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Franco Serbelin´s new speaker


Sigge

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Here it is:

The birth of Ktêma

To be able to communicate, using the language of music, those feelings that cannot be narrated with

the most private of words - this is my task.

I am Ktema, a loudspeaker.

I am a fusion of the old, enduring experience with the light, free, searching spirit.

My birth came about by chance, by the strange destiny of the simplest things that fascinating us - the

things that give life to great passions and enthusiasm...

It was because of a mysterious string of events that a simple phrase – written in pen along the margin

of a wiring diagram – began to represent the inception of an arduous project. Little by little, it took

form and depth, generating my conception.

The following phrase was sent to the person who, through time, “gave me shape”, words from a

friend with whom he had continuously carried out accurate and attentive research over the years,

intent on delving into the innermost definitions of what music reproduction actually “means”.

This friend had written...

The Greeks said, “Ktêma eis aei”: a possession for ever - something that,

over time, cannot be disputed. It is the opposite

of “Panta rei”: everything changes constantly.

When will a speaker become “Ktêma eis aei” in place of all those that are “Panta rei”? -

It was an invitation to spur him on to create something everlasting, that would be “a possession

forever” in a world where everything changes, in a world that cannot stop because it is interwoven

with technology and research which by definition is always new, always in a continuum, sometimes

sterile, always improving ... It was all about trying to find a stability in the impetuous and continuous

“current” of forms ... and it was immediately clear that this was to be a truly fascinating challenge.

So my “creator” thought it would be nice to continue the planning process, to create a sort of “testimony”

that could last through time: almost like a “ship’s boat” that floats on the unavoidable waves

of “panta rei”...

After all, a lot of water had passed under the bridge of music reproduction since the time of the

legendary “Snail”, which, with its incredible structure (rightly defined by the press of the sector as

“Leonardo-esque”), launched a new way of conceiving the acoustic transducer.

Over the years, my designer had maintained a coherent approach, a wilful and spontaneous craftsmanship

that had always represented a strong continuum in the production of all the speakers which

came before me.

We are the offspring of the same inspiration and of the constant desire for beauty and simplicity ....

I remember with great pride the “Parva”, the “Minima” and the “Minima Amator”, which are still

considered today as true points of reference by authoritative music authorities all over the world. For

years they have been defined by the press of the sector as the “best loved by the Italians”. Then came

“Electa” and “Extrema” - incredible speakers which are admired to this today. Then came the “summa”

of their research - the continuously copied “Guarneri” ... and then the “Amati” and “Stradivari”...

A long list of “music instruments” that represent my “Ancestral Gallery”: a fascinating exhibition of

products that foresees what my voice will be - another fruit from my creator’s fertile mind that has given

life, in over 30 years of passionate work, to masterpieces that now belong to the history of music

reproduction.

It was clear, however, that only through tenacious research, digging deeper, removing, lightening and

finally by working a fundamental synthesis, could my designer give birth to a speaker, both new and

old, that could happily stand in line along with all its “sisters” that had been born before me.

It was also clear that, by definition, there cannot be a product that can resist the assault of the new

and technical evolution. Instead the product’s essence and its raison d’être will remain in time, because

they are linked to its functionality and honesty - and also to a kind of universality that will allow it

to overcome the influence (and also the wear and tear) of passing fads and time.

Therefore I had to embody a governing principle which time could not alter, yet, at the same time,

had to materialise in the product as conceived ... I had to be the wonderful-yet-seemingly-impossible

fusion of “ktema eis aei” with “panta rei”!

And so it was clear that the simple needs of every keen enthusiast are the credibility and the evocation

of the musical event being reproduced. The keen enthusiast is the person who wants to use the system

to enjoy music and not use music to enjoy the system. My creator felt the need to take hold of a new,

strong concept that had to be a moment of a conquered synthesis, and had to reconcile the many

requirements a product must have in order to be elegant, functional and useful.

I had to be a non-conceited and non-invasive product, destined to enter into the homes of those who

desire something beautiful and “right” - a humble instrument of reproduction and not a bulky object

that expects to be the protagonist, overthrowing the very concept of service and function.

It would have been normal, for the person who designed me, to think up a great and important speaker,

imposing and powerful, able to deafen and amaze, with acoustic possibilities that go beyond the

limit of perception, with infinite controls, and with a booming personality. When all is said and done,

it would have been normal to think up a product that would have been the simple fruit of decades

worth of knowledge regarding technique and components.

