place them in frequency bands where they aid and enhance the operation of the drive units, culminating in a loudspeaker system that makes the most of the preceding amplifier’s output. The material choice for the cabinet is an area where a great deal of research and development has taken place. Over the years, we have tried many different materials and combinations, a time consuming endeavour culminating in the current design, which utilises the highest quality birch ply for the entire cabinet. Bracing and internal damping is kept to a minimum and strategically applied to help, not hinder, the drivers. The cabinet has been designed to be placed close to room boundaries, where the bass performance is augmented significantly by the additional reinforcement offered by the nearby walls. In this position, it will outperform any similarly sized speaker regardless of origin, thanks in part to the shallow cabinet / wide baffle shape which gives the drivers the best possible operating conditions, allowing them to perform as if they are mounted in a virtual wall. This provides the most undisturbed sound field with the widest and most even dispersion possible from a real world cabinet shape. The crossover is simple, essentially first order, hardwired and incorporates air-cored chokes and selected bipolar and polypropylene capacitors (either copper foil or silver foil, depending on model). The internal cabling consists of either 99.99% pure copper or 99.99% pure silver Audio Note (UK) wire, depending on the exact model. (See specifications) Consistent performance is a major issue in loudspeaker design and unfortunately all drive units vary slightly from each other, even if they look the same and have the same basic specification. Many loudspeaker manufacturer’s will tell you that they provide “computer matched” crossovers, and whilst this may be true in one sense (each crossover may have been matched to have the exact same capacitance, inductance and resistance) this essentially “passive” method does not adequately take into consideration the mechanical and acoustic variance present in the drive units themselves, where minute differences in acoustic behaviour will result in quite substantial differences in performance and sound. Therefore, to obtain the best possible combination of drivers and crossovers, we have developed a dynamic matching process. This ensures that each loudspeaker in a stereo pair matches a "master curve" and also its partner, to within 0.4dB. To the best of our knowledge, no other loudspeaker manufacturer achieves such close-matching and tests 100% of its production. Another much overlooked area of loudspeaker design is the material choice for the drivers. It has become very fashionable to use all manner of exotic materials (beryllium, diamond, carbon fibre, ceramics etc.) as cone materials in modern drivers, mainly because it gives the impression that the manufacturer in question is making great strides in their research into better sounding speakers. The sad fact is none of these materials work as intended, as they all have their own distinct sonic signature, so no matter how the crossover is designed, this sonic signature will be present when the speaker reproduces music. It may be less obvious and audible with some types of music, but ultimately the chosen material will always imprint some of its own signature on whatever sound is reproduced. In addition, it is vitally important that the sound and characteristics of an individual drive unit are complimentary to those of its chosen partner, so that when an instrument is reproduced by both drive units (which is almost always the case), the upper range does not sound detached from the lower range and visa versa. This is an aspect of performance that cannot be measured by even the most sophisticated test equipment; it can ONLY be judged by listening. We at Audio Note are keenly aware of this and have deliberately chosen drive units whose sonic signatures are as closely matched as possible. This has led us to favour good, old fashioned paper for the woofer cone and impregnated silk for the dome tweeter. These materials, when matched correctly, marry the low and high frequencies seamlessly, providing the best level of performance possible in the real world of acoustics.

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Audio Note ANK-LX

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€4,910.00

Audio Note ANK-LX

Audio Note ANK-LXDetails
The Audio Note ANK-LX is a compact "bookshelf" design, using two drive units per cabinet to cover a very wide frequency response, given its modest dimensions. Unlike many "bookshelf" designs, the AN-K is relatively efficient and offers the amplifier an easy "load," making it highly suitable for our range of superior quality, low-powered valve amplifiers.

The majority of the high-end audio marketplace is occupied by ill-conceived low efficiency loudspeaker systems. These designs usually consist of several less-than-ideally matched drivers and a very complex crossover, crammed into a cabinet that exhibits the tonal and textural qualities of reinforced concrete. Their designers are blinded by the dogmatic quest for high sound pressure levels and flat response.

But what of the other factors which are essential for emotionally involving music reproduction? What about coherence, full natural micro—as well as macro—dynamics, inner detail?

What about LIFE?

What about EMOTION?

Sorry, they’re just not part of the “High Performance Audio” design brief. And music suffers for it.

The design of the AN-K Loudspeaker, by contrast, follows an altogether different philosophy. It calls for a cabinet that complements the chosen drive units, rather than fighting against them. Instead of trying to kill the resonances, we tailor the cabinet to place them in frequency bands where they aid and enhance the operation of the drive units, culminating in a loudspeaker system that makes the most of the preceding amplifier’s output.

The material choice for the cabinet is an area where a great deal of research and development has taken place. Over the years, we have tried many different materials and combinations, a time consuming endeavour culminating in the current design, which utilises the highest quality birch ply for the entire cabinet. Bracing and internal damping is kept to a minimum and strategically applied to help, not hinder, the drivers.

The cabinet has been designed to be placed close to room boundaries, where the bass performance is augmented significantly by the additional reinforcement offered by the nearby walls. In this position, it will outperform any similarly sized speaker regardless of origin, thanks in part to the shallow cabinet / wide baffle shape which gives the drivers the best possible operating conditions, allowing them to perform as if they are mounted in a virtual wall. This provides the most undisturbed sound field with the widest and most even dispersion possible from a real world cabinet shape.

The crossover is simple, essentially first order, hardwired and incorporates air-cored chokes and selected bipolar and polypropylene capacitors (either copper foil or silver foil, depending on model). The internal cabling consists of either 99.99% pure copper or 99.99% pure silver Audio Note (UK) wire, depending on the exact model. (See specifications)

Consistent performance is a major issue in loudspeaker design and unfortunately all drive units vary slightly from each other, even if they look the same and have the same basic specification. Many loudspeaker manufacturer’s will tell you that they provide “computer matched” crossovers, and whilst this may be true in one sense (each crossover may have been matched to have the exact same capacitance, inductance and resistance) this essentially “passive” method does not adequately take into consideration the mechanical and acoustic variance present in the drive units themselves, where minute differences in acoustic behaviour will result in quite substantial differences in performance and sound. Therefore, to obtain the best possible combination of drivers and crossovers, we have developed a dynamic matching process. This ensures that each loudspeaker in a stereo pair matches a "master curve" and also its partner, to within 0.4dB. To the best of our knowledge, no other loudspeaker manufacturer achieves such close-matching and tests 100% of its production.

Another much overlooked area of loudspeaker design is the material choice for the drivers. It has become very fashionable to use all manner of exotic materials (beryllium, diamond, carbon fibre, ceramics etc.) as cone materials in modern drivers, mainly because it gives the impression that the manufacturer in question is making great strides in their research into better sounding speakers. The sad fact is none of these materials work as intended, as they all have their own distinct sonic signature, so no matter how the crossover is designed, this sonic signature will be present when the speaker reproduces music. It may be less obvious and audible with some types of music, but ultimately the chosen material will always imprint some of its own signature on whatever sound is reproduced. In addition, it is vitally important that the sound and characteristics of an individual drive unit are complimentary to those of its chosen partner, so that when an instrument is reproduced by both drive units (which is almost always the case), the upper range does not sound detached from the lower range and visa versa. This is an aspect of performance that cannot be measured by even the most sophisticated test equipment; it can ONLY be judged by listening. We at Audio Note are keenly aware of this and have deliberately chosen drive units whose sonic signatures are as closely matched as possible. This has led us to favour good, old fashioned paper for the woofer cone and impregnated silk for the dome tweeter. These materials, when matched correctly, marry the low and high frequencies seamlessly, providing the best level of performance possible in the real world of acoustics.

