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Philosophy
When reproducing a musical recording of acoustic music through
loudspeakers, there is only one way to do this correctly.
The myth that there is one type of loudspeaker for every music genre is
a false one. It is quite different if the music is completely "synthetically"
constructed and there is therefore no acoustic reference anymore.
Unlike a musical instrument a loudspeaker may not have its own timbre
and must reproduce all frequencies in a lifelike manner and not only on
the axis perpendicular to the speakers but also uniform in all direction
LINK speakers are "room integrated" designs from the perspective of maintaining
a linear reproduction even in the low frequencies. "Room integrated" means that
the acoustic mirror effect of the room is taken into account. Due to the
relatively small dimensions of the average room versus the wavelength of the low
frequencies, certain bass frequencies will be amplified. (34 Hz = 10 meters
wavelength) Imagine for a moment that all the walls of your room were visually
reflective: how many speakers would you see in all those reflections from your
listening position. Likewise, the room mirrors the reproduction of low
frequencies and "sums" them up. The result is that classically designed speakers
(with measurements in an anechoic chamber (http://en.wikipedia.org/wiki/Anechoic_chamber)
will produce far too much low bass as soon as they are placed in a living room.
By taking this into account in the design a LINK speaker frees itself from the
'boom effect'. The so-called classic boom effect with many speakers can be
equally impressive upon first introduction, but is tiring and masks the subtle
reproduction and nuance of higher frequencies and therefore also the stereo
image. It is not the job of the loudspeaker manufacturer to compensate for the
shortcomings in the recordings or the control electronics used. The term 'warm'
or 'is often used. 'cold' speaker are terms from hi-fi jargon that indicate
discoloration, a distortion of the original sound. Both the musicians and the
recording engineer of acoustic music strive for the same pure reproduction of
the music. The argument that each individual has a different hearing and would
therefore prefer a different loudspeaker is incorrect because the hearing
differences remain the same both in the "live" experience of music and in its
reproduction. The manufacturer must endeavor to reduce any form of coloring to
the absolute minimum.
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link m300 anno 1994 |
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link m23 anno 1986
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Cabinet shape
With LINK speakers, form follows function. The special design that each LINK
model carries is inspired by maximum aesthetic but also acoustic integration in
the listening room. The cabinet shape plays an important role in the unhindered
sound distribution, regardless of the frequency to be reproduced. After all, we
not only hear the direct sound from the speakers, but the sum of the direct
sound and all reflections in the listening room. Each LINK model has a very
uniform sound distribution at an angle of 120°, so that the total sound remains
very neutral. Due to this uniform distribution, namely the same for all
frequencies, not only does the listening position become uncritical, but the
tonal balance remains linear, so that the harmonic reproduction of instruments,
the timbre, remains respected and the reproduction does not sound aggressive. In
addition, the sound does not seem to come directly from both speakers, but from
a "virtual" space around the speakers. LINK speakers have always been at the
forefront, also in the field of design. The first LINK model, the M21 model
introduced in 1981, stood in stark contrast to the rectangular 'box' speakers
that were still the standard design at the time. The M23 model, introduced in
1986, still highly sought after today, went one drastic step further. The B600
model, designed in 1990 and put into production in 1991, has the almost perfect
shape for an unobstructed spatial representation. Since then, the bullet shape
has been copied by many manufacturers. It is also this design that is further
developed in our K100 model, by introducing a sloping front that delays the
reproduction of the tweeter in time to achieve a pulse-pure reproduction. The
cabinet, which is constructed from CNC milled elements, also has an optimal wall
shape on the inside that suppresses resonances through diffusion.
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link b600 anno 1991 |
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Cabinet tuning
Each speaker has an optimal volume that is matched to the bass speaker. LINK
speakers have a double tuning: on the one hand the internal volume is optimally
tuned for a deep and pulse-pure bass reproduction, but on the other hand the
sound curve is modeled in such a way that the total bass reproduction and the
harmonics in the low medium in the living room remain linear (room integrated
design). , developed in acoustic dead chambers, sound 'boomy' and tiring as soon
as they are placed in the living room. The most popularly applied bass reflex
principle, based on the resonance of a Helmhotz resonator, is unfortunately a
trade-off between quantity and quality. Not only does the principle ensure a
longer extension of the bass, but in addition a phase shift takes place, which
also the frequency response decreases steeply (18 dB/octave) below the system's
resonant frequency, which has a very unnatural effect. For that reason, with the
latest LINK designs I have returned to the very best principle for a speaker
cabinet, namely the closed cabinet. The enclosed air volume acts like a damping
spring on the cone, so that the bass response remains fast and controlled, there
is no phase shift and the response decreases much more gradually in the bass,
which makes placing the speaker in the living room much easier.
Speaker units and crossover filter
The same rules apply here too. The speaker units function as a kind of pump that
causes the air to vibrate. It is therefore imperative that the cone or dome
undergoes the least physical deformation during this action. For the high-tone
speaker, a smoothly suspended ultra-light aluminum dome is used, the coil of
which, bathed in a heat-conducting ferrofluid fluid, allows the loudest dynamic
changes to be reproduced undistorted and uninhibited. The quality of the
selected speaker units is such that the crossover filter can be kept simple and
therefore pulse pure (pure pulse control). Fewer components means more
transparency. The crossover point is chosen critically to achieve optimal
integration of the reproduction of the units and to guarantee a uniform spread
of all frequencies. This explains the high degree of homogeneity and optimal
sound dispersion that is so characteristic of LINK, making the listening
position in relation to the speakers much less critical and the well-known
hotspot characteristic of many speakers disappearing. Music soloists now seem to
be present , virtually in space between and around the speakers
persartikels
Diskidee 2002
PURESOUND
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