TESSERACT Signature represents the culmination of over 30 years of research into the subtleties of musical waveforms and the psychoacoustic perception of sounds in space. Our research into physical forms and how they react with ambient musical information has led us to two essential innovative concepts. First, it is possible to make a large full-range system fully disappear sonically. Second, it is possible to create 3-dimensional images within a soundstage using conventional stereo recordings.
Our Stealth Technology, the redirecting and diffusion of ambient room energy, makes the disappearing act possible. The use of tensor field mathematics, assigning a value and direction to expanding harmonic waves, along with enormous amounts of number crunching, has given us the ability to make reliable predictions regarding which physical forms will best disappear in space. Making an array that is over 7 feet tall disappear is quite a feat of practical mathematical prediction and actual form fabrication.
Sonic Holography is accomplished through meticulousness in recovery and preservation of low-level signal information which is encoded into any well-made recording. Whenever a microphone is open it is collecting phase and spatial information which is rarely fully decoded by a playback system. This fragile information may be destroyed at many stages of the recording/playback process. Our goal is to preserve as much of the truth that inhabits each recording without putting our own fingerprints on the final presentation.
Most importantly, we never apply a technique without considering the effect it will have on the emotional content of the presentation. For us, technique is always in service to the music. There must be an aesthetic or emotional result for each intellectual or technical choice we make, one that speaks to our souls.
TESSERACT Signature represents the culmination of over 30 years of research into the subtleties of musical waveforms and the psychoacoustic perception of sounds in space. Our research into physical forms and how they react with ambient musical information has led us to two essential innovative concepts. First, it is possible to make a large full-range system fully disappear sonically. Second, it is possible to create 3-dimensional images within a soundstage using conventional stereo recordings.
Our Stealth Technology, the redirecting and diffusion of ambient room energy, makes the disappearing act possible. The use of tensor field mathematics, assigning a value and direction to expanding harmonic waves, along with enormous amounts of number crunching, has given us the ability to make reliable predictions regarding which physical forms will best disappear in space. Making an array that is over 7 feet tall disappear is quite a feat of practical mathematical prediction and actual form fabrication.
Sonic Holography is accomplished through meticulousness in recovery and preservation of low-level signal information which is encoded into any well-made recording. Whenever a microphone is open it is collecting phase and spatial information which is rarely fully decoded by a playback system. This fragile information may be destroyed at many stages of the recording/playback process. Our goal is to preserve as much of the truth that inhabits each recording without putting our own fingerprints on the final presentation.
Most importantly, we never apply a technique without considering the effect it will have on the emotional content of the presentation. For us, technique is always in service to the music. There must be an aesthetic or emotional result for each intellectual or technical choice we make, one that speaks to our souls.
Response | 16 Hz to 70 kHz (+/- 0.5 dB anechoic, +/- 1 dB in room response typical) |
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In room low frequency response | (-1.5 dB @ 16Hz, -3 dB @ 13Hz typical, dependent upon room volume) |
Efficiency | 93.5 dB (1 watt @ 1 meter) |
Harmonic distortion | 0.30 % throughout the bandwidth at rated efficiency |
Inter-driver phase deviation | 3 degrees within all cross bands |
Noise floor | 68 dB from signal level (maximum noise level), 76dB Typical |
Group delay distortion | 3 milliseconds 100 Hz to 16 Hz. 1 millisecond 100 Hz to 20 KHz. |
Impedance | 6 ohms nominal (4 ohms minimum @ 80 Hz) |
Recommended amplifier power | 15 to 500 watts |
Powered Isobaric Transmission Line Specs |
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Power: 3.2 Kilowatts per channel |
Automatic signal sensing and gain matching |
Master Gain: +/- 2.5 dB (fixed resistor elements of 0.25 dB increments) |
Toggle switch for selecting low frequency contouring: Maximum extension or Transient Speed |
Tempered-scale aperiodic tuning |
Fully Analog symmetrical circuitry |
No digital signal conversion or manipulation |
Driver Complement (Per Channel) | |
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4 x 15″ low Q high force factor sub-woofers | |
1 x 11″ ceramic/honeycomb underhung voice-coil midbass | |
1 x 4.5″ ceramic underhung voice-coil midrange | |
1 x .78 ” diamond underhung voice-coil tweeter |
Physical Parameters | |
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Four independent cabinets, two per channel vertically integrated | |
Overall Height: 87″ (221 cm) | |
Width: 29″ (74 cm) | |
Depth: 32″ (82 cm) | |
Weight: 827 lbs. per channel (375 kilos), 1653 lbs. total (750 Kilos) | |
Shipping weight: 2002 lbs. (908 kilos) |
Newcastle Upon Tyne
07976 496218
Denehurst Gardens, Richmond, Greater London TW10
020 8392 1959
24-26 Union Street, Maidstone, Kent. ME14 1ED
01622 676703
Walton on Thames, Surrey
+44 (0)788 785 2513
85-91 Ber Street, Norwich, Norfolk, NR1 3EY
01603 627010
The Old Chapel, Forge Lane, Belbroughton, DY9 9TD
01562 731100
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