Audio Note ANK-LX

Προσθήκη στο καλάθι

GOLDNOTE A3 EVO II

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GOLDNOTE A3 EVO II

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€4,990.00

GOLDNOTE A3 EVO II

GOLDNOTE A3 EVO II

GOLDNOTE A3 EVO II

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Bowers & Wilkins Formation Duo The Formation Duo wireless speaker uses cutting-edge technologies like Carbon Dome Tweeter-on-Top and Continuum™ drivers to deliver the audio quality Bowers & Wilkins is renowned for. Wireless hi-res sound, without compromise. *Stand/s not included.

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Bowers Wilkins Formation Duo

ΗΧΕΙΑ, Ενεργά αυτοενισχυόμενα ηχεία

€4,999.00

Bowers Wilkins Formation Duo

Bowers & Wilkins Formation DuoThe Formation Duo wireless speaker uses cutting-edge technologies like Carbon Dome Tweeter-on-Top and Continuum™ drivers to deliver the audio quality Bowers & Wilkins is renowned for. Wireless hi-res sound, without compromise. *Stand/s not included.

Bowers Wilkins Formation Duo

Επιλογή

ATC SCM20 The SCM20PSL is ATC’s flagship 2-way stand-mount loudspeaker and is the ideal choice in modestly sized rooms, but where performance cannot be compromised. Its sealed cabinet design ensures excellent timing, useful low frequency output below the cut-off and that the speakers can be placed relatively close to walls without excessive low frequency output or ‘boom’. Both the mid-bass driver and tweeter are handmade by ATC. The bass driver is a 6”/150mm part with huge 3”/75mm voice coil and massive, long-gap (short-coil) motor assembly featuring ATC’s proprietary ‘SL’ motor technology. The tweeter is a 1”/25mm soft-dome part featuring a dual-suspension and very high energy 2.1 tesla motor. Together, they form the basis for an exceptional 2-way monitor loudspeaker. Integrating the drivers is a 2nd order crossover featuring oversize air-core inductors which are wound in-house by ATC. Capacitors are all high voltage polypropylene film types which deliver outstanding reliability and minimal losses. The SCM20 cabinet is constructed to be heavy and inert, with bitumastic damping panels deployed at critical positions to minimise cabinet colouration. The cabinets are available in 10 different hand selected veneers; satin black/white painted finishes and also piano/white high gloss polyester. The passive SCM20 are ideally paired with ATC pre/power/integrated amplifiers. However, their neutral fidelity, outstanding resolution and modest load impedance also ensures excellent compatibility with a very wide range of quality electronics. Upgrading performance and offering a reduced ‘box count’ he SCM20 is also available as a bi-amplified active floor-stander in the form of the SCM20ASLT.

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ATC SCM20

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€5,590.00

ATC SCM20

ATC SCM20The SCM20PSL is ATC’s flagship 2-way stand-mount loudspeaker and is the ideal choice in modestly sized rooms, but where performance cannot be compromised. Its sealed cabinet design ensures excellent timing, useful low frequency output below the cut-off and that the speakers can be placed relatively close to walls without excessive low frequency output or ‘boom’. Both the mid-bass driver and tweeter are handmade by ATC. The bass driver is a 6”/150mm part with huge 3”/75mm voice coil and massive, long-gap (short-coil) motor assembly featuring ATC’s proprietary ‘SL’ motor technology. The tweeter is a 1”/25mm soft-dome part featuring a dual-suspension and very high energy 2.1 tesla motor. Together, they form the basis for an exceptional 2-way monitor loudspeaker. Integrating the drivers is a 2nd order crossover featuring oversize air-core inductors which are wound in-house by ATC. Capacitors are all high voltage polypropylene film types which deliver outstanding reliability and minimal losses. The SCM20 cabinet is constructed to be heavy and inert, with bitumastic damping panels deployed at critical positions to minimise cabinet colouration. The cabinets are available in 10 different hand selected veneers; satin black/white painted finishes and also piano/white high gloss polyester. The passive SCM20 are ideally paired with ATC pre/power/integrated amplifiers. However, their neutral fidelity, outstanding resolution and modest load impedance also ensures excellent compatibility with a very wide range of quality electronics. Upgrading performance and offering a reduced ‘box count’ he SCM20 is also available as a bi-amplified active floor-stander in the form of the SCM20ASLT.

ATC SCM20 reference studio monitor

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Fyne Audio F701

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Fyne Audio F701

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€5,690.00

Fyne Audio F701

Fyne Audio F701

Fyne Audio F701

Επιλογή

Monitor Audio Platinum 100 3G The Platinum 100 3G is a compact 2-way speaker that features a MPD III transducer and 6” RDT III mid-bass driver cone. It offers an utterly compelling listening experience from a relatively small cabinet.

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Monitor Audio Platinum 100 3G

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€5,900.00

Monitor Audio Platinum 100 3G

Monitor Audio Platinum 100 3GThe Platinum 100 3G is a compact 2-way speaker that features a MPD III transducer and 6” RDT III mid-bass driver cone. It offers an utterly compelling listening experience from a relatively small cabinet.

Monitor Audio Platinum 100 3G

Επιλογή

FIESOLE Series 2

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Rosso Fiorentino Fiesole S2

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€5,990.00

Rosso Fiorentino Fiesole S2

FIESOLE Series 2 : ΜΟΝΙΤΟR 2 δρόμων ported με RIBBON SUPERTWEETERS, ευαισθησία 86,5 db/W/m, αντίσταση 8Ω – min 5 Ω και απόκριση συχνότητας 50Hz -3db – 100 KHZ.

