Maggio 2010
La nascita di Ktéma
me introduce myself: I am
Ktéma, a speaker, who was born to tell with the language of music, what can not be told with words even more secret.
have been shaped by the experience of persevering with the old and the light spirit, free and inquiring.
My birth was the result of chance, fate of the strange situations and events, seemingly simple, but nonetheless fascinating for their ability to generate great passion and great enthusiasm. A mysterious ringed
of events, a simple sentence written with a pen on the sidelines of a wiring diagram, represented the opening words quite a laborious project that gradually took shape and thickness.
A friend, with whom for many years, my creator had consistently forged a detailed and careful research aimed at the deeper meaning of "making music playback, with two simple lines in a package one day drew a hypothesis challenged all the achievements so far: A
when a speaker "Ktema es aei" as an alternative to the many "Panta rei"?
The greek historian Thucydides introduced a cyclical conception of history, hence the need to know the past to understand the present and, within the limits of the human, to predict the future, the story is then κτῆμα ἐς αἰεί (Ktêma es aei, possesso perenne), ha cioè dei principi universali che sono validi per ogni epoca.
Obiettivo suggerito quindi, realizzare un diffusore acustico che rappresentasse altrettanto un'acquisizione perenne e duratura, musicalmente non scalfibile dal tempo, ed in alternativa ai tanti oggetti "panta rei", tutto passa e viene superato, tipici di un mercato che non ha certamente la Musica come obiettivo primario.
Un invito dunque, alla fine di un ciclo, a realizzare qualcosa che “rimanesse”, che potesse rappresentare un “valore per sempre” in un mondo in perenne divenire.
Un' alternativa a tecnologie and research, by definition, new and advanced, but often flawed by a continuous sterile and surpassing oneself.
was therefore necessary to be able to find stability in a rash and continuous "stream" of form and substance and it was clear that the challenge was really fascinating!
After initial confusion, excitement pervaded my "trainer".
was prompted by the idea of \u200b\u200bdedicating its future work to design a "testimony" that could persist over time, almost a "boat" floating on the waves of the essential "panta rei" ...
"Exegi monumentum perennius air." ...
I erected a monument more lasting than bronze ...., this phrase began with self-congratulatory ode to the Roman poet Horace, intended to underline the desire of a human, to mandate something that remains, the trace of their passage.
The legendary "Snail" with its structure Leonardo had given impetus to a new way of conceiving the transducer music.
Since then, over time, my plan had always maintained a consistent approach, a stubborn and spontaneous craftsmanship that had represented a continuum of balance in the implementation of all the children of that project, the children of the same inspiration and a constant desire to beauty and simplicity.
I remember with great affection my ancestors "Parva" little "Minimal," his sister "Minima Amator," and then Electa, Extrema, Guarneri, Stradivari, Amati ... my family tree is full of musical instruments which, in time and manner, accompanied and emphasized the experiences of music fans around the world.
said Oscar Wilde: The imagination imitates, is the critical spirit that creates.
My creator wanted me otherwise, I would like an imitation of my ancestors, however noble, knowing that this would have been to invent and advance the need for him to question suffered acquisitions of the past, having to break the rules and acquired comfortable truth, having to dig deeper, summarize, complicate, simplify .. accept the criticism of non-rewarding stimulus, followed in short, a rough road when he could go a lot smoother. The greek
Pindar often reminded that the days to come will witness the wiser of what we create today.
I understand that, by definition, there can be a "product" so as to resist the onslaught of new and evolving techniques, but it is true that a certain "essence" and "raison d'etre," related to functionality, fairness and universality, can not contribute much for something to climb over the wear of the conditioning mode and time.
I had to I, therefore, embody a "Prince Regent", unchanging in time and simultaneously "materialized" in the product had to be conceived ... a fusion of "ktéma eis aei" perpetual acquisition, with the "panta rei," everything flows !
should have been a great and important subject, majestic and powerful, as to daze and amaze, with acoustic possibilities beyond the limits of perception.