But the need for simple truth and measure has always been the leitmotif that informed and sustained

the entire project which gave me a life. A project that could only keep in solid consideration the needs

of the normal and keen music enthusiast, without having to sacrifice their home furnishings, or the

norms of living, to instruments which look “professional”, but which are meant for recording studios or

for rooms created exclusively for auditions, experimentation and comparisons.

In short, I was desired as a fresh and simply innovative creation: a calm and fascinating travelling

companion, able to provide hours and hours of pleasurable listening to any enthusiast of good will.

I had to embody a new and strong concept, but at the same time I had to be elegant, functional and

readily usable.

Therefore, many vectors had to join together to result in the conception that would lead to my birth,

and many of these were completely unconventional.

Long before I was born, though, an idea whirled through the mind of the person who created me: he

wanted to highlight - in the sound box that houses the reproduced music event - what counts most of

all, that is … the thing which normally captures the attention of the listener ...

Thus it was that the idea of highlighting the “proscenium” came to be. The proscenium is, of course,

the centre of the event, and this idea would give a clear reason and shape to my body.

Maybe it was precisely because my designer felt the need to reproduce the music event in the simplest,

most direct, natural possible way, that brought about the desire to make the typical place of

performance – centre stage –perceivable in the clearest way.

This is where the action takes place, where attention is focused, where you can perceive the virtual

space that surrounds the concert artist, the soloist, the singer - it is the element that is the focal point

of what we listen to.

The surrounding area needs to develop around this point: the orchestra, or the chamber music group,

or the group of musicians.

Two roles, ideally and simply illustrated by the centre and its surrounding space.

Specific choices were made, as well, from a technical point of view – special attention and care

were paid to not disturb or “soil” the central part of the acoustic spectrum.

This is the most delicate and sensitive part, where the ear perceives the smallest variations, where

the harmonic richness and completeness highlight the true timbre of the instruments, where the audio

phasing needs to be carefully considered and respected.

I know that it took several years to choose those three components, embedded in my frontal section,

and I know that those three transducers represent the state of the art. They embody a consolidated

reality, which has been confirmed by continuous and careful listening in the most prestigious laboratories.

In short, there is a clear awareness that the ultimate aim of music reproduction is not about conforming

to technical parameters, but rather, with due respect to the most sophisticated technical parameters,

it is about making the ear of the listener “happy”.

That is how my frontal section was born, and it has been carefully designed and safeguarded by any

possible interference or disturbance.

The centre and surrounding space are its nodal point and supporting structure. The construction of my

entire framework has been determined by clear choices.

Governing principles originating from logic and pressing rationality have smoothed the way for formal

production guided only by simple consequentiality: when the main process is logical and correct,

the product that stems from it has to be correct as well.

So this “surrounding part”, which supplies the correct support to the solo part, has acquired its own

importance: a rear diffusion that accompanies and complements the “heart” of the music without

invading or obscuring it.

The low frequency has therefore been optimized in a wave guide (following the path mapped out by

illustrious authors such as Allison, Klipsch, Snell, Berkovitz, et al) which, for months on end, has been

the object of careful tuning. This has resulted in an extremely interesting and new characteristic: by

giving the membranes of the loudspeaker the same “resistance” to both the front wave and the rear

wave, creating a synchronicity in the vibration with the most unexpected results.

Obviously, I’m telling you all this from my point of view, from how I perceive my unity, that is, from

how I “live” the quality of sound that emanates from me: this goes beyond the simple technical aspect

and positions itself in a place where (at the “base” of obligatory technical coherence) the listener’s

“eminence” fuses with maximum awareness.

And so, I know all too well that the happiness and emotion that comes from listening to me will be

directly proportional to the sensitivity, the culture and musical knowledge of my faithful listener.

For a lengthy year of testing and improvement I was a guest in the home of Andrea Bocelli, and the

admiration and respect he showed me made me proud and feel sure of my way of presenting the

music reproduced - my personal “version of the facts”.....

The famous singer wrote this, about me, to my designer:

Dearest Mr. Serblin,

I am sitting in front of the speakers and, whilst listening to my album, I felt the need to sit down in front

of the computer to write and congratulate you for the quality of these speakers and the pleasure they

give me whilst listening.

Even my voice seems warmer and more beautiful!

A real home theatre, where the singer is right there, in front of you.