Διαστάσεις 41Χ28Χ31cm
Βάρος 18 kgr το κάθε ένα

FIESOLE Series 2

Rosso Fiorentino Fiesole S2

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Dali Epicon 2

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Dali Epicon 2

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€5,998.00

Dali Epicon 2

Dali Epicon 2

Dali Epicon 2

Επιλογή

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WHARFEDALE Dovedale

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

WHARFEDALE Dovedale

WHARFEDALE Dovedale

Προσθήκη στο καλάθι

Audio Note AN-J-LX Details The majority of the high-end audio marketplace is occupied by ill-conceived low efficiency loudspeaker systems. These designs usually consist of several less-than-ideally matched drivers and a very complex crossover, crammed into a cabinet that exhibits the tonal and textural qualities of reinforced concrete. Their designers are blinded by the dogmatic quest for high sound pressure levels and flat response. But what of the other factors which are essential for emotionally involving music reproduction? What about coherence, full natural micro—as well as macro—dynamics, inner detail? What about LIFE? What about EMOTION? Sorry, they’re just not part of the “High Performance Audio” design brief. And music suffers for it. The design of the AN-J Loudspeaker, by contrast, follows an altogether different philosophy. It calls for a cabinet that complements the chosen drive units, rather than fighting against them. Instead of trying to kill the resonances, we tailor the cabinet to place them in frequency bands where they aid and enhance the operation of the drive units, culminating in a loudspeaker system that makes the most of the preceding amplifier’s output. The material choice for the cabinet is an area where a great deal of research and development has taken place. Over the years, we have tried many different materials and combinations, a time consuming endeavour culminating in the current design, which utilises the highest quality birch ply for the entire cabinet. Bracing and internal damping is kept to a minimum and strategically applied to help, not hinder the drivers. The ported cabinet has been designed to be placed close to room boundaries, where the bass performance is augmented significantly by the additional reinforcement offered by the nearby walls. In this position, it will outperform any similarly sized speaker regardless of origin, thanks in part to the shallow cabinet / wide baffle shape which gives the drivers the best possible operating conditions, allowing them to perform as if they are mounted in a virtual wall. This provides the most undisturbed sound field with the widest and most even dispersion possible from a real world cabinet shape. The crossover is simple, essentially first order, hardwired and incorporates air-cored chokes and selected bipolar and polypropylene capacitors (either copper foil or silver foil, depending on model). The internal cabling consists of either 99.99% pure copper or 99.99% pure silver Audio Note (UK) wire, depending on the exact model. (See specifications.) Consistent performance is a major issue in loudspeaker design and unfortunately all drive units vary slightly from each other, even if they look the same and have the same basic specification. Many loudspeaker manufacturer’s will tell you that they provide “computer matched” crossovers, and whilst this may be true in one sense (each crossover may have been matched to have the exact same capacitance, inductance and resistance) this essentially “passive” method does not adequately take into consideration the mechanical and acoustic variance present in the drive units themselves, where minute differences in acoustic behaviour will result in quite substantial differences in performance and sound. Therefore, to obtain the best possible combination of drivers and crossovers, we have developed a dynamic matching process. This ensures that each loudspeaker in a stereo pair matches a "master curve" and also its partner, to within 0.4dB. To the best of our knowledge, no other loudspeaker manufacturer achieves such close matching and tests 100% of its production. Another much overlooked area of loudspeaker design is the material choice for the drivers. It has become very fashionable to use all manner of exotic materials (beryllium, diamond, carbon fibre, ceramics etc.) as cone materials in modern drivers, mainly because it gives the impression that the manufacturer in question is making great strides in their research into better sounding speakers. The sad fact is none of these materials work as intended, as they all have their own distinct sonic signature, so no matter how the crossover is designed, this sonic signature will be present when the speaker reproduces music. It may be less obvious and audible with some types of music, but ultimately the chosen material will always imprint some of its own signature on whatever sound is reproduced. In addition, it is vitally important that the sound and characteristics of an individual drive unit are complimentary to those of its chosen partner, so that when an instrument is reproduced by both drive units (which is almost always the case), the upper range does not sound detached from the lower range and vice versa. This is an aspect of performance that cannot be measured by even the most sophisticated test equipment; it can ONLY be judged by listening. We at Audio Note are keenly aware of this and have deliberately chosen drive units whose sonic signatures are as closely matched as possible. This has led us to favour good, old fashioned paper and Hemp paper for the woofer cone and impregnated silk for the dome tweeter. These materials, when matched correctly, marry the low and high frequencies seamlessly, providing the best level of performance possible in the real world of acoustics.

Add to wishlist

Audio Note AN-J-LX

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€6,790.00

Audio Note AN-J-LX

Audio Note AN-J-LX Details The majority of the high-end audio marketplace is occupied by ill-conceived low efficiency loudspeaker systems. These designs usually consist of several less-than-ideally matched drivers and a very complex crossover, crammed into a cabinet that exhibits the tonal and textural qualities of reinforced concrete. Their designers are blinded by the dogmatic quest for high sound pressure levels and flat response. But what of the other factors which are essential for emotionally involving music reproduction? What about coherence, full natural micro—as well as macro—dynamics, inner detail? What about LIFE? What about EMOTION? Sorry, they’re just not part of the “High Performance Audio” design brief. And music suffers for it. The design of the AN-J Loudspeaker, by contrast, follows an altogether different philosophy. It calls for a cabinet that complements the chosen drive units, rather than fighting against them. Instead of trying to kill the resonances, we tailor the cabinet to place them in frequency bands where they aid and enhance the operation of the drive units, culminating in a loudspeaker system that makes the most of the preceding amplifier’s output. The material choice for the cabinet is an area where a great deal of research and development has taken place. Over the years, we have tried many different materials and combinations, a time consuming endeavour culminating in the current design, which utilises the highest quality birch ply for the entire cabinet. Bracing and internal damping is kept to a minimum and strategically applied to help, not hinder the drivers. The ported cabinet has been designed to be placed close to room boundaries, where the bass performance is augmented significantly by the additional reinforcement offered by the nearby walls. In this position, it will outperform any similarly sized speaker regardless of origin, thanks in part to the shallow cabinet / wide baffle shape which gives the drivers the best possible operating conditions, allowing them to perform as if they are mounted in a virtual wall. This provides the most undisturbed sound field with the widest and most even dispersion possible from a real world cabinet shape. The crossover is simple, essentially first order, hardwired and incorporates air-cored chokes and selected bipolar and polypropylene capacitors (either copper foil or silver foil, depending on model). The internal cabling consists of either 99.99% pure copper or 99.99% pure silver Audio Note (UK) wire, depending on the exact model. (See specifications.) Consistent performance is a major issue in loudspeaker design and unfortunately all drive units vary slightly from each other, even if they look the same and have the same basic specification. Many loudspeaker manufacturer’s will tell you that they provide “computer matched” crossovers, and whilst this may be true in one sense (each crossover may have been matched to have the exact same capacitance, inductance and resistance) this essentially “passive” method does not adequately take into consideration the mechanical and acoustic variance present in the drive units themselves, where minute differences in acoustic behaviour will result in quite substantial differences in performance and sound. Therefore, to obtain the best possible combination of drivers and crossovers, we have developed a dynamic matching process. This ensures that each loudspeaker in a stereo pair matches a "master curve" and also its partner, to within 0.4dB. To the best of our knowledge, no other loudspeaker manufacturer achieves such close matching and tests 100% of its production. Another much overlooked area of loudspeaker design is the material choice for the drivers. It has become very fashionable to use all manner of exotic materials (beryllium, diamond, carbon fibre, ceramics etc.) as cone materials in modern drivers, mainly because it gives the impression that the manufacturer in question is making great strides in their research into better sounding speakers. The sad fact is none of these materials work as intended, as they all have their own distinct sonic signature, so no matter how the crossover is designed, this sonic signature will be present when the speaker reproduces music. It may be less obvious and audible with some types of music, but ultimately the chosen material will always imprint some of its own signature on whatever sound is reproduced. In addition, it is vitally important that the sound and characteristics of an individual drive unit are complimentary to those of its chosen partner, so that when an instrument is reproduced by both drive units (which is almost always the case), the upper range does not sound detached from the lower range and vice versa. This is an aspect of performance that cannot be measured by even the most sophisticated test equipment; it can ONLY be judged by listening. We at Audio Note are keenly aware of this and have deliberately chosen drive units whose sonic signatures are as closely matched as possible. This has led us to favour good, old fashioned paper and Hemp paper for the woofer cone and impregnated silk for the dome tweeter. These materials, when matched correctly, marry the low and high frequencies seamlessly, providing the best level of performance possible in the real world of acoustics.

