Franco Serblin-Ktema in the Test

All Italian sense Franco Serblin developed for the optics very down to Earth – the sound spread of its stand box Ktema is simply revolutionary.

The nu? chterne term “Box” as little as on the creations of the Italian Developer’s Franco Serblin fits on a few speakers. He plays with curves, with materials such as metal, he cited the formal language of stringed musical instruments, places emphasis on high quality processing and coating.

But Serblins stand mount loudspeakers Ktema should not be misunderstood as a design object: its unusual shape is part of an Exclusively? apply acoustic concept which optimises not only the Interior of the housing, but also the sound radiation pattern in the room.

Franco Serblin-Ktema: construction

The basic form may seem puzzling to us. And yet she come at a reputable engineering approach. If you each wall fu? r is considered, it reminds of the curved shape of a dam. This stabilizes the walls, they immunized across? ber resonances in the material, but also a positive effect on the volume of air that wraps the speaker. The three curved shells of the Ktema avoid parallel walls and prevent such standing waves; indented braces work between the bottom and the top.

A practical aspect influenced on the form: speaker with great bass driver, in this case two 9-Zoller, are in deep bass and dynamics just u? programmer. But to build a baffle so wide that it absorbs this woofer, you get problems with edge reflections and a BU automatically in the midrange? ndelung in half space characteristics, which can be a disadvantage in the room. Therefore, master Serblin banished the two cars on the ru? back and could realize the ideal of a narrow columnar box on the front which only Ten centimeters of small midrange and the 28 mm silk dome takes up the two in an own, massive aluminium baffle.

But even a narrow baffle has disadvantages: especially in the midrange sound radiation pattern is too wide, almost spherical in shape, why such boxes in real space often too bulky and dark sound. Serblin therefore devised an lateral opening next to the midrange, the u? ber an acoustic flow resistance and the ru? specifically, phase-shifted signals generated Current radiated sound and such a BU? ndelung of the mid-bass achieved without hierfu? r horns, Schallfu? currencies & co. intervene in the mu? ssten.

At the same time one of the two identical cones with keynote, is one loaded with sound signals of means of. Plays the Ktema in locating relevant virtually as a Two-way mini-monitor, thereby approaching the ideal point sound source. That’s not all: In the bass, conventional boxes always spherical radiate the sound, in real spaces, it is booming then often. The Ktema not even intended for the bass , but offers the Ru Current pressure Chamber and the sound radiation of fu extended in height and width at most? r a uniform stimulation of the area and thus an effective Unterdru? cover of the resonances.

Franco Serblin-Ktema: hearing test

Due to the covert Woofer and the narrow baffle the Ktema is slender – the acoustic impression is the exact opposite. The bass foundation in Stravinsky’s “Sacre you Printemps” (Janssons, RCO) seemed u? Overwhelming large, almost a bit too bulky. But the Ktema knew their power to dominate and controlled with maximum precision through the complex work. With perfectly designed instruments, she projected a ultimate holographic, but also not endlessly deep BU? teeth in the listening room, the side u? ber that grew beyond boxes and waited with breathtaking plasticity . It joined a wastefully wide range of timbre and dynamic shading. The fine resolution of the Ktema was superb, but not everyone is like clarity with which it was served.

A B & W 800 diamond sounds certainly something Silkier, a KEF blade overall warmer. Dafu? rmu? must back these two behind the timing and the dynamic response of the Serblin Cough. Chris Jones’ “No. sanctuary here” sounded full and voluminous, still spring slightly, hearing test classic “Tricycle” (flim & the BB’s) revealed already at normal volumes a wit and rhythmic shades, which all too often lost with other speakers in turned Protze with level.

Who estimates the direct Dynamics of a horn, but shy away from the disadvantages, fu? r the the Ktema marked a new record to the list of alternatives. One of the most beautiful is she anyway.

History and stories – Franco Serblin

The 72-jährige Italians from the Northern Italian city of Vicenza had always been a passion of fu? r music reproduction and wood crafts. But learned first of all has the profession of dentist Dottore Serblin. In the 1980s, he took his passion to the main business and devised speakers, which were not only sonically and in terms of the amount of time, but also set new standards in design and workmanship from now on. The Italian old masters of the art of violin making inspired him, many sound like technical principles Serblin by Stradivari, Guarneri and co. looked. in 2006, when the Manufactory Sonus Faber to world fame came, the Group parted ways? nders and his company advanced to stately size. Franco Serblin is dedicated to acoustic research since then again. With its latest developments in the Ktema he optimises not only the box, but also their interaction with the listening room.

 

Gallery

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