A design procedure must include several steps, obey to several rules but have only one orientation, one main principle. Discussion fora have presented multiple opinions on what is the best acoustical behaviour of a high fidelity speaker system. Almost always these opinions have nothing in common and contradict each other. We can talk for hours repeating the various speaker design 'movements' of the last decades. Our approach is compatible to all these and in that sense unique.

One principle is engaged to our design protocol : A designer and the associated process must only be able to predict and control the objective acoustical properties of a high fidelity speaker so that they reach design targets defined a-priori.

In simple words our philosophy is not to force this site's users, members or plain visitors to accept the superiority of our design targets. These acoustical targets are almost always a matter of personal taste. For many amateurs and engineers it can be the result of experience.

-So what is our design philosophy or principle as stated above ?

A design procedure must only give us the ability to control the speaker's behaviour in an absolute way that will always make the latter reach our initial design targets. In this site we will only give examples of such targets, not question their origin, integrity or consistency.

-Are there any rules that must be discussed before going on ?

Yes there are:

A speaker system does not create music out of nothing. It needs to be connected to a power amplifier. As power levels increase in the listening space the acoustical result is influenced by space reflectivity, amplifier quality and loudspeaker driver distortion.

-Which are the steps of the design procedure for a high fidelity speaker system?

Not all steps can be presented at once. There must be over one hundred of them so the reader will lose track of the overall idea. At the beginning we need to define a framework. Each part of this design framework will group a family of steps.


four parts