Audio Note AN-J-LX

Προσθήκη στο καλάθι

Audio Note AN-J-LX Hemp Details The majority of the high-end audio marketplace is occupied by ill-conceived low efficiency loudspeaker systems. These designs usually consist of several less-than-ideally matched drivers and a very complex crossover, crammed into a cabinet that exhibits the tonal and textural qualities of reinforced concrete. Their designers are blinded by the dogmatic quest for high sound pressure levels and flat response. But what of the other factors which are essential for emotionally involving music reproduction? What about coherence, full natural micro—as well as macro—dynamics, inner detail? What about LIFE? What about EMOTION? Sorry, they’re just not part of the “High Performance Audio” design brief. And music suffers for it. The design of the AN-J Loudspeaker, by contrast, follows an altogether different philosophy. It calls for a cabinet that complements the chosen drive units, rather than fighting against them. Instead of trying to kill the resonances, we tailor the cabinet to place them in frequency bands where they aid and enhance the operation of the drive units, culminating in a loudspeaker system that makes the most of the preceding amplifier’s output. The material choice for the cabinet is an area where a great deal of research and development has taken place. Over the years, we have tried many different materials and combinations, a time consuming endeavour culminating in the current design, which utilises the highest quality birch ply for the entire cabinet. Bracing and internal damping is kept to a minimum and strategically applied to help, not hinder the drivers. The ported cabinet has been designed to be placed close to room boundaries, where the bass performance is augmented significantly by the additional reinforcement offered by the nearby walls. In this position, it will outperform any similarly sized speaker regardless of origin, thanks in part to the shallow cabinet / wide baffle shape which gives the drivers the best possible operating conditions, allowing them to perform as if they are mounted in a virtual wall. This provides the most undisturbed sound field with the widest and most even dispersion possible from a real world cabinet shape. The crossover is simple, essentially first order, hardwired and incorporates air-cored chokes and selected bipolar and polypropylene capacitors (either copper foil or silver foil, depending on model). The internal cabling consists of either 99.99% pure copper or 99.99% pure silver Audio Note (UK) wire, depending on the exact model. (See specifications.) Consistent performance is a major issue in loudspeaker design and unfortunately all drive units vary slightly from each other, even if they look the same and have the same basic specification. Many loudspeaker manufacturer’s will tell you that they provide “computer matched” crossovers, and whilst this may be true in one sense (each crossover may have been matched to have the exact same capacitance, inductance and resistance) this essentially “passive” method does not adequately take into consideration the mechanical and acoustic variance present in the drive units themselves, where minute differences in acoustic behaviour will result in quite substantial differences in performance and sound. Therefore, to obtain the best possible combination of drivers and crossovers, we have developed a dynamic matching process. This ensures that each loudspeaker in a stereo pair matches a "master curve" and also its partner, to within 0.4dB. To the best of our knowledge, no other loudspeaker manufacturer achieves such close matching and tests 100% of its production. Another much overlooked area of loudspeaker design is the material choice for the drivers. It has become very fashionable to use all manner of exotic materials (beryllium, diamond, carbon fibre, ceramics etc.) as cone materials in modern drivers, mainly because it gives the impression that the manufacturer in question is making great strides in their research into better sounding speakers. The sad fact is none of these materials work as intended, as they all have their own distinct sonic signature, so no matter how the crossover is designed, this sonic signature will be present when the speaker reproduces music. It may be less obvious and audible with some types of music, but ultimately the chosen material will always imprint some of its own signature on whatever sound is reproduced. In addition, it is vitally important that the sound and characteristics of an individual drive unit are complimentary to those of its chosen partner, so that when an instrument is reproduced by both drive units (which is almost always the case), the upper range does not sound detached from the lower range and vice versa. This is an aspect of performance that cannot be measured by even the most sophisticated test equipment; it can ONLY be judged by listening. We at Audio Note are keenly aware of this and have deliberately chosen drive units whose sonic signatures are as closely matched as possible. This has led us to favour good, old fashioned paper and Hemp paper for the woofer cone and impregnated silk for the dome tweeter. These materials, when matched correctly, marry the low and high frequencies seamlessly, providing the best level of performance possible in the real world of acoustics.

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Audio Note AN-J-LX Hemp

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€7,270.00

Audio Note AN-J-LX Hemp

Audio Note AN-J-LX HempDetails
The majority of the high-end audio marketplace is occupied by ill-conceived low efficiency loudspeaker systems. These designs usually consist of several less-than-ideally matched drivers and a very complex crossover, crammed into a cabinet that exhibits the tonal and textural qualities of reinforced concrete. Their designers are blinded by the dogmatic quest for high sound pressure levels and flat response.

But what of the other factors which are essential for emotionally involving music reproduction? What about coherence, full natural micro—as well as macro—dynamics, inner detail?
What about LIFE?
What about EMOTION?

Sorry, they’re just not part of the “High Performance Audio” design brief. And music suffers for it.

The design of the AN-J Loudspeaker, by contrast, follows an altogether different philosophy. It calls for a cabinet that complements the chosen drive units, rather than fighting against them. Instead of trying to kill the resonances, we tailor the cabinet to place them in frequency bands where they aid and enhance the operation of the drive units, culminating in a loudspeaker system that makes the most of the preceding amplifier’s output.
The material choice for the cabinet is an area where a great deal of research and development has taken place. Over the years, we have tried many different materials and combinations, a time consuming endeavour culminating in the current design, which utilises the highest quality birch ply for the entire cabinet. Bracing and internal damping is kept to a minimum and strategically applied to help, not hinder the drivers.

The ported cabinet has been designed to be placed close to room boundaries, where the bass performance is augmented significantly by the additional reinforcement offered by the nearby walls. In this position, it will outperform any similarly sized speaker regardless of origin, thanks in part to the shallow cabinet / wide baffle shape which gives the drivers the best possible operating conditions, allowing them to perform as if they are mounted in a virtual wall. This provides the most undisturbed sound field with the widest and most even dispersion possible from a real world cabinet shape.

The crossover is simple, essentially first order, hardwired and incorporates air-cored chokes and selected bipolar and polypropylene capacitors (either copper foil or silver foil, depending on model). The internal cabling consists of either 99.99% pure copper or 99.99% pure silver Audio Note (UK) wire, depending on the exact model. (See specifications.)

Consistent performance is a major issue in loudspeaker design and unfortunately all drive units vary slightly from each other, even if they look the same and have the same basic specification. Many loudspeaker manufacturer’s will tell you that they provide “computer matched” crossovers, and whilst this may be true in one sense (each crossover may have been matched to have the exact same capacitance, inductance and resistance) this essentially “passive” method does not adequately take into consideration the mechanical and acoustic variance present in the drive units themselves, where minute differences in acoustic behaviour will result in quite substantial differences in performance and sound. Therefore, to obtain the best possible combination of drivers and crossovers, we have developed a dynamic matching process. This ensures that each loudspeaker in a stereo pair matches a "master curve" and also its partner, to within 0.4dB. To the best of our knowledge, no other loudspeaker manufacturer achieves such close matching and tests 100% of its production.

