The program which will yield the best results is with the use of the Trinnov Amythist or the ST2. What is not shown in your previous graphs was the filter to be applied and the corrected results after the application of the filters. What you have shown above is absolutely incomplete.Within that you can then modify any other parameter or use the 5 simple modes generated by the computed program. We have been using Trinnov corrections in all our 3 listening rooms with the result that the room has been taken out of the equation in every instance.Then and only then can you realise the true potential of all your equipment and speakers. It removes the room interaction with your speakers. So that you truly hear how your speakers should sound. THERE IS NO GUESSWORK Involved.
Anyone in Australia is welcome to come and hear for themselves. Leonardo Da Vinci, centuries ago stated. Some people can see. Some see when they have been shown. Some never see.
It is ST2 I am using it for room acoustic measurement. Once found out the optimised position of stereo speakers, this device is physically detached from audio system. No sound quality impacted on the system likes the one (Stiletto/Saxum) in AE Central showroom which is well-structured/built for room acoustic management I can tell.
In apartment I am living (HK) or others I re-positioned their speakers, owner is to live with - furniture, room fixing, CD/LP rack, or others on their locked position but a pair of speakers (new or old). Through this room acoustic measurement and speaking position adjustment, I can enjoy my system in an efficient way instead of spending time to try-and-error to move Stiletto. I enjoyed Stiletto on day 1 AE delivered it to my apartment benefited by this method. I repeated this work caused I have upgraded speaker cable and power cord for connecting my audio system as well as located a better position for Stiletto to sit on (larger toe-in).
For the 5 modes which are EQ modes, we can further apply one of it upon measurement. Frankly speaking, I am not convinced to adapt it as more or less it changes (or you can argue this is refinement) some frequencies of sound source sending to pre-amp. E.g. using neutral mode will send frequency - ranged from 20 Hz to 20kHz adjusted closed to 0 dB. ST2/Amythist is an Intel computer with audio components operating a very complex program for adjusting sound source. If an audio system connects this device, I recommend to connect it using good cables. E.g. power cord, RCA/XLR, ground cable, etc.
Taking the ST2 out of the equation, by disconnecting the ST2 once you have positioned your speakers only does half the job because your speakers, even if in their best position as determined by the ST2, are still going to interact with your room. The ST2 connected to your system will remove the room from the equation with respect to your listening position. It goes without saying that you should use the best quality cables and power cords. Does your DAC not process your files? You select your DAC according to the way it best processes the sound for you. So what is wrong with allowing the ST2 to process your files to optimise your speakers to sound the best in your room?
The positioning of the speaker and the listening chair have been iteratively refined to strike a good balance among various audition criteria. We are putting in more upgrades on gears and cables in order to attain an ever higher level of realism on music playback. Look forward to your next visit!
Immersion is a 3 pieces system. Pictured here is one of the tower, built of 7 identical custom full-range drivers and a Saffire tweeter (a material in between ceramic and diamond in terms of hardness). The tower is part pressure loaded open baffle, Karlson horn and plane wave horn. By restricting part of the back energy, we increase pressure and air speed, while in the front, there is a gradual transition between Karlson and open field. The two towers (approx. 1,8 m) are supplemented by a choice of 3 sealed low frequency modules (twin drivers, 18, 15 or 12 inches). I wanted something very sculptural, yet grounded in a solid technical foundation. Most of the sound (100 to 7000Hz) comes from the array of drivers, which are coupled to produce a cylindrical waveform. The picture is a rendering and some design aspects will change. For example, the transparent parts may be made of cast glass or even cast bronze. We were lucky to have creative personel from Cirque du Soleil join Arteluthe and all new and existing products will receive and extra dose of magic.
In February 2020 Romanynov wrote about Stilettos: “How come the bass energy was so close to my mega horn system at home?? Why the soundstage was that deep and wide?? The playback was so colorful, rich in dynamics and drama!” Since then Stilettos have been a great discovery for a lot of people. I was very interested in the Stilettos until the Spadas were introduced. Release date was scheduled for April but I am not aware of their release and their final specifications.
