With Eureka, Esprit has decided to let go. With this line, he offers his most radical, innovative and ambitious vision for audio cables. The French manufacturer has therefore incorporated into this completely exclusive series, the extent of its know-how, and a thorough attention to all the small details that only the experience accumulated over twenty years of research can bring. Of course, the price is very high, but the performance is breathtaking. Beyond the simple reality of figures and sensations, we wanted to decipher what determines the price of such an elitist product, and what explains its outstanding performance. To understand everything, follow the guide.
The first contact with Eureka is not sound, but physical. Indeed, these products, although relatively flexible, are very heavy. This mass is explained first of all by the quantity of copper they ship. Just a small point of comparison between different HP cables. The modest QED XT 25 has a section of 2.5 mm², the good old Linn K20 has 4 mm², while our Aura Spirit has 6 mm². Well, the Eureka shows 25 mm². Yes, you have read it correctly! 25 mm², i. e. a section that is simply gargantuan, and without increasing its capacitance, which means that this cable will not in any way «disturb» the amplifier. The Eureka series uses Esprit «homemade» techniques, i. e. a large mass of (very) large cross-sectional stranded conductors, protected by asymmetric airborne and polarized insulators, and by progressive and partial shielding. Of course, the assembly is entirely done by hand in France. For information, an Eureka modulation cord of one meter twenty requires between 16 and 18 hours of work. But beyond the assembly, this cable requires a lot of preparatory work since 16 different suppliers are involved in the manufacturing process. But when you want the best quality and reliability, you have no other choice. Moreover, the sound quality of these products is also the result of a global policy of high quality concerning the choice of conductors, the geometry of dielectrics and the placement of shielding, as well as the selection of high quality connectors. The plugs are made of certified copper and take advantage of a special polishing (it doubles the price of the plug) for better contact over its entire surface. The silver plating of the cards is 40 microns thick of pure silver. The connectors are not crimped, but the ultra-fast soldering at high temperature (500°) lasts only a few seconds and allows the plug and all the strands to be joined together in a very homogeneous way without compromising conductivity.
The conductors are made of pure single crystal copper. Although it is generally accepted that silver conductors are superior to copper, Esprit has been faithful for 21 years to the same 100% copper structure, a very high quality copper, whose conductivity is close to that of silver and far ahead of gold and rhodium, materials that are nevertheless very popular. The conductor geometry is symmetrical. The asymmetric dielectric allows a different polarization of the speaker cable. The parasitic effects generated by micro-discharges are managed with asymmetric dielectrics, polarization and the use of bi-material ferrites to compensate for microwaves. Indeed, the asymmetrical structure of the dielectric allows to obtain a specific conductor damping useful to avoid any residual hardness. According to the manufacturer, this typical hardness is often the result of massive use of the same insulation. Polarization is not carried out in the same way in the different types and ranges of cables. It can be applied in whole or in part depending on needs and characteristics. The device is powered by an Ultralife Lithium battery with a life span of 10 years. Asymmetric modulation cords consist of more than 2 x 1600 strands of pure 6N copper for a pair. The copper strands are also larger. Esprit uses completely different conductive and dielectric structures on asymmetric and symmetric links. Speaker cables use 2 x 6482 wires with a diameter of 0.08 mm. Esprit cables have a very low impedance and capacitance, which mainly affects the impedance behaviour of a loudspeaker and the stability of the associated amplifier over the entire bandwidth.
THE SET UP For once, it is not usual, you will have to be very careful with the installation. These large cables must be connected carefully, and above all placed in such a way as not to force the connectors. The Eureka sockets are of excellent quality, very strong and guarantee an excellent tightening torque, nevertheless, care must be taken not to create mechanical stresses on the connections of your devices. No fear to have on the level of associations, because the Eureka group is very versatile. We tried it with very different products, and with each experience he knew how to reveal the deep nature of the devices without ever selling off the most important thing: the sense of musical communication.
THE SOUND Let’s not beat about the bush, the Eureka are breathtaking. We generally prefer not to abuse superlatives, and it is true that with each proofreading, we remove many of the «too much» and «sublime», but in this case, it is quite difficult not to be impressed. I think we should feel the same way as a test pilot who puts his hand in the bucket of a prestigious GT. Moreover, the analogy is not a utopia, far from it, since a system equipped with a complete Eureka line gives such a feeling of power that you would think you were there, too. To be quite precise, there is an absolutely astounding «push» from the system. Suddenly your amp seems to have doubled its power, boosted its potential, and with ease, even insolent casualness. The Eureka’s coup de force lies precisely in this cocktail between a colossal energy distributed over the entire spectrum with great homogeneity, exceptional sound stage, and a unique precision. No matter what disc you listen to, everything is simply obvious. Of course, this can be summarized in basic objective criteria such as the extent of the sound spectrum reproduced, the dimensions of the sound scene, the resolution power, or the dynamic behaviour. But in all sincerity, that is not what we are remembering at all. We prefer to tell you about the incredible emotion that caught us listening to the Black Star where David Bowie exposes himself in a poignant and terribly moving way. Or tell you about this Spanish Rhapsody of Ravel by Abbado, which remains deeply engraved in our memory. Or all these discs tasted in extenso so much the idea of zapping didn’t occur to us for a single second. Magic works durably with the Eureka, because the boundary between the medium and the work recorded on it is becoming blurred. And it doesn’t happen every day, of course.
OUR CONCLUSION Majestic bass of abyssal depth, soft medium and exceptional texture, acute mineral and racy, dynamic so realistic that it is disturbing, holographic image «really», these are some of the exceptional virtues of the Eureka line. So let’s face it, almost all of us will not be able to access it. But knowing that it exists and that we can move towards such a high level of performance is great news. And this is the result of 20 years of experience, an in-depth study, a lot of work using numerous and expensive raw materials. And to finish on a very positive and somewhat «cocky» note, you will forgive us, this Eureka line has nothing to envy to products made in the United States or elsewhere on the planet. We definitely have some great cables in France!