Another much overlooked area of loudspeaker design is the material choice for the drivers. It has become very fashionable to use all manner of exotic materials (beryllium, diamond, carbon fibre, ceramics etc.) as cone materials in modern drivers, mainly because it gives the impression that the manufacturer in question is making great strides in their research into better sounding speakers. The sad fact is none of these materials work as intended, as they all have their own distinct sonic signature, so no matter how the crossover is designed, this sonic signature will be present when the speaker reproduces music. It may be less obvious and audible with some types of music, but ultimately the chosen material will always imprint some of its own signature on whatever sound is reproduced. In addition, it is vitally important that the sound and characteristics of an individual drive unit are complimentary to those of its chosen partner, so that when an instrument is reproduced by both drive units (which is almost always the case), the upper range does not sound detached from the lower range and vice versa. This is an aspect of performance that cannot be measured by even the most sophisticated test equipment; it can ONLY be judged by listening. We at Audio Note are keenly aware of this and have deliberately chosen drive units whose sonic signatures are as closely matched as possible. This has led us to favour good, old fashioned paper and Hemp paper for the woofer cone and impregnated silk for the dome tweeter. These materials, when matched correctly, marry the low and high frequencies seamlessly, providing the best level of performance possible in the real world of acoustics.

Audio Note AN-J-LX Hemp

Προσθήκη στο καλάθι

Proac K1

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Proac K1

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€7,990.00

Proac K1

Λόγω της επιτυχίας των επιδαπέδιων ηχείων της «Σειράς K», μας ζητήθηκε να δημιουργήσουμε ένα ηχείο που τοποθετείται σε βάση για τη σειρά K. Και, μετά από χρόνια έρευνας και ανάπτυξης, σχεδιάσαμε το K1.
Το ηχείο K1 που τοποθετείται στη βάση χρησιμοποιεί τον δικό μας κώνο Kevlar και το δοκιμασμένο τουίτερ μας με ribbon, το οποίο χρησιμοποιείται σε όλη τη σειρά K Series. Ωστόσο, έχουμε κάνει ορισμένες τροποποιήσεις στην καμπίνα, στο woofer και το tweeter για να τα προσαρμόσουμε κατάλληλα για ένα ηχείο που τοποθετείται σε βάση. Αν και το K1 είναι ένα ηχείο που τοποθετείται σε βάση, έχει εκπληκτικά εκτεταμένο και ακριβές μπάσο με τα γνωστά, όμορφα μεσαία σχεδόν σαν ηλεκτροστατικού ένα χαρακτηριστικό της σειράς K.

Proac K1

Proac K1

Προσθήκη στο καλάθι

KEF Reference 1 Meta

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KEF Reference 1 Meta

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€9,000.00

KEF Reference 1 Meta

KEF Reference 1 Meta

KEF Reference 1 Meta

Επιλογή

Audio Note ANE LX Details The majority of the high-end audio marketplace is occupied by ill-conceived low efficiency loudspeaker systems. These designs usually consist of several less-than-ideally matched drivers and a very complex crossover, crammed into a cabinet that exhibits the tonal and textural qualities of reinforced concrete. Their designers are blinded by the dogmatic quest for high sound pressure levels and flat response. But what of the other factors which are essential for emotionally involving music reproduction? What about coherence, full natural micro—as well as macro—dynamics, inner detail? What about LIFE? What about EMOTION? Sorry, they’re just not part of the “High Performance Audio” design brief. And Music suffers for it. The design of the AN-E Loudspeaker, by contrast, follows an altogether different philosophy. It calls for a cabinet that complements the chosen drive units, rather than fighting against them. Instead of trying to kill the resonances, we tailor the cabinet to place them in frequency bands where they aid and enhance the operation of the drive units, culminating in a loudspeaker system that makes the most of the preceding amplifier’s output. The material choice for the cabinet is an area where a great deal of research and development has taken place. Over the years, we have tried many different materials and combinations, a time consuming endeavour culminating in the current design, which utlises the highest quality birch ply for the entire cabinet. Bracing and internal damping is kept to a minimum and strategically applied to help, not hinder the drivers. The ported cabinet has been designed to be placed close to room boundaries, where the bass performance is augmented significantly by the additional reinforcement offered by the nearby walls. In this position, it will outperform any similarly sized speaker regardless of origin, thanks in part to the shallow cabinet / wide baffle shape which gives the drivers the best possible operating conditions, allowing them to perform as if they are mounted in a virtual wall. This provides the most undisturbed sound field with the widest and most even dispersion possible from a real world cabinet shape. The crossover is simple, essentially first order, hardwired and incorporates air-cored chokes and selected bipolar and polypropylene capacitors (either copper foil or silver foil, depending on model). The internal cabling consists of either 99.99% pure copper or 99.99% pure silver Audio Note (UK) wire, depending on the exact model. (See specifications.) Consistent performance is a major issue in loudspeaker design and unfortunately all drive units vary slightly from each other, even if they look the same and have the same basic specification. Many loudspeaker manufacturer’s will tell you that they provide “computer matched” crossovers, and whilst this may be true in one sense (each crossover may have been matched to have the exact same capacitance, inductance and resistance) this essentially “passive” method does not adequately take into consideration the mechanical and acoustic variance present in the drive units themselves, where minute differences in acoustic behaviour will result in quite substantial differences in performance and sound. Therefore, to obtain the best possible combination of drivers and crossovers, we have developed a dynamic matching process. This ensures that each loudspeaker in a stereo pair matches a "master curve" and also its partner, to within 0.4dB. To the best of our knowledge, no other loudspeaker manufacturer achieves such close matching and tests 100% of its production. Another much overlooked area of loudspeaker design is the material choice for the drivers. It has become very fashionable to use all manner of exotic materials (beryllium, diamond, carbon fibre, ceramics etc.) as cone materials in modern drivers, mainly because it gives the impression that the manufacturer in question is making great strides in their research into better sounding speakers. The sad fact is none of these materials work as intended, as they all have their own distinct sonic signature, so no matter how the crossover is designed, this sonic signature will be present when the speaker reproduces music. It may be less obvious and audible with some types of music, but ultimately the chosen material will always imprint some of its own signature on whatever sound is reproduced. In addition, it is vitally important that the sound and characteristics of an individual drive unit are complimentary to those of its chosen partner, so that when an instrument is reproduced by both drive units (which is almost always the case), the upper range does not sound detached from the lower range and visa versa. This is an aspect of performance that cannot be measured by even the most sophisticated test equipment; it can ONLY be judged by listening. We at Audio Note are keenly aware of this and have deliberately chosen drive units whose sonic signatures are as closely matched as possible. This has led us to favour good, old fashioned paper and Hemp paper for the woofer cone and impregnated silk for the dome tweeter. These materials, when matched correctly, marry the low and high frequencies seamlessly, providing the best level of performance possible in the real world of acoustics.

