the cradle of double symmetrical waveguide acoustic loudspeakers
ARKHEOSS Acoustics designs loudspeakers with dual symmetrical wideband waveguides produced at the rate of a few hundred pairs per year. These loudspeakers are intended both for domestic use and for the sound system of performance halls. Three opuses of dual symmetrical waveguide loudspeakers are available from the start of the activity.
ARKHEOSS Acoustics loudspeakers have been designed to reinforce the specific advantage of the best waveguide acoustic loudspeakers published to date, such as the "Klipsch Horn" and the "Klipsch La Scala" by Paul W. Klipsch, the Avantgarde Acoustic Trio XD of Holger Fromme and Matthias Ruff or even, some of the most exclusive achievements of Jonathan Weiss (Imperia - Oswalds Mill Audio).
Our initial conjecture was simple: will it be possible for us to do to the Horns and La Scalas of Paul Wilbur Klipsch what Paul did, himself, to the Western Electric A12/555W and A13/555W of Edward C. Wente and Albert L. Thuras, in conceptualizing their reduction in scale without loss of quality, or even more if affinities?
Beyond the name itself, an efficient waveguide loudspeaker has very few characteristics in common with a traditional radial and multi-way closed, passive radiator or ported loudspeaker.
It is to Edward C. Wente and Albert L. Thuras (Western Electric Co) that we owe the credit for having conceptualized and urbanized the fundamental laws of the electrification of the sound reproduction of the recorded concert (condenser microphone in 1916, A12 and A13 horn loudspeakers powered by the 555W compression transducer in 1926, cf. TECH) and to Paul W. Klipsch, previously a former employee of Western Electric Co too, who use to refine the concept of the waveguide loudspeaker until he came to produce the first two domestic opuses, still in production to this day, namely the Klipsch Horn and the Klipsch La Scala, released in 1948 and 1963 respectively.
The conceptual and technical nature of an efficient waveguide loudspeaker makes that it is, above all, a musical instrument, endowed, as such, most of the characteristics that makes any musical instrument an acoustic amplifier.
As with the piano, trumpet, guitar or violin, the efficient waveguide loudspeaker enclosure includes, for example, one or more soundboard(s) or even a resonance box, called here “waveguide chamber”.
ARKHEOSS Acoustics loudspeakers place the two emissive surfaces of the transducer under the control of, at least, one separate waveguide, these acting in phase to guide the acoustic wave towards the exit vents of the enclosure. The technical urbanization of the device offers an incomparable solution to the problem, which until now remained largely unsolved, of the systematic phase shift between the vibratory and sound dimensions of the acoustic wave, essentially resulting from the addition of:
- the modulation distortion suffered by the transducer during each of its movements in an environment of excessively unequal pressure between the front and the rear of the enclosure of the traditional radial enclosure and, to a lesser degree, of the Paul Voigt's enclosure's design, mixing a rear waveguide on the back with radial transducers on the front.
- the lack of precision of the logarithmic model determining the "vibration -> sound" conversion rate applicable to the acoustic wave, frequency by frequency, knowing that this rate will be close to 0% in very low frequencies, close to 100% in very high frequencies and, finally, that the success of the urbanization of the expected logarithmic model will be entirely determined by the design of the waveguide loudspeaker's enclosure (flow algorithms, fluid mechanics).
To achieve this result, it was important to start from the two main laws formulated by Paul Wilbur Klipsch:
1.- "Distortion is inversely proportional to efficiency."
2.- "An ideally designed waveguide loudspeaker should be able to drop 25 Db of modulation's distortion and add up to 15 Db of efficiency."
Like the Pearl Acoustics or Voxativ loudspeakers, the ARKHEOSS Acoustics loudspeakers use new-generation broadband transducers, capable of covering the entire audio spectrum in one piece (30-20,000 hertz). This approach, which sees the disappearance of the passive electronic cross-over necessary for the proper functioning of traditional multi-way loudspeakers, in no way prohibits the implementation of active control of the source signal (digital preamplifier: high pass, low pass, parametric equalization, light convolution) making it possible to perfect the adaptation of the speaker's response to the tastes of the music lover or to the characteristics of the listening space. The transparency, dynamic linearity, impulse response and neutrality of the ARKHEOSS Acoustics loudspeakers brings them, quite significantly, closer to some of the best achievements favoring the waveguide approach. It was necessary, no doubt, so that they could claim the destination that we intended, from the start, to assign to them: “Serving music, all the music and nothing but music”.
“Live” sound for all musical genres. Active preamplification recommended. Less essential convolutional listening space configuration. Innovative and disruptive architecture. Reasonable size and weight. Neat aesthetics. Contained prices.
"Sound" Prototype ARKHEOSS Acoustics n°7/10 - OC/HO15 - 2021/08
Note: ARKHEOSS Acoustics dual symmetrical waveguide loudspeakers have not been designed to meet the needs of post-production studio monitoring. Knowing that these recordings will, for the most part, be listened to via traditional radial loudspeakers, it would be better to prefer dedicated monitoring loudspeakers.