TECHNICAL SHEET
PRICE € 7.200 (RCA modulation 2 x 1.20m) € 8.800 (XLR modulation 2 x 1.20m) € 7.350 (HP 2 x 2m) € 5.300 (cable outlet 1.5m)
Triangle’s Signature Series was launched in 2013. Replacing the Genesis series, it is now a double hinge between the Magellan and Esprit EZ, on a technical but also economic level, which brings the Magellan’s flagship technologies to more accessible models.
Four speakers are listed within the Signature family, two Alpha and Delta columns (which we are going to present to you), a compact Theta and a Gamma centre channel which symbolises the universality of sound and image use of this range.
STARTING POINT The three-way, four-speaker Delta column was the basis of the Signature range. This combination is commonplace with the manufacturer, which in other words means that it is perfectly mastered. The implementation takes up recurring themes for the brand, namely a bass supported by two boomers, a midrange reproduced by a paper cone speaker, a material Triangle has been using since the creation of the brand, and a semi-dome tweeter loaded by a front horn. The cabinetwork has benefited from the attention already paid to the Magellan’s bodywork. It is made from seven 3mm thick HDF (High Density Fiberboard) panels that are assembled and then bent under press. The total thickness thus reaches 21 mm for all the walls… except for the baffle support which is 25 mm thick to make the loudspeaker heavier, perfect the mechanical reference of the speakers and improve stability. The finish is luxurious with a total of ten coats of paint. Between each coat, a manual polishing is carried out before obtaining a surface with a piano lacquer finish. Three gloss finishes are available, white, black and mahogany veneer. The bass reflex loader used for the low register employs a Twin Vent front port that is inserted between the two boomers. This dual-conduit vent channels the rear wave from each bass driver mounted in an independent volume, reducing intermodulation between drivers and distortion of the register.
THE LOUDSPEAKERS The two 165 mm boomers have a fibreglass membrane stiffened by a second paper cone suspended by an inverted rubber half roll from an injected aluminium bowl. The profile of this membrane has been studied by computer tools for a specific use in the bass. With a central aluminium core cover, the rigidity and lightness give the loudspeaker an excellent acceleration power up to the high cut-off fixed at 280 Hz. The double-layer voice coil and double ferrite coating provide high power handling and sensitivity. The 165mm midrange uses the same bowl as the boomers, a model designed for the Signature range. The rear clearance ensures no compression and good ventilation of the double-layer coil. The profile of the treated paper diaphragm has been redesigned for better dispersion. There is a low travel suspension made of small-pleated fabric, a tradition at Triangle. An ogive-shaped core cover replaces the usual solid ogive, a more airtight method that prevents air leakage when a loudspeaker is mounted under closed load. This is the case with the Delta midrange, which emits up to 2700 Hz. The tweeter is none other than the famous TZ2500 whose phase piece has been redesigned for the 25mm titanium dome. The new die-cast aluminium horn is a variation of the Magellan program. Its larger «active» surface guarantees a better dispersion of the high frequencies. The volume of the rear chamber has been increased in order to obtain better damping and to avoid the return of rear waves to the dome, which translates into more precision, finesse and transparency of detail and a much lower level of distortion when listening. The tweeter is mounted in a half-cuffed slot at the top of the Delta. It largely gets rid of the possible vibrational effects of cabinetry and possible cabinet diffractions.
THE DETAILS THAT MATTER Filtering corroborates the improved performance of the speakers. As a result and by a judicious choice of the transition frequencies, the quantity of components in each section has been reduced for greater fidelity. The inductive components used in the low and mid frequency ranges have been oriented to avoid magnetic coupling. The double terminal block for bi-wiring or bi-amplification uses four copper alloy plugs designed and manufactured by Triangle. The internal wiring is made of Kimber Kable «multistrand» (several conductors of different cross-sections) selected independently for bass and treble. Finally, the Delta is based on a base with an improved SPEC II (Single Point Energy Conductor) spike system. The die-cast metal base beneath the Delta rests on two spikes at the rear of the speaker, while a solid polished steel cone on a cup is positioned directly underneath the baffle support. Similar to the point of support of a cello, this cone evacuates a large part of the mechanical energy to the floor. The vibrations of the cabinetwork are immediately eliminated and their influence on the sound is infinitesimal.
Directivity curves 0, 15°, 30°, 45°. Excellent directionality, not very pronounced and perfectly regular off the mid-axis, on the horizontal plane. The decoupling of the horn tweeter above the cabinet limits the effects of edge reflections. Combined with the exponential profile of the midrange, these elements are conducive to the stability of the stereo image as well as perfect spatialization.
Impedance versus frequency curve. Profile of a three-way bass-reflex system tuned around 35 Hz. Module with a nominal impedance of 8 Ω and a minimum of 3 Ω at 115 Hz. In view of its efficiency and the amplitudes of the impedance variations, it should not cause any notable problems for the electronics.
Curve per third of an octave in the axis. Good linearity of the response curve. The progressive attenuation of the low frequencies gives it a pleasant feeling of «non-overbidding» of the low frequencies, free of any distortion. Good sensitivity of 92 dB at 1 m at 2.83 V.
Waterfall curves. Very fast overall damping. The two independently tuned loads provide excellent damping and greatly improve transient accuracy.
THE SET UP The Delta are imposing columns that need to breathe, and therefore need a minimum of living space. At less than 20 square meters, the game is not won! Moreover, as they give off a very beautiful energy, they will not be able to accommodate the angles of a room, and if the proximity of the back wall (30 cm minimum all the same), is not a problem, it will be necessary to take care to move them away from the side walls. We have observed a slight focusing in order to make the sound scene more precise. Even though the 92 dB output is quite favourable and the Delta’s are quite easy to load, it is still true that they encourage «live» level listening. A well-dimensioned built-in will therefore be welcome to drive them: a Hegel H190, a Devialet Expert 140, or a Primare I35 will be quite appropriate. Even a «tube» with a sufficient power reserve… Ultimate precaution: the speaker terminals are hyper-qualitative, but the jumpers (as on 99% of the speakers) will preferably be «forgotten» and replaced by pieces of good quality stripped speaker cable, or even better, good quality branded jumpers.