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Audio Note ANE LX

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€9,440.00

Audio Note ANE LX

Audio Note ANE LXDetails
The majority of the high-end audio marketplace is occupied by ill-conceived low efficiency loudspeaker systems. These designs usually consist of several less-than-ideally matched drivers and a very complex crossover, crammed into a cabinet that exhibits the tonal and textural qualities of reinforced concrete. Their designers are blinded by the dogmatic quest for high sound pressure levels and flat response.

But what of the other factors which are essential for emotionally involving music reproduction? What about coherence, full natural micro—as well as macro—dynamics, inner detail?
What about LIFE?
What about EMOTION?

Sorry, they’re just not part of the “High Performance Audio” design brief. And Music suffers for it.

The design of the AN-E Loudspeaker, by contrast, follows an altogether different philosophy. It calls for a cabinet that complements the chosen drive units, rather than fighting against them. Instead of trying to kill the resonances, we tailor the cabinet to place them in frequency bands where they aid and enhance the operation of the drive units, culminating in a loudspeaker system that makes the most of the preceding amplifier’s output.

The material choice for the cabinet is an area where a great deal of research and development has taken place. Over the years, we have tried many different materials and combinations, a time consuming endeavour culminating in the current design, which utlises the highest quality birch ply for the entire cabinet. Bracing and internal damping is kept to a minimum and strategically applied to help, not hinder the drivers.

The ported cabinet has been designed to be placed close to room boundaries, where the bass performance is augmented significantly by the additional reinforcement offered by the nearby walls. In this position, it will outperform any similarly sized speaker regardless of origin, thanks in part to the shallow cabinet / wide baffle shape which gives the drivers the best possible operating conditions, allowing them to perform as if they are mounted in a virtual wall. This provides the most undisturbed sound field with the widest and most even dispersion possible from a real world cabinet shape.

The crossover is simple, essentially first order, hardwired and incorporates air-cored chokes and selected bipolar and polypropylene capacitors (either copper foil or silver foil, depending on model). The internal cabling consists of either 99.99% pure copper or 99.99% pure silver Audio Note (UK) wire, depending on the exact model. (See specifications.)

Consistent performance is a major issue in loudspeaker design and unfortunately all drive units vary slightly from each other, even if they look the same and have the same basic specification. Many loudspeaker manufacturer’s will tell you that they provide “computer matched” crossovers, and whilst this may be true in one sense (each crossover may have been matched to have the exact same capacitance, inductance and resistance) this essentially “passive” method does not adequately take into consideration the mechanical and acoustic variance present in the drive units themselves, where minute differences in acoustic behaviour will result in quite substantial differences in performance and sound. Therefore, to obtain the best possible combination of drivers and crossovers, we have developed a dynamic matching process. This ensures that each loudspeaker in a stereo pair matches a "master curve" and also its partner, to within 0.4dB. To the best of our knowledge, no other loudspeaker manufacturer achieves such close matching and tests 100% of its production.

Another much overlooked area of loudspeaker design is the material choice for the drivers. It has become very fashionable to use all manner of exotic materials (beryllium, diamond, carbon fibre, ceramics etc.) as cone materials in modern drivers, mainly because it gives the impression that the manufacturer in question is making great strides in their research into better sounding speakers. The sad fact is none of these materials work as intended, as they all have their own distinct sonic signature, so no matter how the crossover is designed, this sonic signature will be present when the speaker reproduces music. It may be less obvious and audible with some types of music, but ultimately the chosen material will always imprint some of its own signature on whatever sound is reproduced. In addition, it is vitally important that the sound and characteristics of an individual drive unit are complimentary to those of its chosen partner, so that when an instrument is reproduced by both drive units (which is almost always the case), the upper range does not sound detached from the lower range and visa versa. This is an aspect of performance that cannot be measured by even the most sophisticated test equipment; it can ONLY be judged by listening. We at Audio Note are keenly aware of this and have deliberately chosen drive units whose sonic signatures are as closely matched as possible. This has led us to favour good, old fashioned paper and Hemp paper for the woofer cone and impregnated silk for the dome tweeter. These materials, when matched correctly, marry the low and high frequencies seamlessly, providing the best level of performance possible in the real world of acoustics.

Audio Note ANE LX

Προσθήκη στο καλάθι

Audio Note ANE LX Hemp Details The majority of the high-end audio marketplace is occupied by ill-conceived low efficiency loudspeaker systems. These designs usually consist of several less-than-ideally matched drivers and a very complex crossover, crammed into a cabinet that exhibits the tonal and textural qualities of reinforced concrete. Their designers are blinded by the dogmatic quest for high sound pressure levels and flat response. But what of the other factors which are essential for emotionally involving music reproduction? What about coherence, full natural micro—as well as macro—dynamics, inner detail? What about LIFE? What about EMOTION? Sorry, they’re just not part of the “High Performance Audio” design brief. And Music suffers for it. The design of the AN-E Loudspeaker, by contrast, follows an altogether different philosophy. It calls for a cabinet that complements the chosen drive units, rather than fighting against them. Instead of trying to kill the resonances, we tailor the cabinet to place them in frequency bands where they aid and enhance the operation of the drive units, culminating in a loudspeaker system that makes the most of the preceding amplifier’s output. The material choice for the cabinet is an area where a great deal of research and development has taken place. Over the years, we have tried many different materials and combinations, a time consuming endeavour culminating in the current design, which utlises the highest quality birch ply for the entire cabinet. Bracing and internal damping is kept to a minimum and strategically applied to help, not hinder the drivers. The ported cabinet has been designed to be placed close to room boundaries, where the bass performance is augmented significantly by the additional reinforcement offered by the nearby walls. In this position, it will outperform any similarly sized speaker regardless of origin, thanks in part to the shallow cabinet / wide baffle shape which gives the drivers the best possible operating conditions, allowing them to perform as if they are mounted in a virtual wall. This provides the most undisturbed sound field with the widest and most even dispersion possible from a real world cabinet shape. The crossover is simple, essentially first order, hardwired and incorporates air-cored chokes and selected bipolar and polypropylene capacitors (either copper foil or silver foil, depending on model). The internal cabling consists of either 99.99% pure copper or 99.99% pure silver Audio Note (UK) wire, depending on the exact model. (See specifications.) Consistent performance is a major issue in loudspeaker design and unfortunately all drive units vary slightly from each other, even if they look the same and have the same basic specification. Many loudspeaker manufacturer’s will tell you that they provide “computer matched” crossovers, and whilst this may be true in one sense (each crossover may have been matched to have the exact same capacitance, inductance and resistance) this essentially “passive” method does not adequately take into consideration the mechanical and acoustic variance present in the drive units themselves, where minute differences in acoustic behaviour will result in quite substantial differences in performance and sound. Therefore, to obtain the best possible combination of drivers and crossovers, we have developed a dynamic matching process. This ensures that each loudspeaker in a stereo pair matches a "master curve" and also its partner, to within 0.4dB. To the best of our knowledge, no other loudspeaker manufacturer achieves such close matching and tests 100% of its production. Another much overlooked area of loudspeaker design is the material choice for the drivers. It has become very fashionable to use all manner of exotic materials (beryllium, diamond, carbon fibre, ceramics etc.) as cone materials in modern drivers, mainly because it gives the impression that the manufacturer in question is making great strides in their research into better sounding speakers. The sad fact is none of these materials work as intended, as they all have their own distinct sonic signature, so no matter how the crossover is designed, this sonic signature will be present when the speaker reproduces music. It may be less obvious and audible with some types of music, but ultimately the chosen material will always imprint some of its own signature on whatever sound is reproduced. In addition, it is vitally important that the sound and characteristics of an individual drive unit are complimentary to those of its chosen partner, so that when an instrument is reproduced by both drive units (which is almost always the case), the upper range does not sound detached from the lower range and visa versa. This is an aspect of performance that cannot be measured by even the most sophisticated test equipment; it can ONLY be judged by listening. We at Audio Note are keenly aware of this and have deliberately chosen drive units whose sonic signatures are as closely matched as possible. This has led us to favour good, old fashioned paper and Hemp paper for the woofer cone and impregnated silk for the dome tweeter. These materials, when matched correctly, marry the low and high frequencies seamlessly, providing the best level of performance possible in the real world of acoustics.

