Loudspeaker of Audio Physic Cardeas

The new audio physic Cardeas (18000 euros the pair), named after Roman gods, sounds odd – but but heavenly.

Where to settle was the new Cardeas within the audio physic hierarchy? The question was little agreeable present at the presentation Managing Director Dieter Kratochwil and his developer Manfred this, and they hesitate with the answer: “Yes, in fact already at the top. Technological in any case.”

And in fact. Expires the half active Kronos (3/04), and 100_000 euro Monster models are like the Cherubin from the 90s probably finally passé. Thus, audio physic treading a path that makes also the industries leaving B & W and Canton so successful: to offer absolute cutting-edge technology at prices that seem somewhere accessible.

According to the new technology flagship comes almost discreet euro, the dimensions of 30 x 120 x 60 cm and a weight of 55 kilos with a price of 18_000. And it is clear at any point in this elegant four-way design that audio physic has highest effort up in the smallest.

For example, in the case. There is a core that is already extremely stable due to its multiple nestings. This construct around, Diestertich pulls a second wall. Both wall layers consist of MDF plates, which are sliced lengthwise in the curves; You can bend them. But the plates are glued not over the entire surface, but only at points where the inner case wields little. On all other surfaces results in a gap of approximately 1.5 to 2 mm wide. Thus, the fabric is mechanically not as stiff as it could be when complete bonding. Acoustically but is this wood/air/wood sandwich (similar to a double glazing) more efficient because less sound from inside of the case gets out.

Great effort in the chassis, which all occur in long, nerve-racking work according to Diestertich’schen: the 26 woofers with aluminium membrane and equal passive Mrs, the measured by four centimeters, very wideband cone – also aluminium – and the 15 midrange (of course also with aluminium membranes), are particularly elaborately decorated with their mounts baskets.

And thus has fallen an essential keyword: “Decoupling” namely runs like a thread through the Cardeas concept. What is meant is the decoupling of all sound relevant components of the vibrating surface. 15 years ago Diestertich has discovered an effective method using thin ropes for it: the string suspension concept (SSC). Long ago, the nylon threads against the tightly stretched nylon nets were changed where now the disturbing vibrations to catch.

Again brings us in the midrange. The Cardeas models have two baskets: an outer is anchored in the sound wall and an inner which is connected via a network of SSC tightly with the outer. But also the tweeter is determined by SSC-NET in the baffle, and even the connection sockets are as decoupled. For the drivers, they saw so little so often. But at the Terminal? Diestertich “Easy listening,” says: “With SSC’s sound much clearer.” You must believe it, because the small shocks in many stereoplaytest brought surprisingly big sound gains in this direction.

Who is so consistently, can be the crossover does not un decoupled. Furthermore, Diestertich here carried out an unusual circuit (see box below) and is even a little esoteric: Gabriel chips, which should reduce the ElectroSmog and currently the forums abuzz with glue on the capacitors. At audio physic, one remains there admitted: “who does not hear it, must not buy Yes’s. For us it’s much better.”

Back to the 15 midrange drivers. In the Cardeas work equal to three of them. The Middle handles 350 to 2700 Hz; the outer running virtually even in the bass range: 100 to 350 Hertz. And that’s probably not easy. The Cardeas distortion values are very low over the entire range, but at 80 and 250 Hertz, the two low-midrange driver Klirren top show. The slim woofer is also striking. “Of course we can also more bass”, assured Diestertich. “But the most music fans have small rooms, and since 90 percent of the usual speakers fail. Our.”

And actually the bass low deliberately tuned Cardeas sounded in the strongly damped stereoplaylistening room only once unusually slim. But already in the first bars, music was evident that we had to do it here with a transducer, whose nimble-footed fine drawing and incredibly plastic representation could possibly set new standards. If not this little dünnliche bass… But with codestream as pushing on the rear it was getting better, the sound from below always full. It was then enough at 40 cm distance. And at one time was enough because of all: the sonorous chest tone of Livingston Taylor in his “isn’t she lovely” as well as the damned bass guitar pulses of Marcus Miller (“Panther”) or the mighty bold in the Erich Kunzel interpretation of reveal “1812”. In establishing right can these speakers produce correct draught – and is thereby always precise.

This rendering precision through stretches in the top layers. Here not the widespread Prussian superficial variant is meant but a rarely heard looseness. The harp by Friedemann’s “Little plucking music”, commonly a hard test, mastered the Cardeas thanks to its huge inaugural speed confidently, without how many other “quick” sounding speakers in the rough. That’s why it sounds so real. You must be a HiFi specialist, to hear that whistle by Livingston Taylor about the Cardeas natural sounds or their three-dimensional figure is downright stunning.

At the end of 65 sound points were on the lists of the tester. This is a small sensation for a box under 20_000 euro. Adding even the harmonious proportions and the coherent Assembly concept, there can be only a judgment: highlight!