The HOLOPHONY Be touched are probably the only loudspeakers available on the market that have:
1/ original drivers from the 50’s and 60’s of the 20th century with ultralight paper membranes which reproduce the finest details with unmatched precision
2/ very low power (15 W), so that they achieve extreme resolution and transparency
3/ grounding terminals for speaker baskets, which greatly improves the timbre and separation
4/ soft surface of the housing around the speakers (covered with felt), which prevents the unfavorable sound reflections
5/ set on magnetic cushions (levitation effect), which protects against vibration
6/ completely independent high-midrange unit magnetically levitating over the bass module, which prevents the transmission of vibration
7/ all electrical connections made without soldering (without the use of tin, which degrades sound).
Here is a full list of the “patents” we use for the exeptional sound of Holophony loudspeakers:
1. Very low power (maximum 20W), so that the membranes can be very light and gently suspended, and thus be able to reproduce the smallest details with the highest precision and speed.
2. Diaphragms made of paper in all speakers (including tweeters) and Alnico magnets to provide natural tone.
The above conditions are not met by drivers produced today, so I had to reach for those manufactured no later than in the early 1970s.
3. Speakers mounted to the housing via layers of anti-vibration material.
4. Speaker baskets grounded with terminals located at the back of the housing (Numbers 1 and 2), which greatly improves color and separation.
5. Extremely simple 1st order crossover, so as not to lose the dynamics, resolution and coherence.
6. Capacitors manufactured no later than in the 1980s (in Holophony No. 1 we use capacitors from the 1940s), according to the principle: the older the capacitors, the better the sound (I wish I knew why )
7. Components selected and matched with the highest precision: coils parameter may vary only up to 0.002 mH, capacitors up to 0.01 μF. Such high quality elements are not available, so we make them ourselves: the capacitors made of several units, and the coils are winded with utmost precision.
8. All connections are made without soldering, because every drop of tin costs a few percent of the transmitted information.
9. Each element is insulated with a layer of anti-vibration material.
10. We use highest grade wires, same as in our DreamLink cables.
11. All drivers are placed on the front panel facing the listener to provide the fullest, most direct (not distorted by reflections) contact with the transmitted information.
12. The drivers coils are aligned, which means the tweeter has to be recessed in relation to midrange driver (the bass woofer pushed forward in a three-way design) to acoustically minimize phase shifts.
13. The bass-reflex port must be at the back of the enclosure, as far away from the speakers as possible to minimize the sound waves interference. Although the Holophony feature bass-reflex, they are acoustically more similar to closed designs than to open ones. The bass-reflex channel is very narrow, quite long, and performs an auxiliary function (enlarges the sound stage, but at the expense of its precision). It can be closed without loss of bandwidth.
14. As narrow front baffle as possible to minimize reflections that degrade tone depth and precision of instruments placement
15. Non-parallel walls to minimize resonances inside the enclosure
16. Thick walls to increase their stiffness and weight of the speakers and thus to reduce their vibration susceptibility. Usually we use a 25 mm thick MDF, and in the more expensive versions the exotic 27-30 mm thick wood.
17. On the inner walls we use a layer of anti-vibration material, and on top of it sheep’s wool, which minimizes vibration and resonance.
18. The lower, openable base is separated from the rest of the cabinet with a layer of anti-vibration material
19. The box containing crossover is mounted via three layers of anti-vibration material.
20. The external walls are covered with felt sheets in the places most exposed to direct reflections from drivers. Another version of the finish is flok: a soft, velour-like layer completely covering the loudspeaker, thus potentially eliminating 100% direct reflections.
21. The loudspeakers are placed on our Ball Receptor No. 1 anti-vibration pads, which suppress vibrations more effectively than commonly used hard spikes or soft sorbothene washers.
22. Three-way speaker models are made up of two separate modules, so that the vibration of the large subwoofer located in the separate lower box do not degrade the upper part of the band. In addition, the upper module is positioned on the magnetic feet so to float on the magnetic pad over the bass module.
Due to their very high sensitivity of 90-97 dB the Holophony are a “can’t resist it” offer for users of low-power tube amplifiers (SET), who have a problem with finding appropriate loudspeakers. At the highest level of sound reproduction QUALITY is inversely proportional to QUANTITY (amount of power), the rule which applies both to amplifiers and speakers. The Holophony connected (preferably by the DreamLink cables) to a Single-Ended Triode amplifier are a set uncompromisingly offering quality at the expense of quantity.
We assure you, however, that in household conditions the offered power output of several Watts is more than sufficient. The problem of the audio industry today lies in confusing the requirements for home and stage equipment. The trend of increasing the power output of home audio systems, initiated in the 1970s, led the High-End in a blind alley, to losing fidelity and musicality in exchange for the power output of a few hundred Watts that nobody needs in reality.
The Holophony can handle 15-25W only, but they may be driven by all kinds of amplifiers, even powerful solid-state ones – then you just have to use the volume potentiometer carefully. The loudspeakers don’t have particular requirements as to the size of the listening room, either. Of course, the bigger, the better – the optimal distance from the surrounding walls is 1.5m (minimum – 0.5m). In a small room, the acoustic wave propagating spherically from the speakers hits the walls, diffracts and reaches the listener deformed, thus disorganizing and reducing the soundstage. More important than the size of the room is its proper acoustic treatment that prevents reflections which distort tonal quality (cooling and hardening the sound) and introduce false information about the location of the instruments.
Specifications are given in the table Pricelist.