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Audio Note ANE LX Hemp

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€9,950.00

Audio Note ANE LX Hemp

Audio Note ANE LX HempDetails The majority of the high-end audio marketplace is occupied by ill-conceived low efficiency loudspeaker systems. These designs usually consist of several less-than-ideally matched drivers and a very complex crossover, crammed into a cabinet that exhibits the tonal and textural qualities of reinforced concrete. Their designers are blinded by the dogmatic quest for high sound pressure levels and flat response. But what of the other factors which are essential for emotionally involving music reproduction? What about coherence, full natural micro—as well as macro—dynamics, inner detail? What about LIFE? What about EMOTION? Sorry, they’re just not part of the “High Performance Audio” design brief. And Music suffers for it. The design of the AN-E Loudspeaker, by contrast, follows an altogether different philosophy. It calls for a cabinet that complements the chosen drive units, rather than fighting against them. Instead of trying to kill the resonances, we tailor the cabinet to place them in frequency bands where they aid and enhance the operation of the drive units, culminating in a loudspeaker system that makes the most of the preceding amplifier’s output. The material choice for the cabinet is an area where a great deal of research and development has taken place. Over the years, we have tried many different materials and combinations, a time consuming endeavour culminating in the current design, which utlises the highest quality birch ply for the entire cabinet. Bracing and internal damping is kept to a minimum and strategically applied to help, not hinder the drivers. The ported cabinet has been designed to be placed close to room boundaries, where the bass performance is augmented significantly by the additional reinforcement offered by the nearby walls. In this position, it will outperform any similarly sized speaker regardless of origin, thanks in part to the shallow cabinet / wide baffle shape which gives the drivers the best possible operating conditions, allowing them to perform as if they are mounted in a virtual wall. This provides the most undisturbed sound field with the widest and most even dispersion possible from a real world cabinet shape. The crossover is simple, essentially first order, hardwired and incorporates air-cored chokes and selected bipolar and polypropylene capacitors (either copper foil or silver foil, depending on model). The internal cabling consists of either 99.99% pure copper or 99.99% pure silver Audio Note (UK) wire, depending on the exact model. (See specifications.) Consistent performance is a major issue in loudspeaker design and unfortunately all drive units vary slightly from each other, even if they look the same and have the same basic specification. Many loudspeaker manufacturer’s will tell you that they provide “computer matched” crossovers, and whilst this may be true in one sense (each crossover may have been matched to have the exact same capacitance, inductance and resistance) this essentially “passive” method does not adequately take into consideration the mechanical and acoustic variance present in the drive units themselves, where minute differences in acoustic behaviour will result in quite substantial differences in performance and sound. Therefore, to obtain the best possible combination of drivers and crossovers, we have developed a dynamic matching process. This ensures that each loudspeaker in a stereo pair matches a "master curve" and also its partner, to within 0.4dB. To the best of our knowledge, no other loudspeaker manufacturer achieves such close matching and tests 100% of its production. Another much overlooked area of loudspeaker design is the material choice for the drivers. It has become very fashionable to use all manner of exotic materials (beryllium, diamond, carbon fibre, ceramics etc.) as cone materials in modern drivers, mainly because it gives the impression that the manufacturer in question is making great strides in their research into better sounding speakers. The sad fact is none of these materials work as intended, as they all have their own distinct sonic signature, so no matter how the crossover is designed, this sonic signature will be present when the speaker reproduces music. It may be less obvious and audible with some types of music, but ultimately the chosen material will always imprint some of its own signature on whatever sound is reproduced. In addition, it is vitally important that the sound and characteristics of an individual drive unit are complimentary to those of its chosen partner, so that when an instrument is reproduced by both drive units (which is almost always the case), the upper range does not sound detached from the lower range and visa versa. This is an aspect of performance that cannot be measured by even the most sophisticated test equipment; it can ONLY be judged by listening. We at Audio Note are keenly aware of this and have deliberately chosen drive units whose sonic signatures are as closely matched as possible. This has led us to favour good, old fashioned paper and Hemp paper for the woofer cone and impregnated silk for the dome tweeter. These materials, when matched correctly, marry the low and high frequencies seamlessly, providing the best level of performance possible in the real world of acoustics.

Audio Note ANE LX Hemp

Προσθήκη στο καλάθι

Graham Audio ls5.5

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Graham Audio ls5.5

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

Graham Audio ls5.5

GRAHAM AUDIO LS5/5 BBC STUDIO MONITOR 1967 – Reference Standard.

