Dlja oznakomlenija ,idei akustiki i realizacija ...
http://www.genesis80.com/ownersmanuals/G1_Owners_Manual.pdf
4.1 Design Philosophy: Dipolar Line Source
Nothing has changed in theoretical acoustics since Lord Rayleigh’s
original book on acoustics published in 1877. There are still only two
proper ways for a loudspeaker to propagate sound in a room: a point
source and a line source. Anything else, or everything in between, is a
compromise.
In order for all frequencies of sound
from the loudspeaker to reach the
listener at exactly the same time, a
coherent wave front is important -
not just “time-alignment” of drivers.
The ideal is either an infinitely small
pulsating point or a pulsating line
with a size on the order of the room
dimension.
Obviously, an ideal line-source is
much easier to mechanize than the
ideal point source. The line-source (if
large enough), can approach the
ideal, and in doing so, provide
sufficient radiating area for
dynamically and spatially realistic sound reproduction.
The Genesis 1.1 is a near perfect line-source that is 7.5 feet tall
(nearly the room’s entire height). A line source has no vertical
dispersion at any frequency. Hence there is no sound bouncing from
either the floor or the ceiling. No deleterious interference from these
surfaces is created (as in virtually all other kinds of speakers).
John William Strutt Lord Rayleigh (1842 – 1919)
Ver 2.0
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Another advantage of the 7.5-foot line source is that the vertical
spectral content of music is virtually the same throughout the length of
the line source. Hence, the seating height does not matter with this
speaker; unlike point source speakers where it is important for the
ears to be aligned with the tweeter.
The Genesis 1.1 is also a dipole radiator. The midrange and tweeter
drivers are mounted on a rigid Corian™ baffle with no enclosure. This
has two advantages: firstly, it eliminates any enclosure or boxy
colorations caused by cabinet vibrations or resonance.
Secondly, the dipole creates a cardioid pattern (like a figure-eight),
which has its maximum output at the listening position and behind the
speaker itself, and minimum output to the sides in the plane of the
loudspeakers. This very effectively eliminates the bounce from the
sidewalls. Hence, in conjunction with the line source, the Genesis 1.1
has no first reflection from the floor, ceiling or sidewalls. The net result
is that there are far fewer detail-robbing room reflections from the
room than other types of loudspeakers. With fewer spurious
reflections to confuse your hearing, the program source emerges
more clearly. Imaging is deeper, yet more focused.
This results in a loudspeaker system that is virtually roomindependent.
Also, because there are no phase and frequency
distorting reflections created, one can be transported into the
audience of the actual concert hall where the music was recorded.
4.2 The Genesis Ribbon Tweeter
Reviewers in the Audiophile press have often remarked that the
Genesis circular ribbon tweeter is the world’s best. It is a one inch
circular planar ring-ribbon design crafted from an extremely thin
membrane of Kapton with a photo-etched aluminum “voice coil” that is
a mere 0.0005 inch thick. The entire radiating structure has less mass
than the air in front of it! That is why it will accurately reproduce
frequencies beyond 36k Hz.
The result of this design is a driver that has a rapid and uniform
response to high frequencies, and has the speed of the best
electrostatic designs without the high distortion and poor dispersion
that is typically associated with them.
The Genesis 1.1 uses twenty-six of these tweeters configured as a
vertical line source (twenty front-firing, and six to the rear). In addition
to creating the dipole line source, the output is distributed over many
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http://www.vmpsaudio.com/ST3.htm
Only two drive systems offer truly low moving mass: the electrostat and the ribbon, with the ribbon enjoying the advantage by far. "Stats" need a thick, noisy plastic diaphragm, doped with a conductive slurry, a very high polarizing voltage which easily arcs across this barrier, an undamped suspension (usually, the edges are merely clamped down), and a large surface area, since stats are extremely inefficient. The wide, large panels are highly directional, dipolar in their radiation pattern (a big drawback at bass frequencies), and ragged in their frequency response. Set in motion by a music signal, they flex, shimmy, and twang. There is no practical solution to these problems. Low moving mass is the stat's sole virtue, but this is enough for many listeners, enamoured of the absence of "cone squawk" and typical enclosure output.
Ribbons have been with us since the 1930's and fall into two broad categories: single- ended "leaf" type ribbons which are driven magnetically from one side only (usually the rear), relying on inherent springiness for their return motion, and the push-pull ribbon, with rows of magnets on either side. Examples of single-ended ribbons are ubiquitous: EMIT's, EMIM's, the popular trapezoidal panel ribbons, and many others. Look for the telltale slotted magnet structure behind the diaphragm. Single-ended ribbons suffer from very high distortion, typically an appalling 30% THD or more. Their distortion products ride only about 10dB or so below the signal and are extremely audible. Single-ended ribbons' success in the marketplace is attributable to their quick, responsive sound quality and the forgiving nature of the human ear.