THE SOUND These lush columns are not what you think they are. If their flattering aesthetics might lead you to think that they will embellish or even overload the sound message, you’ve given in to the ease of facial offense. In fact, Delta speakers are much more mature, neutral and subtle than that. We started our tests by trying out different connecting cables in order to achieve the best tonal balance and optimize the sound experience. We were struck by the precision with which the Delta’s highlighted the differences between each type of cord. If you think you’re detecting an imbalance in your listening, don’t blame the Delta’s, but rather check its chain mates: the problem will undoubtedly come from them. Triangle columns deliver a great, beautiful sound, pure and authentic. The bandwidth is wide, with a luminous treble that rises high with a lot of energy but without any unpleasant tonic. It offers the good sides of the compression chamber, and less its faults: excellent! The middle register is very open, expressive, capable of reproducing the feeling of flesh without affectation, but with delicacy. As for the low register, it is tense, tonic and fast. On a double bass, it underlines all the finesse of the melodic line, but does not force the flattering effect. On an extract of modern music, it supports the message, accompanies the line, but doesn’t make you feel full of it. That said, if your amplifier is doing its job properly, this beautiful column will not bring you any frustration, because the bass descends low and level. The sound stage is particularly pleasing because it offers a wide, well-spaced panorama. The structure of the picture is excellent, and the sound planes drawn with care. At times the Delta seems to push back the walls and emancipate itself from the physical boundaries of the room, so much so that it reproduces an airy and credible space. Transparency, balance, spatialization, but also dynamic, as the Delta’s master the rhythms with brio. On a simple or very complex message, the degree of purity, legibility and reactivity is always at the highest level. But more than this list of virtues, it is the homogeneity of the Delta’s that is their greatest strength. These speakers are balanced, and therefore very pleasant to listen to, over long periods of time, and even at fairly high sound levels. Of course, they are above all fluid and luminous. But depending on the personality of your system, you may be able to «steer» the balance somewhat towards a flavour that is closer to your taste. A great vintage, for sure!
OUR CONCLUSION We hadn’t listened to Triangle loudspeakers since the Austral a year before, and the arrival of the Delta in our walls gave us long hours of musical pleasure. They display the traditional qualities carried by the brand: liveliness, transparency, precision. But they are also divinely balanced and homogeneous. In all sincerity, at this price, they are an excellent bargain. Of course, at 5.000 €, there are more «quoted» brands, but listen to them absolutely before you buy at this price: you might be very surprised.
TECHNICAL SHEET
PRICE € 5.000 DIMENSIONS 370 x 1230 x 386 mm on base plate WEIGHT 33 kg FREQUENCY RESPONSE 32 Hz – 20000 Hz at +/-3 dB PERMISSIBLE POWER 120 W NOMINAL IMPEDANCE 8 ohms with minimum at 3.2 ohms SENSITIVITY 92 dB/W/m
Davis’ Courbet range, which went directly from the Courbet 3 to the Courbet 5, therefore included an absence. With the arrival of the Courbet 4, it is now complete.
Why did the Courbet range have a «hole»? In fact, on closer examination, it is probably because Davis wanted to offer an alternative solution to conventional speaker formats. A missing link in the range, the Courbet 4 is innovative in its dimensions. Indeed, the Courbet 3 is equipped with a library format while the 5 is a rather conventional column. Courbet 4 therefore offers an intermediate format, halfway between these configurations, and is therefore presented as a «mini-column». It thus has a space requirement that is particularly well suited to small volumes while offering services comparable to those of a conventional column speaker.
However, reducing the size of a speaker while preserving its acoustic qualities is not as simple as it may seem. Davis has therefore redesigned each element of the Courbet 4 to ensure that its behaviour meets the brand’s requirements. Overall, this speaker is based on a fairly conventional architecture. It operates a two-way structure combined with a bass reflex acoustic load. This occupies most of the interior volume of the speaker. A large cylindrical vent, located near the base of the front panel of the cabinet, decompresses it. Its large diameter eliminates any risk of air noise when restoring the deepest bass. Moreover, Davis’ choice to have it housed on the facade is judicious. Indeed, although it is recommended to place the Courbet 4s at least thirty centimetres from the walls, this venting arrangement limits the impact of the proximity of a wall on the restitution of the bass. Nevertheless, the volume of this acoustic charge is relatively small, about 25 litres. This volume reduction requires a specific woofer to preserve the depth and good bass performance. Davis has therefore redesigned its design to ensure that its behaviour is in line with that of the small bass reflex load. Davis has thus offered the Courbet 4 a woofer derived from the medium that equips its big sister, the Courbet 5.
A REDESIGNED WOOFER This woofer benefits, among other things, from an elongated voice coil compared to conventional column speakers. This feature allows it to benefit from a very high displacement while preserving an excellent linearity of the force applied to the membrane. Its control is thus permanent, even during the most intense excursions required by the restitution of a deep bass. In addition, the traditional central warhead is replaced by an inert core cover. In addition to ensuring good decompression of the small volume behind it, it allows good ventilation of the woofer motor, which optimizes its cooling. As a result of these modifications, the woofer adopts an ultra-ventilated loudspeaker behaviour, capable of going very low into the bass while significantly reducing its distortion, even when loaded by a small volume. Finally, the choice of a braided Kevlar fibre cone gives the membrane an excellent weight/rigidity ratio. Able to withstand high accelerations without deformation or surface ripples, this cone guarantees the woofer a high speed without distortion.
A TWEETER FROM THE COURBET 5 To relay the woofer in the treble, Davis opted for a 28mm diameter soft dome tweeter. This is the famous TW28LD model, the brand, already present on the Courbet 5. It is the result of extensive research, particularly in the field of internal acoustic charges. It has double decompression. One, located behind the dome, is similar to a small closed charge that is tuned and damped. The second one takes place at the level of the dome suspension, on the periphery of the magnetic circuit. This set of acoustic charges guarantees the tweeter an excellent linearity in the treble and eliminates any risk of coloration or aggressiveness of the reproduction. In addition, the dome itself has been the subject of many attempts with regard to the material it is made of. For a very soft treble, Davis has chosen a silk weft coated with a polymer compound. It offers excellent mechanical resistance and avoids any risk of splitting the vibratory state of the dome surface up to 26 kHz.