Undoubtedly, with the precedent of the Stilettos taken to a larger size, i cannot imagine what level Spadas can reach to improve their little brothers. Will they have same bass energy as Romanynov system with their three bigger bass drivers?
Thank you! Unfortunately our production plans have been derailed due to pandemic, but things are starting to get back to life, and first production models are expected as soon as august.
Absolutely, thank you for asking! Spada is two speakers in one: The heart of Spada is the top cluster made of the two transducers on each side of the tweeter, which are directly connected to the amplifier (amplifier/voice coils/amplifier). They are loaded in a very slightly overdamped air volume and reproduce all frequencies from 50 (plus or minus) to 6 000 Hz, with an acoustic roll-off on either end. The twin 8 ohms transducers are connected in 16 ohms, offering an extremely easy and flat load to the amp (sealed enclosures do not have the double-hump impedance of reflex). Frequencies over 6 000 Hz are handled by a relatively large, 1,2 in. tweeter, up to and above 23 kHz. The tweeter by itself could go down to 500 Hz. We do not, but having transducers that can extend by 2 or 3 octaves, over what is required by design is an attractive safety net and incredible dynamic reserve. The tweeter is being more sensitive than the target, we can use very small value components to improve clarity. That was 1 enclosure. The other part is the LF section, made of 3 x 8in high power transducers. These are loaded by a tapered, folded line of almost 3 m — twice as Stiletto. The line has a large volume of air, offering a global Q bellow 0,5 - which is transient perfect, the air has no spring effect. The line is tapered, stuffed and closely coupled to the 3 motors and the bandwidth is limited to what we want. In other words, 20 Hz seemed acceptable and I went for it. In room, Spada are extremely potent, will overpower even the biggest rooms and must be partnered with the best electronics. How is that? Transducers are connected for 4 ohms electric, and more energy naturally goes to the LF, protecting the upper enclosure, while offering a perfect integration in phase, time. The sensitivity is limited to 90 dB, to extend bandwidth as desired, and to provide exceptional dynamic authority in a compact format. In other words, the power packed in Spada is almost rocket like, but used at a fraction of the power in order to extend torque. The thinking of it is totally holistic, every part is linked to the other and work to deliver what is expected. I hope the explanation is clear, sometimes I cannot find the words to express the meaning and I am sorry for it.
Comments
利用這套方式去尋找喇叭的正確擺位比較用耳和眼更具科學參考價值. 而且使用的音頻不是某類型的音樂,而是一組混合音頻. 經過反覆的量度而達至上述的理想系數後, 皇帝位所聽到的左右聲頻的一致性極高! 擬做出的音場不只是更立體而且焦點位更見實在. 有了這一套工具, 彷彿又向喇叭擺位這一門易學難精的技術行前了一步!
Speedmaster是一位好學不倦而且是一名data driven 的IT 人, 所以能掌握如何有效運用這套工具和數據分析. 在他身上獲益良多!
Learner
We have been using Trinnov corrections in all our 3 listening rooms with the result that the room has been taken out of the equation in every instance.Then and only then can you realise the true potential of all your equipment and speakers.
It removes the room interaction with your speakers. So that you truly hear how your speakers should sound. THERE IS NO GUESSWORK Involved.
Leonardo Da Vinci, centuries ago stated.
Some people can see.
Some see when they have been shown.
Some never see.
In apartment I am living (HK) or others I re-positioned their speakers, owner is to live with - furniture, room fixing, CD/LP rack, or others on their locked position but a pair of speakers (new or old). Through this room acoustic measurement and speaking position adjustment, I can enjoy my system in an efficient way instead of spending time to try-and-error to move Stiletto. I enjoyed Stiletto on day 1 AE delivered it to my apartment benefited by this method. I repeated this work caused I have upgraded speaker cable and power cord for connecting my audio system as well as located a better position for Stiletto to sit on (larger toe-in).