I could have unlimited adjustments, many voices and different personalities. The need
of simple truth and "measure", however, has always been the leitmotif which has informed and governed the project from which I was born, a project which could not fail to take into account the strong need and priority needs of each real and normal music fan: the credibility and evocative of the musical play.
I was wanted, in short, as creating fresh, innovative and aware: a stimulating and enjoyable companion of many musical journeys.
I had to be the bearer of a new and powerful concept, but while being provided with elegance, functionality and easy usability.
Many, therefore, the carriers had combined to finally lead in the glossy view of my birth, and several of them, quite unconventional.
a long time before I was born in the minds of my filmmaker spun a thought, an idea: being able to highlight, in the sound box that contains the event played music, what matters most, what most captures' listener's attention.
's so that the bloom is convinced of the need to emphasize the "apron," the central place of the event, a belief that has given a very clear why my form.
Athens: Herodes Atticus. Ktema source of inspiration, form and function.
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Perhaps it was feeling the need to play the music event in the most immediate, natural and simple as possible, which stimulated the desire to privilege the ideal center of the stage, the core of each performance, this proscenium
is the place where the action happens on stage, where the 'focus is, if you feel the virtual space that surrounds the concert, the soloist, the singer, the item.
It is around this point that articulates the development of the "boundary", the orchestra, il complesso cameristico, il gruppo degli strumentisti.
Un centro ed il suo spazio circostante.
E' stata quindi una ben precisa scelta di campo il voler dedicare il massimo dell’attenzione al non disturbare, al non “sporcare” la parte centrale dello spettro acustico, la parte più delicata e sensibile dove l’orecchio percepisce le più insignificanti variazioni, dove la ricchezza e completezza armonica mettono in risalto la realtà timbrica degli strumenti, dove una minima alterazione della "fase" delle informazioni musicali potrebbe compromettere l'integrità e la naturalezza della riproduzione.
La “parte di contorno”, giusto supporto della parte solistica, acquisisce quindi una sua valenza ben precisa: una diffusione posteriore che accompagna e si integra con il “cuore” della musica senza invaderla, senza offuscarla.
Un registro grave ottimizzato attraverso una innovativa guida d’onda (seguendo la strada maestra tracciata da illustri maestri come Allison, Klipsch, Snell, Berkovitz…)
Guida d'onda, oggetto di una lunghissima ed attenta accordatura, alla fine sfociata in una nuova particolarità: offrire alle membrane degli altoparlanti una uguale “resistenza” sia per l’onda anteriore che per quella posteriore, creando, nell'oscillazione, una “sincronicità” totally unexpected.
Centre and surrounding space, then: a nodal point and a support frame. Choice
clear from the design and construction of my frame and my "dress".
I know that several years have passed, and then click to select the three components into my front and I also know that those three transducers are state of the art components and embody a consolidated, validated by the most prestigious research laboratories and by constant and careful listening.
I also know that priority has been the realization of the ultimate purpose of music playback, not to simply adapt to specific technical parameters, but, while nell'obbligatorio respect for science, that of "happiness" of the ear of the listener
course, in the end, the pleasure derived from my emotions and play will always be directly related to sensitivity, culture and knowledge of music of my listeners.
why I spent a long period of testing and maturing as a guest for one year at the home of Andrea Bocelli and the admiration and respect he has shown in me, me proud and made sure my "way" to extend and on my personal "version of events ... ..
Thus, me, Andrea wrote to my project the first time I heard it: Dear Mr
Serblin,
are sitting in front of the speakers, and listening to my album ... .... I felt the need to grab the computer and write .... and congratulate you for the quality of these speakers and the pleasure they give to listen.
Even my voice seems more beautiful and hot!
My friends and American producers have been fascinated by the cleanliness and the presence of sound.
A real home theater, where the singer is right there .. in front of you ..
... .. warmest congratulations to a value that is forever "...
Andrea Bocelli.
Ora non mi resta che augurare anche a voi un buon ascolto…
Vostra
Ktéma
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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
http://www.francoserblin.it/