Impedance versus frequency curve. Impedance curve of a two-way loudspeaker with a low-damped bass-reflex load. Load tuned around 60 Hz, represented by the two consecutive lobes below 100 Hz. The rise above 1 kHz results from the filtering elements, frequencies and slopes retained. Impedance of 4-8, resul-ting from the combination of a low/midrange of 4 and a tweeter of 8. Minimum of 3.9 at 200 Hz which will not pose a particular problem for most amplifiers on the market.
Axis directivity curves, 15°, 30°. The response curves in the axis and at 15 degrees are almost superimposed. Attenuation beyond 15 kHz is common on large dome tweeters.
A VERY NICE FILTER However, if the transducers and loads of a speaker are the key elements, filtering is also of paramount importance. Davis therefore attached great importance to the Courbet 4 filter. It is an «in the air» wiring that has been selected. It therefore does not use any printed circuit board. The connection between the different components is thus direct to avoid any loss or degradation of the signal at the interconnections. It should be noted that Davis has also selected each filter element with great care to avoid any loss of dynamics and to scrupulously respect the temperament of each loudspeaker.
A SIMPLE BUT EFFICIENT CONNECTION SYSTEM Davis opted for a single-wiring connection for the Courbet 4. Their rear face therefore only has a single pair of screw terminals capable of receiving banana plugs as well. Of high quality and very large dimensions, they can easily accept cables with a large cross-section. A choice that is justified in the sense that, on the one hand, the Courbet 4s are docile and easy to manage speakers and that, on the other hand, a single but high-quality cable often gives better results on this type of speaker than a bi-cabling system made with cables of lower quality.
THE SET UP The fact that the Courbet 4 has only one set of terminals greatly simplifies installation. Indeed, there is no need to wonder about the possible agreement between the type of cable dedicated to the bass and then to the treble and even less to consider a bi amplification. A single pair of good quality cables is therefore sufficient. It should also be noted that Davis provides decoupling tips with the Courbet 4. Adjustable, they guarantee a perfect calibration of the speakers and modify their operation in terms of bass. It is therefore advisable to try the Courbet 4 with or without spikes to evaluate the operation that best corresponds to the acoustics of the listening room, or even the taste of each user. Once correctly positioned, we have placed them about forty centimetres from one of the walls of our room, the listening can begin.
THE SOUND Easy to manage, the Courbet 4 accepts a very wide range of amplifiers, both analog and digital. From the very first moments, these speakers surprise by the depth and control of the bass that they are able to reproduce. Listening to Grieg’s «In The Hall Of Mountain King» confirmed this point. We were able to note that, during the first measurements, the timpani had a remarkable depth. Despite their small diameter, the small woofers of these speakers fully play their role and Davis’ efforts to serve this register are therefore bearing fruit. Similarly, when it comes on stage, each new group of instruments naturally finds its place in a sound space of remarkable precision without the sound image becoming «blocked» or losing its finesse. Here, it is the symbiosis that Davis has created between his tweeter and the low section that this behaviour highlights. The tonal balance is always impeccable and, even in the flames of the orchestra’s flights, the restitution never turns aggressive even if the treble benefits from a lot of clarity and finesse. Finally, on this extract, we were able to observe that the Courbet 4s benefited from a dynamic that their small size did not give hope for. The respect for the tones was also very clear to us when we listened to the most bare orchestrations. Listening to Zaz’s «Dans ma Rue» is an illustration of this. In this recording, whose simplicity we appreciate, only a piano accompanies the singer. Les Courbet 4 know how to offer a very beautiful presence to his voice, associating a chiseled phrasing with a great respect for its timbre while letting the piano dress this emotionally charged atmosphere. Similarly, Elvis Presley’s «Fever» traps were thwarted by the Courbet 4s with disconcerting ease. Here it is all the roundness of the double bass playing associated with the warmth of the singer’s voice punctuated by the snap of their fingers that they have been able to reproduce with great naturalness. Finally, the most current musical styles do not discourage the Courbet 4 either. Listening to reggae tracks, such as «Dis-Le» by Baz Baz or «Rafales» by Bernard Lavilliers, has also shown us that they also know how to «break the bass» when the work requires it. Similarly, he has benevolently complied with the requirements of electro restitution. A musical style that does not hesitate to explore the extremes of the audible spectrum. A test where many systems, although adapted to the restitution of jazz or symphonic orchestras, are marking the step.
OUR CONCLUSION With the Courbet 4, Davis offers «miniature» speakers that sound like columns with a much larger footprint. Let’s bet that they will not fail to seduce the most demanding amateurs facing congestion requirements. Small volumes are therefore the preferred terrain for Courbet 4s. They will be able to offer them a service worthy of much larger spaces and deserve to be associated with quality electronics.
TECHNICAL SHEET
INDICATIVE PRICE € 2.000 (per pair) DIMENSIONS 25 x 160 x 220 mm WEIGHT 12 kg TYPE 2-way column speaker LOAD Reflex bass reflex with circular vent SPEAKERS 1 x 28 mm soft dome tweeter, 1 x 130 mm Kevlar fiber cone woofer SENSITIVITY 90 dB FREQUENCY RESPONSE 51 Hz to 25 kHz CONNECTION FREQUENCIES 4 kHz IMPEDANCE 4/8 Ohms RATED POWER 90 W MAXIMUM POWER 130 W
French audio craftsmanship is probably one of the most creative in the world. Among the outstanding figures of this breeding ground whose love base does not wane outside our borders, Stéphane Even occupies a special place. Its new CD player and converter Origine S2 is unlikely to change the situation, and we would rather say that it will solidly cement this leading position in the field of digital reproduction. The manufacturer has begun a fundamental reflection to design Origine S2 which revisits one by one all the fundamental points of a digital reading electronics.
On the basis of this reflection, a parallel between vinyl and CD reading was established. The quality of a good vinyl turntable lies mainly in the care taken in the treatment of internal vibrations, such as those generated by the drive motor and various frictions, but also those from external sources captured by air and solid transmission (furniture, floor, etc.). In the case of a CD player, the problem is strictly identical. The level of vibration generated by the various drives, high speed disc rotation, transport movements, position control of the read head, is far from insignificant with complex mechanical and electrical disruptive effects. The reading quality of a vinyl turntable is closely linked to the perfection of the contact of the tip in the groove. It is well understood that an external vibratory movement will modify the quality of this contact by mechanical intermodulation, which will cause a deformation, a distortion of the signal received by the tip. For a CD player, it is easy to imagine that under similar conditions the microscopic laser beam can easily be deflected. In addition, some components such as quartz, which vibrates by nature to generate the clock, or ceramic capacitors for decoupling integrated circuits are extremely sensitive to vibration.