...many congratulations for “a possession for ever”...

Andrea Bocelli.

Now all I can do is to wish you good listening...on behalf of myself I have to say that I

am carrying out my work with great satisfaction because I am convinced that the fascinating

challenge, that I mentioned at the beginning, has been properly won...

Yours, Ktêma.

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Här kommer mer:

Specifications:

- Geometry: four-way topology, five units. The two low-frequency radiators are compression-loaded and room-interfaced at the lower part of the rear of the enclosure. Above the “fusion” frequency, the mid-high cardioid radiators reproduce the significant part of the spectrum, at the top section of the front of the cabinet.

- The cabinet is a rigid, triple arch-shaped structure. The two lateral front cheeks are concave, while the woofer compressor is convex.

- The tweeter is a well-established and time-proven 28mm soft-dome unit, created by Ragnar Lian, one of the greatest Danish masters of transducer design.

- The midrange array consists of two custom-made 4in units in a step-compensated baffle, in a cardioid acoustic-resistance configuration, for the most accurate reproduction of the musical perspective.

- The woofers are custom-made 9in metal cone, piston performance-optimised units, in a compression-controlled and room-interfaced configuration.

- The crossover is a mutational variable slope, coherent spatial radiation design.

- Yter pure Silver-Palladium mono-wiring used throughout.

Frequency Response: 26Hz - 33Khz, in room

Nominal Impedance: 4 ohm (minimum 3, 2 ohm at 70 Hz)

Sensitivity: 92 dB/W/m

Minimum power amplifier: 20W per channel

Dimensions: 42,5 cm × 46 cm × 111 cm (unpacked)

52 cm × 57 cm × 110,5 cm (packed)

Weight: 110 kg/pair (unpacked) - 127 kg/pair (packed)

Finishing: High gloss piano black, hand-polished aluminium top & bottom

Satin Sycamore, hand-polished aluminium top & bottom

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Man ser alltid fram emot vad denne nydanare har att komma med. En sann musikvän som vet hur det bör låta och gör det kompromisslöst.

Först lutformen som nästan blivit standard, sedan den bredsidade elipsen och nu något som ser helt annorlunda ut.

När får vi höra denna skapelse i Swerige? Finns någon hågad importör som vågar ta första steget?

Ser fram emot en provlyssning.

Calm

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Enligt blivande importören så kostar dessa endast 270 000 Euro.

Är du verkligen säker?

För det priset vill jag nog ha en högtalare som går 20Hz djupare det angivna... :closedeyes:

Skulle i alla fall vara kul att få provlyssna och höra om upplevelsen motsvarar dom pengarna!

/ptr

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För ca 243 000 euro så borde du ha budget för en eller kanske två rätt OK subbar?

Men frågan är väl egentligen om hur de faller under brytfrekvensen? Siffror på ett papper är en sak men hur de upplevs i rum kan vara nåt annat? Och sen brukar ju ett rum lyfta rätt mycket i basen så en högtalare som mäter rakt till 20Hz i ett perfekt rum spelar för mycket bas i ett 30kvm vardagsrum?

Hornladdad bas låter ju annars rätt spännande! Hoppas vi får höra dem vid tillfälle.

Mvh Lasse

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För ca 243 000 euro så borde du ha budget för en eller kanske två rätt OK subbar?

Men frågan är väl egentligen om hur de faller under brytfrekvensen? Siffror på ett papper är en sak men hur de upplevs i rum kan vara nåt annat? Och sen brukar ju ett rum lyfta rätt mycket i basen så en högtalare som mäter rakt till 20Hz i ett perfekt rum spelar för mycket bas i ett 30kvm vardagsrum?

Hornladdad bas låter ju annars rätt spännande! Hoppas vi får höra dem vid tillfälle.

Mvh Lasse

Specifikt denna högtalare har sitt område specat som "in room".

För några år sedan var det stativ-åldern inom hifisverige. Ingen behövde bas under 50 Hz. Ser vi månne ett skifte framför oss? :)

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Det ser ut som att pastagrillen finns kvar i förnyad form. Den övre fästplattan påverkar ljudet på Franco Serblins Amati Homage och jag är numera tveksam till denna design. Pastatrådarna förlorar dessutom spänst efter ett decennium och måste spännas om... :)

Hur menar du att övre fästplattan påverkar ljudet?