For the 5 modes which are EQ modes, we can further apply one of it upon measurement. Frankly speaking, I am not convinced to adapt it as more or less it changes (or you can argue this is refinement) some frequencies of sound source sending to pre-amp. E.g. using neutral mode will send frequency - ranged from 20 Hz to 20kHz adjusted closed to 0 dB. ST2/Amythist is an Intel computer with audio components operating a very complex program for adjusting sound source. If an audio system connects this device, I recommend to connect it using good cables. E.g. power cord, RCA/XLR, ground cable, etc.
Taking the ST2 out of the equation, by disconnecting the ST2 once you have positioned your speakers only does half the job because your speakers, even if in their best position as determined by the ST2, are still going to interact with your room. The ST2 connected to your system will remove the room from the equation with respect to your listening position. It goes without saying that you should use the best quality cables and power cords. Does your DAC not process your files? You select your DAC according to the way it best processes the sound for you. So what is wrong with allowing the ST2 to process your files to optimise your speakers to sound the best in your room?
I think it is just a matter of personal choice.
The positioning of the speaker and the listening chair have been iteratively refined to strike a good balance among various audition criteria. We are putting in more upgrades on gears and cables in order to attain an ever higher level of realism on music playback. Look forward to your next visit!
Marvel
The two towers (approx. 1,8 m) are supplemented by a choice of 3 sealed low frequency modules (twin drivers, 18, 15 or 12 inches). I wanted something very sculptural, yet grounded in a solid technical foundation.
Most of the sound (100 to 7000Hz) comes from the array of drivers, which are coupled to produce a cylindrical waveform.
The picture is a rendering and some design aspects will change. For example, the transparent parts may be made of cast glass or even cast bronze.
We were lucky to have creative personel from Cirque du Soleil join Arteluthe and all new and existing products will receive and extra dose of magic.
“How come the bass energy was so close to my mega horn system at home?? Why the soundstage was that deep and wide?? The playback was so colorful, rich in dynamics and drama!”
Since then Stilettos have been a great discovery for a lot of people. I was very interested in the Stilettos until the Spadas were introduced. Release date was scheduled for April but I am not aware of their release and their final specifications.
Will they have same bass energy as Romanynov system with their three bigger bass drivers?
Could you please share Spada’s specifications?
King regards !!!
The heart of Spada is the top cluster made of the two transducers on each side of the tweeter, which are directly connected to the amplifier (amplifier/voice coils/amplifier).
They are loaded in a very slightly overdamped air volume and reproduce all frequencies from 50 (plus or minus) to 6 000 Hz, with an acoustic roll-off on either end.
The twin 8 ohms transducers are connected in 16 ohms, offering an extremely easy and flat load to the amp (sealed enclosures do not have the double-hump impedance of reflex).
Frequencies over 6 000 Hz are handled by a relatively large, 1,2 in. tweeter, up to and above 23 kHz. The tweeter by itself could go down to 500 Hz. We do not, but having transducers that can extend by 2 or 3 octaves, over what is required by design is an attractive safety net and incredible dynamic reserve. The tweeter is being more sensitive than the target, we can use very small value components to improve clarity. That was 1 enclosure.
The other part is the LF section, made of 3 x 8in high power transducers. These are loaded by a tapered, folded line of almost 3 m — twice as Stiletto. The line has a large volume of air, offering a global Q bellow 0,5 - which is transient perfect, the air has no spring effect. The line is tapered, stuffed and closely coupled to the 3 motors and the bandwidth is limited to what we want.
In other words, 20 Hz seemed acceptable and I went for it. In room, Spada are extremely potent, will overpower even the biggest rooms and must be partnered with the best electronics.
How is that? Transducers are connected for 4 ohms electric, and more energy naturally goes to the LF, protecting the upper enclosure, while offering a perfect integration in phase, time.
The sensitivity is limited to 90 dB, to extend bandwidth as desired, and to provide exceptional dynamic authority in a compact format. In other words, the power packed in Spada is almost rocket like, but used at a fraction of the power in order to extend torque. The thinking of it is totally holistic, every part is linked to the other and work to deliver what is expected.
I hope the explanation is clear, sometimes I cannot find the words to express the meaning and I am sorry for it.