DIGITAL TECHNOLOGY DESIGNED LIKE VINYL The manufacturer therefore approached Origine S2 with this vibratory problem in mind in order to provide sustainable solutions. He looked at the choice of materials and the quantity to be used. The reflex could have been to make a very heavy chassis, the usual hi-fi belief being that a heavy product is better and sounds better, a relationship that is absolutely not systematic and is therefore not enough if not true. When a structure is made heavier, the vibration modes are generally moved to other frequencies without making them disappear. This may be interesting in some specific cases, but it should be kept in mind that the vibrations to be controlled can cover a wide frequency spectrum. Some plastic materials such as PMMA for polymethyl methacrylate (acrylic glass) have specific and different vibration properties from some metals. It then becomes possible to advantageously combine several materials with an adapted damping to create a chassis structure whose vibratory signature is cleverly distributed along the audible spectrum. Neodio has gone very far in this direction with Origine S2 since five materials are used in the assembly of the chassis. This is a sandwich type with an aluminium outer layer coupled with Hi-macs® (a non-porous material based on bauxite and acrylic resin) internally. The rear face is made of PMMA, a low-resonant material that separates the entire connection system from the chassis. The reading mechanism in the central position is embedded in Hi-macs® and placed on a specific damping material. Inert to touch, the reader weighs 25 kg and rests on 3 Origine B1 supports. Their patented Zero Vibration technology acts as a black hole for vibrations that disappear without leaving a trace or address. In terms of finishing, Origine S2 goes just as far. None are visible screws and a polished and varnished copper band surrounds the device to give it a distinguished character. Behind a micro-perforated plate with more than 700 holes appears a LED display with white segments.
A DIGITAL ARCHITECTURE SPECIFIC TO NEODIO It is a very quiet mechanical DVD-ROM Teac modified by Neodio at the level of its clock that is installed in a central position. It is embedded in Hi-macs® and placed on a specific damping material. An Origine B1 support is placed directly underneath for optimal vibration dissipation. The digital processing is entrusted to Crystal circuits, one for data reception, one for oversampling which transforms the data flow into PCM 24/192 format and one for D/A conversion which operates in PCM 24/192. The idea behind this oversampling is to be able to simplify the filtering at the conversion output. The cut-off frequency is located well above 20 kHz to avoid phase rotation in the extreme high frequency range while ensuring effective filtering of high frequency residues. In addition, this upsampling is performed asynchronously, which has the effect of considerably reducing the native jitter since the data to be converted are then clocked by the internal clock at Origin S2. This is an exclusive third generation analog clock based on an LC oscillator with low vibration sensitivity. It required hundreds of hours of development with extensive work on passive components, the clock circuit and digital signals. This work has led to the discovery of new vibration effects on digital circuits and the application of remedies that have pushed the boundaries of the circuits themselves. The output stage is assigned to a single stereo operational amplifier with very low noise and very high bandwidth within a simple and compact scheme, therefore not very sensitive to induced electromagnetic disturbances. Finally, the power supply is built around three transformers and a considerable number of regulators.
THE SET UP We placed Origin S2 directly on a Centaure L support. The device is already equipped with three Origine B1 devices on which it rests. On a mechanical and vibratory level, the work is therefore already largely done beforehand. The analog outputs are available in balanced and unbalanced connections to suit any type of amplifier. We have opted for symmetry. Origin S2 can also be used as a converter via two inputs: a USB and a S/PDIF on RCA. We tested both of them with great success. Be careful of the sector phase. On a device of this class it can be heard immediately. Finally, Neodio had lent us his excellent power cord Origine P5 that we tried together with the Origine S2. Optimal result, nothing to say! However, if you already have an excellent cord from another brand, do the test, because the Origine S2 is not sectarian on the sector, and we have obtained very good results with our Gigawatt LC3.
THE SOUND With Origine S2, the music lover approaches sound reproduction through the big door. The recorded music takes on an impressive dimension in terms of sensations, while maintaining a constant realism. It is first of all thanks to a very high degree of transparency that this source is characterized. It highlights a phenomenal amount of micro-information and detail, without ever being characterized by clinical or cold sound. The treble, for example, is extremely fine, detailed, meticulous, delicate, and has a very fine texture, but not analytical because musical subtleties prevail over technique. The bass goes very low without any trace of roundness or exaggerated amplitude. Its vigour and firmness are exemplary. It is always very easy to read and naturally integrates into the rest of the spectrum, the notes have weight and give a realistic material to the music. The medium register is as rich as it is pure. This is not contradictory, but simply means that the message is full of information and that it is not coloured at all. On the other hand, what expressive power, what presence. There is a clear differentiation between the different sound sources. The atmospheres are very good; thus the sound scene is remarkably deep and realistic. It is of a marked magnitude, with perfectly precise backgrounds. The instruments are placed with great precision in space, and occupy a realistic surface. Not only is the stereophonic image widely deployed, but it is also perfectly accurate. The layering of the different sound planes is one of the most controlled. Finally, on a dynamic level, Origine S2 is particularly comfortable. On discs of very different styles, the sound effects are reproduced with an impressive respect for the phase and an amazing speed. Each section stands out with evidence and the work of the sound engineer takes on all its meaning. The impacts take on a realistic, almost disconcerting dimension and we find this frankness in the attacks, and the repetitions that make any type of message more lively and realistic.
OUR CONCLUSION Light years away from a thin and ethereal sound, Origine S2 explodes recorded music with a rare jubilation and exciting vivacity. It provides a racy and elegant sound, very lively and able to reproduce with equal success any type of sound message. As time goes by, we tend to «consume» more music in dematerialized mode, but the few days we spent with Origine S2 made us want to go dig in our CD shelves to listen to these little pearls that we no longer handle very often. This beautiful machine makes it possible to make the most of your iridescent wafers but also to sublimate the flow emanating from your computer, to constitute a kind of ideal digital source, an elegant «hub» designed with intelligence and a deep love of music. Compared to the world’s leading digital audio brands, Origine S2 has nothing to be ashamed of!
