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Wide Bandwidth
New challenges new opportunities, a new genre in loudspeaker design – Wide
Bandwidth: The capacity to recreate the actual event relies upon a number of
fundamental design objectives. Bandwidth is one of the most important concerns.
Why should this be? At its most simple, it should be reproduced because the artists
through their instruments create this energy. In fact many instruments produce sound
that extends well beyond 20KHz and up to 100KHz. To ignore the importance of wide
bandwidth is to accept a compressed version of the recording. In order to even
attempt to recreate this energy, new technologies must be invented. The laws of
physics dictate that you cannot push the limits of the dynamic drive unit without severe
penalties. Wilson Benesch invented the Torus to address the low frequency band. For
the Ultrasonic band we adopted a patented technology from Murata of Japan. The
Sphere pulses with a step response time that is significantly superior to any alternative
technologies. This capability is endowed with the capacity to recreate the subtlest
transient information that is quintessentially important to sound reproduction above 20
KHz.
W.B. (Wide Bandwidth) One
The latest drive unit the "W.B. One" incorporates a number of important details that
have been painstakingly researched and developed within the companies C.N.C.
manufacturing cell. The drive unit takes advantage of the latest Nd.Fe.B magnetic
material to deliver more magnetic flux, providing for a more powerful motor system but
significantly one that does not obstruct the anti-phase energy projected from the back
of the cone. The new motor assembly was modified to handle the increase in flux,
without any major increase in size. All the profiles retain the same curved forms, so as to
cause the least turbulence in air moving behind the diaphragm. The length of the
magnetic aperture has also been increased in order to increase the length of coil
submerged in flux. This increase enables greater control and a more responsive
reaction to the all-important transient.
The net result sees a 3dB improvement in sound pressure levels and significant
improvements in signal to noise ratios. Dynamics are almost electrostatic in character,
but with real slam that is only possible with the most dynamic compression and
rarefaction of air. The most obvious characteristic is the freedom of delivery, isolating
and defining the instruments in a sound field that extends beyond the confines of the
enclosure.
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