Att spagettigrillen gör det är helt klart. Kör faktiskt med mina grillar på och finner att de ger en mer diffusserad diskant som är mer luftig än utan. Är ingen fan av alltför direkt och skarp diskant. Har alldrig hört det i livesammanhang.

Jag tror att att när Mikael Framer tror jag det var testade dessa i Stereophile föredrog grillarna på av samma anledning.

Calm

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Hur menar du att övre fästplattan påverkar ljudet?

Att spagettigrillen gör det är helt klart. Kör faktiskt med mina grillar på och finner att de ger en mer diffusserad diskant som är mer luftig än utan. Är ingen fan av alltför direkt och skarp diskant. Har alldrig hört det i livesammanhang.

Jag tror att att när Mikael Framer tror jag det var testade dessa i Stereophile föredrog grillarna på av samma anledning.

Calm

Mina Cremona M kör jag också med grillen på och håller med, men om det är gummibanden eller fästena som påverkar är ju svårt att testa.

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Hur menar du att övre fästplattan påverkar ljudet?

Höll på med oändliga finjusteringsövningar för att få till mer luftighet och en högre ljudbild. Det visade sig vara gjort på mindre än fem minuter och man behöver nog inte ens vara högtalardesigner för att konstatera samverkan mellan ett uppåtvinklat diskantelement och en drygt 7 cm utstickande, filtklädd metallplatta placerad 9 cm ovanför diskanten.

Det tog mig drygt 10 år... :D

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Höll på med oändliga finjusteringsövningar för att få till mer luftighet och en högre ljudbild. Det visade sig vara gjort på mindre än fem minuter och man behöver nog inte ens vara högtalardesigner för att konstatera samverkan mellan ett uppåtvinklat diskantelement och en drygt 7 cm utstickande, filtklädd metallplatta placerad 9 cm ovanför diskanten.

Det tog mig drygt 10 år... :D

Plattorna på original Cremona är ganska små och smidiga v i jämförelse med Amati Homage och även kanske andra modeller.Beror väl på att frontbaffeln är rak sett från sidan och inte som original Amati vinklad.Därför tror jag inte de har så stor betydelse ljudmässigt på mina Cremonor.Pastagrillarna sitter på konstant.Högtalarna känns lite nakna utan... :)

Metallplattorna på FS nya mästerverk ser ut att vara ganska stora de med.

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The following phrase was sent to the person who, through time, “gave me shape”, words from a

friend with whom he had continuously carried out accurate and attentive research over the years,

intent on delving into the innermost definitions of what music reproduction actually “means”.

This friend had written...

The Greeks said, “Ktêma eis aei”: a possession for ever - something that,

over time, cannot be disputed. It is the opposite

of “Panta rei”: everything changes constantly.

When will a speaker become “Ktêma eis aei” in place of all those that are “Panta rei”? -

It was an invitation to spur him on to create something everlasting, that would be “a possession

forever” in a world where everything changes.

I was this person

Franco is an old friend of mine, i'm an high end dealer in Palermo, 1700 Km from Vicenza where Franco lives.

The latest work is only a work of passion .

The definition of "Ktema es aei" excited Franco, stimulating his return to create.

Ktema es aei. A possession intended to last for ever.

-Thucydides

Of his History of the PeloponnesianWar,1.22.4.

Something which is real, and yet waiting to be realized; something which is a remote possibility, and yet the greatest of present facts; something that gives meaning to all that passes, and yet eludes apprehension; something whose possession is the final good, and yet is beyond all reach; something which is the ultimate ideal, and the hopeless quest.

-Whitehead, Alfred North

Science and the ModernWorld.

_________________________________________

All the arts can be seen as a manifestation of one and the same impulse. The drive to the arts must surely have had a biological origin. But why do these types of behaviour exist? Why should Beethoven choose the massive labour of composition rather than eating, drinking, a family life? Maybe there was the desire to create a `ktema es aei` (a possession for ever), in the awareness of death to survive somehow, but this does not indicate why his activity took this specifically artistic form.

The basic biological drive, impelling composers to compose, artists to paint, poets to write and even scientists to do their science is towards exploration of the perceived world (the outer world and the inner world) and the attempt to replicate it in some durable form. In a sense artists and musicians are engaged in exploration of the properties of the eye and exploration of the properties of the ear.

(Robin Allott)

Best regards

Giuseppe Scardamaglia

http://www.corodia.blogspot.com/

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