TECHNICAL SHEET
PRICE € 15.000 DIMENSIONS 460 x 175 x 405 mm WEIGHT 25 kg DIGITAL INPUTS 1 RCA S/PDIF (PCM 24/192), 1 USB-B (PCM 24/192) ANALOG OUTPUTS 1 RCA, 1 XLR OUTPUT LEVEL 2.6 V RMS (RCA), 5.2 V RMS (XLR)
Arnaud Laborie is the founder and CEO of Trinnov, one of the three most innovative French companies dedicated to audio. In his precise schedule, he very kindly gave us the time for this long and fascinating interview.
What is your background? Did you choose it according to your passion? Or did your training spark this passion? Generally speaking, I am naturally attracted to scientific and technological fields and particularly those that touch on emotion and aesthetics, for example architecture, the automobile industry, design and the audiovisual industry. This led me to a classical training as an electronics and computer engineer (EFREI) completed by a Master in signal processing and acoustics (Télécom Paris) at IRCAM, the acoustics and music research laboratory founded by Pierre Boulez. The course came by passion without it being a really calculated choice. On the contrary, it can be said that the training brought revelations about the way things work which fed my passion for audio. At the EFREI I was in charge of the hifi club where the idea is to implement in a playful way the theoretical teachings through the conception and realization of different audio equipment: amplifiers, mixing tables, car radios, loudspeakers of all kinds (2-3-4 channels, closed, bass-reflex, amplified, compact, sound system…). These projects were moreover rather original. One of them, an innovative 4-way active linear phase system, had been presented to the AFDERS association and published with praise in the magazine HiFi Vidéo. In parallel to the emergence of the Trinnov project, I took a Master’s degree in Innovative Business Management (Paris IX Dauphine). Here it is the opposite, a choice totally calculated to favour Trinnov’s chances of success.
How was Trinnov born? At the end of my engineering studies, I understood that I wanted to work for progress in the field of audio. I started from the fundamental question: what are the most promising opportunities to make a significant leap forward in sound quality. At the time it was the year 2000, with the launch of high-resolution audio: SACD and DVD-Audio. The idea was that the more precise the audio signal, the higher the sound quality. But once you get to 24 bits and 192 kHz, it is clear that any further progress in the same direction would bring insignificant hearing benefit. Conversely, the spatial aspect of sound was drastically underdeveloped. I presented this idea to 2 of my best friends, Sébastien Montoya and Rémy Bruno, both equally passionate about sound and music. Sébastien Montoya, a friend from EFREI promotion is an engineer in Electronics and Computer Science, and Rémy Bruno, met at IRCAM, is an engineer in Electronics and Signal Processing (Supélec). They immediately joined the project and together we decided to explore the new field of sound spatialization with the possibility of creating a company if the results are conclusive. We are at the end of 2000 and Trinnov has just been born. From the beginning, the company has been dedicated to 3D immersive sound and the acoustic optimisation of listening rooms. In both cases, it involves using digital processors and loudspeakers to control the way sound waves propagate in the space where the listener is. This is where our name 3D innovation or Trinnov comes from. In June 2003, the first technologies are developed, patents filed, scientific reputa-tion established with the first scientific publications (at the Audio Engineering Society, AES) and we obtain the support of the Ministry of Research. The company is officially created and we work on the development of the first products.
Why did you choose to develop this type of application in particular? As I said, the primary motivation is to improve the quality of the sound experience. As soon as the quality of the signals was fully mastered thanks to the high resolution, the new field to be explored is the spatialization of sound, high spatial resolution. The importance of mastering the spatial dimension of sound is quite easy to understand. Just listen to the sound reproduced by a stereo or even 5.1 system and then compare it with natural listening, without an audio system, for example at an acoustic concert or simply in the street. In a natural listening situation, we are exposed to sounds coming from all directions, be it sound sources (musical instruments, cars, airplanes…) or the multiple secondary sources generated by the room acoustics. There are thousands (or even millions) of sound waves that reach us from all possible directions (left, right, front, back, top, bottom) and our auditory system is trained to analyse them in every detail: locate the direction of each source in 3D (azimuth and elevation), analyse the direction of each reflection of the room acoustics to deduce the distance of each source, the size of the room, the materials that make it up…. Wherever you are, simply close your eyes and try to mentally reconstruct your environment, find out where the sources are, at what distance, how the room is… you will be surprised by the quantity and accuracy of the information. That’s the spatial aspect of sound. If this information is not reproduced realistically enough by a reproduction system, the brain is lost and the reproduction is not credible, the experience is not «high-fidelity». From then on, we understand the new possibilities that open up if we manage to control sound waves from digital audio processors: the mastery of sound spatialization, the acoustic optimization of listening places (studios, living rooms, movie theaters), but also sound recording, post-production tools…
Had there been any attempts in this sector before you? How are they different from yours? In what way are you more innovative? As far as sound wave control is concerned, there have indeed been some attempts in cutting-edge research laboratories. In the 1980s, a technology called Ambisonic was explored but although it was 3D (i.e. it could represent all directions in space) it was too limited in spatial resolution. In the 1990s, Wave Field Synthesis technology was able to achieve high spatial resolution but was limited to 2D (i.e. could not reproduce directions in elevation) and required a large number of speakers (about 100) to reconstruct wave fronts. The innovative side of Trinnov is twofold: on the one hand, to combine the 3D side and high spatial resolution, and on the other hand, to bring these advanced technologies to a commercial product. In terms of Acoustic Optimization of listening locations, there was an attempt by SigTech in the late 90’s to do more than just equalization by introducing a time domain correction in addition to the classical frequency domain correction. But Trinnov takes the concept further by bringing 3 innovations: 1/ that what is measured is the visible result of a more complex phenomenon corresponding to the propagation of sound waves in 3D in the listening room, 2/ that an acoustic diagnosis must be made to go back to the root cause of each acoustic problem and 3/ that each acoustic problem must be solved with a dedicated solution.