Push-pull ribbons can be outstanding performers, held back primarily by their extremely low impedance. Ten years ago VMPS built the Widerange Ribbon, a modular system with a six-foot midrange ribbon whose DC resistance hovered near half an Ohm. This is not a suitable load for any amplifier, including today's best. The recourse has traditionally required an impedance-matching transformer, which tends to saturate, shift phase and generate other considerable distortions of its own.
In the Special Ribbon Edition of the VMPS Super Tower III, we use nine of our most advanced Neo ribbons for it's midrange array. Our ribbon radiates as a dipole, with no enclosure coloration; its back wave is controlled by a foam damper which prevents the comb filtering so characteristic of dipoles while retaining their airy spatiality. Vertical dispersion of such a tall ribbon is, of course, ideal; horizontal dispersion of midrange array is extremely broad and linear. Low, low moving mass of Neo reibbins approximates the mass of the air it must move, for an ideal impedance match. With output flat from 280 Hz to 6.9 kHz, it needs only mate with an equally good treble ribbon, which by good fortune also exists in the form of the SRE/ST3's free-swinging six-inch ribbon tweeter, the moving mass of which is one-onehundredth that of the finest moving-coil dome in existence. These two ribbons, midrange and treble, measure and sound so superior to anything else yet invented or imagined that the only obstacle to their use in High End speaker systems would be cost. You could purchase the entire drive complement of a highly-reviewed $65,000 megaspeaker for the price of this midrange array; a cost accountant (the real decision-maker at most companies) would note right away he could buy fifteen tweeters found in his "Class A" $90,000 system for the same money as one of our six-inch treble ribbons. Thus there emerges the real paradox of latter-day High End speakerbuilding: the best drivers are simply too expensive for use in the most outrageously expensive systems available.
The low moving mass of ribbons in general works against them in the bass, where low system resonance dictates high mass, high compliance woofers. VMPS has a reputation established over 29 years for constructing some of the finest bass systems in the world. We exploit this experience to build the six-foot-four inch bass column of the SRE/ST3. Four 30cm (12") woven-carbon fiber, phase plugged active drivers (with Soundcoat-damped baskets) push one mass-loaded, slot-loaded woven carbon fiber passive radiator to cutoff below 16Hz at levels near 120 dB/1m SPL. Cabinetry is both massive (204kg, 450 lbs) and unique in design and construction. The primary material is a synthetic granite, backed by additional thickness of MDF (front, side, and rear baffles each having different thickness, masses and resonance frequencies). The synthetic granite exhibits damping properties lacking in the natural stone and thus transmits sound poorly. "Panel talk" is reduced 10 dB more by the internal application of Soundcoat, a borosilicate ceramic damping compound . A current trend in megaspeaker design is the more-and-more massive cabinet, one brand outdoing another to the point where the heaviest scale in around 500 kg. Increased mass does translate into increased moment of inertia: the cabinet will strongly resist its tendency to rock back-and-forth minutely in sync with woofer motion. While it would be possible to whittle a speaker cabinet out of the side of a mountain, and achieve nearly infinite mass, such an enclosure would still have considerable output (stone and cement carry sound well at high velocity) in the form of vibration and flexure. The damped composite of the SRE/ST3 is sufficiently massive, well damped, and a bad-enough sound transmitter to be as inert a cabinet as the costliest competitors no matter how much they weigh.
Audiophiles have long debated the virtues of tube vs. solid state design, with vociferous advocates on both sides of the debate. Transistors generally can deliver much more current than tubes and be directly coupled to the speaker. Tubes are more linear than semiconductors, however, and often produce more realistic mids and trebles. For these reasons, the SRE/ST3 is supplied with a 24 dB/octave electronic crossover. Tube fans could then hook up the Single-Ended Triodes, zero or low-feedback pentodes, or Class A EL34's (our favorite) for midrange and trebles only, while Solid-Staters can enjoy the diminished intermodulation distortion of true biamp or triamp operation. The great flexibility so achieved can be a true joy to the person wanting the maximum from his system. The passive crossover to the mid and trebles is outboard and is easily removed for service or updating, obviating the need to ever ship the speaker system itself back to the factory or service technician. The FET-input active crossover for the bass range boasts premium parts and a huge, 1,000,000uF/120W power supply, by far the heftiest power supply for line-level commercial gear ever.
(может потому что далеко сидел...), но звук очень эмоциональный, одним словом - вовлекает.
- Всё тоже самое, что и в первом случае, но баса было столько, сколько надо, всё на месте, класс! Значит в первом случае всё-таки грешу на не совсем удачное место прослушки... 
), а вот в след. раз сел где-то метрах в четырёх, и вот тут уже получил свою дозу адреналина 
поискать чтоль инфу? 
в полутьме не разглядел лого на оконечниках, но пред и CD были точно Primare. CD кстати такойже как у вас. Очень понравился прозрачностью и глубиной сцены, наверно куплю себе такой 