Graham Audio ls5.5

Graham Audio ls5.5

Προσθήκη στο καλάθι

Audio Note ANE-SPE-HE Details The majority of the high-end audio marketplace is occupied by ill-conceived low efficiency loudspeaker systems. These designs usually consist of several less-than-ideally matched drivers and a very complex crossover, crammed into a cabinet that exhibits the tonal and textural qualities of reinforced concrete. Their designers are blinded by the dogmatic quest for high sound pressure levels and flat response. But what of the other factors which are essential for emotionally involving music reproduction? What about coherence, full natural micro—as well as macro—dynamics, inner detail? What about LIFE? What about EMOTION? Sorry, they’re just not part of the “High Performance Audio” design brief. And Music suffers for it. The design of the AN-E Loudspeaker, by contrast, follows an altogether different philosophy. It calls for a cabinet that complements the chosen drive units, rather than fighting against them. Instead of trying to kill the resonances, we tailor the cabinet to place them in frequency bands where they aid and enhance the operation of the drive units, culminating in a loudspeaker system that makes the most of the preceding amplifier’s output. The material choice for the cabinet is an area where a great deal of research and development has taken place. Over the years, we have tried many different materials and combinations, a time consuming endeavour culminating in the current design, which utlises the highest quality birch ply for the entire cabinet. Bracing and internal damping is kept to a minimum and strategically applied to help, not hinder the drivers. The ported cabinet has been designed to be placed close to room boundaries, where the bass performance is augmented significantly by the additional reinforcement offered by the nearby walls. In this position, it will outperform any similarly sized speaker regardless of origin, thanks in part to the shallow cabinet / wide baffle shape which gives the drivers the best possible operating conditions, allowing them to perform as if they are mounted in a virtual wall. This provides the most undisturbed sound field with the widest and most even dispersion possible from a real world cabinet shape. The crossover is simple, essentially first order, hardwired and incorporates air-cored chokes and selected bipolar and polypropylene capacitors (either copper foil or silver foil, depending on model). The internal cabling consists of either 99.99% pure copper or 99.99% pure silver Audio Note (UK) wire, depending on the exact model. (See specifications.) Consistent performance is a major issue in loudspeaker design and unfortunately all drive units vary slightly from each other, even if they look the same and have the same basic specification. Many loudspeaker manufacturer’s will tell you that they provide “computer matched” crossovers, and whilst this may be true in one sense (each crossover may have been matched to have the exact same capacitance, inductance and resistance) this essentially “passive” method does not adequately take into consideration the mechanical and acoustic variance present in the drive units themselves, where minute differences in acoustic behaviour will result in quite substantial differences in performance and sound. Therefore, to obtain the best possible combination of drivers and crossovers, we have developed a dynamic matching process. This ensures that each loudspeaker in a stereo pair matches a "master curve" and also its partner, to within 0.4dB. To the best of our knowledge, no other loudspeaker manufacturer achieves such close matching and tests 100% of its production. Another much overlooked area of loudspeaker design is the material choice for the drivers. It has become very fashionable to use all manner of exotic materials (beryllium, diamond, carbon fibre, ceramics etc.) as cone materials in modern drivers, mainly because it gives the impression that the manufacturer in question is making great strides in their research into better sounding speakers. The sad fact is none of these materials work as intended, as they all have their own distinct sonic signature, so no matter how the crossover is designed, this sonic signature will be present when the speaker reproduces music. It may be less obvious and audible with some types of music, but ultimately the chosen material will always imprint some of its own signature on whatever sound is reproduced. In addition, it is vitally important that the sound and characteristics of an individual drive unit are complimentary to those of its chosen partner, so that when an instrument is reproduced by both drive units (which is almost always the case), the upper range does not sound detached from the lower range and visa versa. This is an aspect of performance that cannot be measured by even the most sophisticated test equipment; it can ONLY be judged by listening. We at Audio Note are keenly aware of this and have deliberately chosen drive units whose sonic signatures are as closely matched as possible. This has led us to favour good, old fashioned paper and Hemp paper for the woofer cone and impregnated silk for the dome tweeter. These materials, when matched correctly, marry the low and high frequencies seamlessly, providing the best level of performance possible in the real world of acoustics.

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Audio Note ANE-SPE-HE

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€12,450.00

Audio Note ANE-SPE-HE

Audio Note ANE-SPE-HE Details
The majority of the high-end audio marketplace is occupied by ill-conceived low efficiency loudspeaker systems. These designs usually consist of several less-than-ideally matched drivers and a very complex crossover, crammed into a cabinet that exhibits the tonal and textural qualities of reinforced concrete. Their designers are blinded by the dogmatic quest for high sound pressure levels and flat response.

But what of the other factors which are essential for emotionally involving music reproduction? What about coherence, full natural micro—as well as macro—dynamics, inner detail?
What about LIFE?
What about EMOTION?

Sorry, they’re just not part of the “High Performance Audio” design brief. And Music suffers for it.

The design of the AN-E Loudspeaker, by contrast, follows an altogether different philosophy. It calls for a cabinet that complements the chosen drive units, rather than fighting against them. Instead of trying to kill the resonances, we tailor the cabinet to place them in frequency bands where they aid and enhance the operation of the drive units, culminating in a loudspeaker system that makes the most of the preceding amplifier’s output.

The material choice for the cabinet is an area where a great deal of research and development has taken place. Over the years, we have tried many different materials and combinations, a time consuming endeavour culminating in the current design, which utlises the highest quality birch ply for the entire cabinet. Bracing and internal damping is kept to a minimum and strategically applied to help, not hinder the drivers.

The ported cabinet has been designed to be placed close to room boundaries, where the bass performance is augmented significantly by the additional reinforcement offered by the nearby walls. In this position, it will outperform any similarly sized speaker regardless of origin, thanks in part to the shallow cabinet / wide baffle shape which gives the drivers the best possible operating conditions, allowing them to perform as if they are mounted in a virtual wall. This provides the most undisturbed sound field with the widest and most even dispersion possible from a real world cabinet shape.

The crossover is simple, essentially first order, hardwired and incorporates air-cored chokes and selected bipolar and polypropylene capacitors (either copper foil or silver foil, depending on model). The internal cabling consists of either 99.99% pure copper or 99.99% pure silver Audio Note (UK) wire, depending on the exact model. (See specifications.)

Consistent performance is a major issue in loudspeaker design and unfortunately all drive units vary slightly from each other, even if they look the same and have the same basic specification. Many loudspeaker manufacturer’s will tell you that they provide “computer matched” crossovers, and whilst this may be true in one sense (each crossover may have been matched to have the exact same capacitance, inductance and resistance) this essentially “passive” method does not adequately take into consideration the mechanical and acoustic variance present in the drive units themselves, where minute differences in acoustic behaviour will result in quite substantial differences in performance and sound. Therefore, to obtain the best possible combination of drivers and crossovers, we have developed a dynamic matching process. This ensures that each loudspeaker in a stereo pair matches a "master curve" and also its partner, to within 0.4dB. To the best of our knowledge, no other loudspeaker manufacturer achieves such close matching and tests 100% of its production.

Another much overlooked area of loudspeaker design is the material choice for the drivers. It has become very fashionable to use all manner of exotic materials (beryllium, diamond, carbon fibre, ceramics etc.) as cone materials in modern drivers, mainly because it gives the impression that the manufacturer in question is making great strides in their research into better sounding speakers. The sad fact is none of these materials work as intended, as they all have their own distinct sonic signature, so no matter how the crossover is designed, this sonic signature will be present when the speaker reproduces music. It may be less obvious and audible with some types of music, but ultimately the chosen material will always imprint some of its own signature on whatever sound is reproduced. In addition, it is vitally important that the sound and characteristics of an individual drive unit are complimentary to those of its chosen partner, so that when an instrument is reproduced by both drive units (which is almost always the case), the upper range does not sound detached from the lower range and visa versa. This is an aspect of performance that cannot be measured by even the most sophisticated test equipment; it can ONLY be judged by listening. We at Audio Note are keenly aware of this and have deliberately chosen drive units whose sonic signatures are as closely matched as possible. This has led us to favour good, old fashioned paper and Hemp paper for the woofer cone and impregnated silk for the dome tweeter. These materials, when matched correctly, marry the low and high frequencies seamlessly, providing the best level of performance possible in the real world of acoustics.

Audio Note ANE-SPE-HE

Προσθήκη στο καλάθι

YAMAHA NS-5000

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YAMAHA NS-5000

ΗΧΕΙΑ, ηχεία βάσης και βιβλιοθήκης

€14,550.00

YAMAHA NS-5000

YAMAHA NS-5000

YAMAHA NS-5000

Προσθήκη στο καλάθι

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