How does the Trinnov «diagnosis» work? In terms of acoustic optimisation, Trinnov brings a fundamental innovation. It is not simply a matter of obtaining a desired response at a listening point by frequency equalization, i.e. by attenuating the frequencies that are over-amplified by the room and conversely by amplifying the attenuated frequencies. In reality, these dents and bumps can have many different origins: a loudspeaker listened to off-axis, a reflection against a wall, resonance, absorption or drag in the reverberation. Clearly these acoustic problems are different and do not produce the same effects when listening. They cannot be corrected in the same way. Therefore it is important to understand what is going on, i.e. first identify the cause of each problem before deciding how to correct it and sometimes even give up correcting it when this is not possible. This is exactly what Trinnov Optimizer technology does with its 3D microphone.
How are the listening room and its characteristics fundamental in any kind of audio application (hi-fi, pro, home cinema)? The acoustics of the listening room is indeed the fundamental element of sound reproduction. Those who have had the chance to visit a deaf room have had the unpleasant experience of a lack of room acoustics. Room acoustics are necessary for comfort and listening pleasure. Otherwise, the analytical abilities of the brain are not fed which creates discomfort. At the same time, room acoustics can radically distort the sound. To be convinced of this, just look at the differences in reproduction when you listen to your favourite music in your bedroom, then your living room, then your car, or even at a concert. The list can be completed by studios and cinemas. The only solution is to standardise the acoustic characteristics of the listening room, either by passive processing, digital acoustic optimisation or a combination of both. Ideally, this standardization should be implemented throughout the entire audio production chain, from the studio to the final listener. This is our goal and that is why we are active simultaneously in the high-end hi-fi, home cinema, but also studio and cinema markets.
Are there any specificities for rooms intended for hi-fi, pro, home cinema? For each case, is there an ideal type of room, and if so, which one? There are indeed differences between these environments, but I won’t make a distinction between hi-fi, pro, cinema or home cinema. More generally, there are 2 production lines. The first is the cinema production chain, which aims to reproduce the content in a cinema. The second is the music/broadcast production chain that aims to produce content for the living room. For each of these two chains, the speakers, the acoustic characteristics of the rooms and the applicable standards are specific and optimized for the application. For example, a movie studio is a high-performance miniature movie theatre and a music studio is an idealized living room. We can say that there are 2 types of ideal rooms: cinema and music/TV. Although different, these two types of ideal rooms share many characteristics:
• Direct sound, that is to say the sound emitted by the loudspeaker and reaching the listener directly, must be as perfect as possible: have a response according to a target curve, have no phase rotation, have no time lag…
• Reflections that follow the direct sound should be as small as possible because they colour the sound.
• Then the reverberation must exist (for hearing comfort) but be as neutral as possible with a reverberation time between 200 ms and 400 ms and a uniform spectral content, without any drag that privileges certain frequencies.
• Finally, resonances in the low frequencies (also called eigenmodes or standing waves) should be eliminated as much as possible.
In detail, the 2 typologies are a little different, especially in terms of the target curve, i.e. the overall frequency response to be achieved, but the general spirit is quite similar.
What services does Trinnov and its equipment bring to the different communities (hi-fi, pro, home cinema)?
Trinnov’s core business is digital acoustics, i.e. the use of digital processors to control acoustic waves. The Trinnov Optimizer acoustic optimization technology is available in all our products to meet our mission of increasing sound quality and especially the transportability of content from one environment to another, for example from a music studio to a living room. Beyond this central function, Trinnov products provide additional functions:
• For hi-fi: a 12-source preamplifier including a phono stage, a network streamer (Roon, UPnP, DLNA), a 4-channel DAC and a 4-channel ADC.
• For home cinema: a 27-source pre-amplifier including HDMI, a 32-channel DAC, an 8-channel ADC, a network streamer, a decoder/renderer/upmixer for multi-channel and immersive formats (Dolby Atmos, DTS:X and Auro-3D) and remapping to correct speaker placement errors.
• For studios: a signal analyzer (the Trinnov Smart Meter for measuring content, including perceived sound level) and a monitoring controller for managing different sources (including sub-mixes), different listening systems (speakers and headphones) and intercommunication between musicians and sound engineers.
•For cinemas: management of cinema sources (including DCI digital cinema content, alternative content) and automation.
But Trinnov’s intervention does not stop at the simple functionalities of the products, we work to develop technological expertise around Trinnov’s areas of excellence. We regularly organize training sessions for our distributors and resellers on the issues of Acoustic Optimization, immersive sound and loudspeaker placement. On this last point, Trinnov is the first company to have developed loudspeaker placement recommendations allowing optimal repro-duction of the different immersive formats (Atmos, DTS:X and Auro-3D) over a large listening area. To intensify this effort to disseminate technical expertise, we are expanding our offices and opening a new training centre.
At the beginning of your activity with Trinnov, how were you welcomed by the different communities (hi-fi, pro, home cinema)? At the beginning of Trinnov, acoustic optimisation (sometimes called active acoustic correction, which is a bit inaccurate as some aspects are more compensated than actually corrected) was still in its infancy and certainly viewed with suspicion by the professional and sometimes even the scientific community. But thanks to the support of renowned scientists and the first pioneering and visionary clients (such as ORF Austrian Television, the BBC, NHK Japanese Television and FOX Studios) these technologies have finally become commonplace due to their undeniable efficiency and their increasingly simplified implementation. It is a real work of evangelization that has been carried out, pragmatically with the help of scientific publications, patents, but also and above all through human contact and our intense collaboration with the professional world, of which we are very proud. Today acoustic optimisation has become a necessity and not a simple palliative to passive acoustic treatment. It is an indispensable complement to deal with acoustic problems that passive acoustic treatment cannot deal with for fundamental physical reasons. We are very proud to have contributed to the emergence and democratization of this cutting-edge technology.
Are there differences in approaches to acoustics in different communities (hi-fi, pro, home cinema)? The advantage of having a technology based on the laws of physics is that these laws are universal and apply to any environment in which one or more speakers are placed. That said, some environments have specific constraints that exploit different aspects of acoustic optimization:
• Living rooms are the least treated. It is a question of preserving the aesthetics with an acoustic treatment that is as discreet as possible (simply avoiding a reverberation time that is too long) and letting Acoustic Optimisation work.
