Thanks to high efficiency, universe 3 with almost any amplifier copes of the Horn. We have tested the Horn speaker.
- very dynamic and direct
- Open gambling Horn with a great speech
- sensational exact figure
- cope with virtually all amplifiers
Rock concert volume levels from just a few Watts? Who moves into the realm of the Single-ended Triodes and still like to dynamically listen who needs one thing above all: efficiency! To Schalldru? cke beyond the 100 decibels from a Watt (or a half) to produce, is the best solution the Horn principle with high drivers as before. To ensure the effective coupling to the environment, the actual Horn mouth – not too small, select a condition which definitely brings the universe with 3 hORNS to the chagrin of all carriers.
Origin and formation of the gigantic High efficiency are fu? r high-end conditions rather unusual: the father of construction, Lukasz Lewandowski, is neither English nor American and he screws also not 50 years old amplifiers around. He came to the high end of enthusiasm. Actually, he runs a successful body building operation in Poland and specializes in the development and reconstruction of cars and snowmobiles with glass fiber constructions. Ever, explains why the three parts of the universe – horns fu? r mid-range and tweeter and Horn-shaped line fu? r built the bass – flawless quality and impressive high-quality painted could. The unusual shape is also not smoke and mirrors, theoretical development and acoustic tuning are highly professional to call.
Horn of the Horn
The Herzstu? of the Polish Super Horn the medium tone funnel is ck. He is not fired with a conventional cone chassis, but with a fu? nf measured centimeters full beryllium Dome, which plays on a pressure Chamber and then emits sound waves by a transform element to the funnel. Whereas other representatives of high Efficiency group rather place emphasis on broadband design, plays the Horn midrange driver only within a narrow range: from about 350 to 3000 Hz. Gru? nde are easy: A horn can not fu? r any frequency ranges are optimized at the same time, so want to Horn dear three octaves schlacken – and free of discoloration as fu? nf with lazy compromises u? trunsmeetted know.
The Horn shape is not common funnel shapes like the Tractrix – or exponential Horn, but resembles a ball shaft Horn in the form of so-called JMLC which allows an excellent uniform directivity at very low internal resonances.
The Horn tweeter is a scaled-down model of same form and is offset by some to the top and back to the Central tone cone. The reason: Both hopper should not affect acoustically, and yet as time correctly emit the sound shares, the driver mu? must be placed so nearly on a level. Deep and fundamental below 350 Hz will not u? ber horns, but u? ber one Downfire mode playing 15-incher directly reproduced. It is ru? ckseitig on an open top funnel construction, which neither represents bass reflex yet transmission, but is similar to a defined ventilation a pretty well-known worm. Clear priority here had impulse accurate bass reproduction according to the German sales against draught and maximum level.
The listener when connecting the Giants experienced a surprise: Bass and middle/high unit be always separately connected fu? r former an own amplifier is supplied. The universe is so almost continuously working in bi-Amping mode and allows you to also use of zartester Triodes shoots even below the 1-Watt line in the midrange. Because the sound pressure level of the stereo play Laboratory determined was 95.6 decibels at two Volt far above that which are able to afford even grown horns.
Fu? r the use of Single-ended Triodes and other more sensitive amplifier concepts but also a possible constant impedance is one. This could by means of correcting limb fu Lewandowski? r keep the tweeter midrange on through constant level.
Fu? r the hearing test then stereoplay also emphasizes quiet fellows from the test pool attracted, first the unison simply Italy with just 3.3 (!) Watts into 4 Ohms. But then the surprise: what knew little at Fleetwood Macs “Rumors” on strength and suppleness to unleash, was downright stunning. Ultra dynamic, exactly on the point, with driving precision basses and downright stunning holographic placement the universe started. Any Horn coloring or lack of resolution in the high frequency range was completely foreign to her. On the contrary: even for large orchestral works such as Mahler’s fourth Symphony (conducted by Jansons) bubbled they downright detail joy and peeled out even the finest details of the SACD . While she diversified the Orchestra throughout the width, but little in the depth, bu? ndelte the mezzo soprano voice even too much direction listeners. It is for fans of the “lean back” be hearing so little choice.
“Straight forward” was her rather: Peter Gabriels “Up” with its extreme Low bass deposits sounded incredibly tired, fast and free. But those who want to experience pressure and level of a live concert, may also like to fall higher to an amplifier League . This may be a tube – but does not have as the Ayre has proven V-5xe.
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