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During thirty years spent to the service of
the professional audio, with digressions in the private
installations of high range, I had the permanent confirmation
of guiding principles which it
is wise to recall.
Industrial manufacturing
Loudspeaker
drivers
are the starting point of any sound reproduction
device. They must be engineered carefully and are the
result of a complex equation including several variables
as efficiency, frequency range, size, weight and power
capacity.
I am continuously working in close collaboration with
the best European manufacturers as PHL
Audio in France, BMS
in Germany and B&C
in Italy.
We can design specialized loudspeaker drivers in all the
professional domain using the latest improvements of technology.
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Full range ceramic driver |
Coaxial neodymium driver |
Line source element driver |
Cabinets
are the final products used by professional
customers as tools or by private ones as integrated part
of the pleasure of listening.
Many people are making cabinets, but very few are successful
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The design of loudspeaker cabinets needs a lot of skills
and experience, despite the apparent easiness.
Instead of many words, you can see some examples of my
work below :
APG,
Lotusline,
PULZ
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We are specialized in hi range sophisticated sound reinforcement systems.
All line array are not true line sources, ours are.
Long throw, homogenous, transparent, dynamic
are ArphoniA characteristics. |
Quality control
is the keypoint of any industrial production. The best production line can be completly inefficient without a strong QC system operated by well trained people.
Depending the quantities produced and the quality level required, the quality control process must be adapted to the needs, from statistic QC to 100% checking. QC process is not the same for military products as for mass production consumer devices.
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Our long time experience in industrial QC process and our permanent contact with the leading QC systems manufacturers can be duplicated to your factory and can guarantee the quality level needed for your production. |
Room installation
The race with
the power
is often only the solution of facility
to try to mask the problems of a bad quality of diffusion.
It is a common reflex "to increase the sound"
when one hears badly, i.e. when one perceives the sound
message in a fuzzy way or with a bad intelligibility.
I do not say that it is necessary to listen at low level,
I am the first to respect the level of listening to which
must be reproduced a recording in order to be able to
retranscribe the physical impression
desired by the artist. But the whispered passages, the
dialogues of films, the pianissimi, should not take exaggerated
dimensions. This is why one of the "secrets"
of controlled acoustics is above all
The quality of silence.
Silence is an extremely relative concept
since absolute silence does not exist apart from the vacuum
and that our ear is able to detect very low levels of
noise. These are the very weak noises which mask the sounds
of low level and force us to increase the power.
This is why before starting the electroacoustic study,
it is of primary importance to work initially on acoustics
of the room.
Two concepts still should be separated:
Insulation of the external
noises and treatment of internal acoustics.
Several possibilities to isolate from
outside; strongly massive construction, buried construction,
manufacture of a insulated room inside another (technique
of the box in the box), etc.
The purpose of the treatment of internal acoustics, is
to modify the apparent size of the room and to erase the
problems create by badly adapted geometries of room.
It is still necessary to dissociate two types of rooms.
Those which are intended for the listening of live music
and those in which are installed sound reinforcement system.
And although it is difficult to conciliate these two aspects,
there are solutions, but heavy and expensive and reserved
for the large rooms, like variable acoustics and artificially
assisted acoustics.
The small and medium size
rooms
are those which have my preference. The
distance from listening is small there and the relationship
between the quantity of sound which arrives directly from
the sources and that which is reflected by the walls is
always favorable. It is what makes possible to correctly
locate the sounds in the sound scene. However, the too
marked reflections or distributed over too short times
determine a strong and unpleasant acoustic "signature"
which comes to be superimposed on the soundtrack by destroying
the more subtle environment and sound movements. It is
here that the know-how of the acoustics expert intervenes
by softening the too marked reflections by diffusing them
in space. He has also to make the frequency response of
the room the most linear without major accidents.
The three basic principles
of the acoustic treatment
Reflection
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Absorption
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Diffusion |
A reflective surface returns energy as much than it
receives some. A wall of thick glass ( i.e. a window)
can be regarded as a reflective surface.
An absorbing surface returns only part of arrival energy.
A heavy carpet is an absorbing surface.
A diffusing surface returns energy as much than a reflective
surface, but in several directions.
Manfred R. Schröeder gave his name to the quadratic
residue diffusion panels which he was the first to model
and which are universally used now.
The combination of these three principles in the time
field and the frequency field constitutes the pallet
with which the acoustics expert will create your listening
environment .
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