• Dedicated home cinema rooms raise the 3 main problems:
• The presence of a screen that, although transonorous, disturbs the direct sound.
• The presence of loudspeakers with very different characteristics (screen loudspeakers are different from surround loudspeakers and at the same time different from elevation loudspeakers).
• The presence of strong resonances in the low frequencies because the rooms are generally small or medium sized and equipped with powerful subwoofers.
• Studios are in principle the most careful environments in terms of acoustic design, but acoustic optimization remains totally relevant especially if it is integrated from the design stage of the studio. But studios cover a wide range of situations, sometimes far from ideal, such as mobile studios or home studios, where acoustic optimisation is not only mandatory but simply vital.
• Cinemas raise 3 main issues: – The presence of a screen which, although perforated, disturbs the direct sound. – The presence of speakers with very different characteristics (screen, surround and elevation). – The presence of reflections on the walls.
Other situations, such as the passenger compartment of a car exploit other aspects but Acoustic Optimization remains relevant in all cases.
How do you view the different communities (hi-fi, pro, home cinema)? Which ones are easier to work with? Each of these communities has its own specificities and we benefit from working with all of them. Throughout the history of Trinnov, we take advantage of our partners’ knowledge to share it with our users in all our target markets. Our «transversal» expertise allows our home cinema customers to benefit from our technical advances and those of our partners in the professional world. It is a real strength for Trinnov to be able, for example, to offer the expertise of a mastering engineer to one of our hi-fi or home cinema customers thanks to the constant evolution of our technology.
In what terms do you think sound reproduction (in the different fields) will be modernised over the next twenty years? Foresight is always a somewhat risky exercise. Having said that, it is possible to distinguish fashions, technological trends and invariants. What is not going to change is the physics of acoustics and the functioning of the human brain. The problem of acoustic optimization will continue to arise whenever there is sound reproduction in a space. But it is a doubly complex problem. On the one hand, there is the incredible complexity of how sound waves develop in rooms, how they propagate, reflect, diffuse, diffract in time and in the 3 dimensions of space. On the other hand, there is the even greater complexity of human hearing and especially the cognitive functioning of the brain. It is clear that there are still many mysteries to be unravelled, which can largely fuel continuous technological progress for the next 20 years, and probably more. One could imagine a kind of more intimate symbiosis between the 3 constituents of sound reproduction: the characteristics of the loudspeaker that produces the initial sound, the characteristics of the room that reacts to this initial stimulation, and the acoustic optimisation treatment that optimises the coupling between the loudspeaker and the room. As a first step in this direction, acoustic panels that integrate a loudspeaker and a microphone to boost its performance appear. Alternatively, acoustic loudspeakers are usually designed to naturally produce a flat, axially extended frequency response. This is a huge constraint that requires many compromises. Another approach would be to anticipate the fact that there will be an acoustic optimisation that will restore the frequency response and to optimise the criteria of distortion and directivity (dispersion of the loudspeaker). Still on the subject of symbiosis, I think that we can reasonably bet on the reinforcement of audio integration and the principle that the listening room, its architecture, its acoustics and its audio system will be designed and integrated together. Beyond the invariants of physics and technological progress, there will also be fashions, new content, new formats, new ways of accessing content, consumption habits, design fashions,… Here we are entering a much more volatile and delicate field to anticipate over 20 years.
How can technologies such as active digital filtering improve the performance of systems? In a loudspeaker cabinet, the frequency band must be adapted to the capabilities of each speaker, for example, bass, midrange and treble. Most hifi loudspeakers use passive filters with passive power components (resistors, inductors and resistors) that introduce insertion losses in the signal path. For example, if the tweeter is 3dB more sensitive than the woofer, the resistor used to attenuate the 3dB tweeter will dissipate half of the power delivered by the amplifier. In addition, the passive crossover introduces a degree of freedom between the amplifier and the loudspeaker which limits the control of the latter. The active crossover solves this problem by driving each loudspeaker with a dedicated amplifier ensuring the best possible efficiency and control, the frequency band of the signal being adapted to each loudspeaker upstream of the amplifier. This approach is preferred in the studio. With its Optimizer technology, Trinnov takes the active filter concept to a new level of performance. The active crossover is adapted not only to adapt the frequency band, but also to take into account the acoustic characteristics of the loudspeakers and the listening room in order to ensure the best possible connection between the channels at the listening position.
The acoustic optimisation of the active crossover also controls the directivity of the loudspeakers at crossover frequencies. It ensures that at each crossover frequency, the power emitted by the loudspeaker is concentrated mainly on the listener and not on the walls, so that the result is less dependent on the listening room. It is a kind of acoustic optimization at the source. For example, we work with several manufacturers of high-end loudspeakers who rely totally on our processors for the part dedicated to filtering and concentrate on their core business, the electroacoustic part. We can mention Vidid Audio, Dynaudio, B&W or even AudioNec or Bohne audio in Germany.
What is today the Trinnov machine park installed in the different communities (hi-fi, pro, home cinema)? We have equipped more than 4.000 high-performance audio installations worldwide, including more than 1.000 studios and more than 1.200 cinemas.
On a purely technical level, what room for improvement do you have? What are your future directions? As I mentioned earlier, acoustic optimisa-tion and more generally digital acoustics are new fields, relatively little studied and particularly complex: the way in which the waves emitted by a loudspeaker propagate in 3D in a listening room is complex and the way in which a listener perceives them is even more so. So there is still a lot of room for improvement. By way of comparison, the electrodynamic loudspeaker we know today with its diaphragm, coil and magnet was introduced on the market in 1920 and continues to be perfected to this day.We are therefore in a logic of continuous evolution, crossing scientific and technical work with the field experience gathered by the 4.000 high-performance installations using our Optimizer technology, including more than 1.000 of the most renowned studios in the world. To talk more concretely about future directions, we are working, for example, on improving bass reproduction by subwoofers. If the work is conclusive, this will lead to an improved version of the algorithm.
