R2R Audio

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Finally, after more than 30 years of research and development, the culmination of all this work gave birth to a truly unique premier product: the Real Full Range self powered 15 inch loudspeaker system. This high-resolution system utilizes just a single Full Range driver per channel, while covering the entire frequency range from 20Hz to 20kHz. The result is unprecedented music reproduction.

This world`s most technologically advanced speaker system sets new standards in frequency response, phase response and impulse response. Now for the first time it's possible to have exceedingly low distortion, wide dynamics, and high sensitivity. This novel system reproduces the sound with revolutionary accuracy, balance and dynamic power.

For cone and dome membrane production we use non-woven high modulus polyaramid materials treated with liquid Kevlar™ and Nanoparticles Fullerene C60. This unique production technology allows us to achieve the velocity of sound in moving elements of the drivers up to 12 km/sec. The maximum velocity of sound in moving elements made of traditional materials cannot exceed 3 km/sec.

This ground breaking technology resulted in the reduction of the moving parts' weight, which in our high-effeciency speakers is at least three times smaller then the weight of any other existing speakers. However the mechanical and analog-electrical characteristics of R2R Audio loudspeaker far exceed the quality of competitors. For instance: the slew rate of our 15 inch Full Range driver is 84 Pa/mSec whereas with conventional mid-bass hi-fi and class Pro loudspeakers this parameter is lower than 20 Pa/mSec.

Our technology allows us to produce cones and dome membranes with diameters from 2 to 18 inches with durability of 10 to 15 years in any challenging environment without loosing their original characteristics. Few years ago we designed our first 8 inch Full Range underwater transducer.

Particular attention has been paid to the magnet assembly construction and materials. For their production we use only pure iron Armco and high quality constant neodymium magnets made of NdFeB metal. This gives us a significant magnetic field strength in the gap up to 2,2 T.

One of the most important elements of the technical design are the voice coils. To this end, edge-wound voice coils were developed and are used for our driver production.

Suspensions have reduced losses from friction.

What makes the R2R Audio Full Range system so completely different from all other current acoustic systems today?

• A single Full Range driver per channel covering the entire audio band
• Impulse characteristics equaling that of electro-static speakers
• The dynamics of electro-static loudspeakers yet a greater than 10 times efficiency than electro-statics
• A velocity of sound as high as 12 km/sec in the drivers moving elements
• No hot spots or localization of the sound source
• A single channel transducer enables a true three dimensional presentation for all types of music programs
• A true representation of the recording source

All R2R Audio active systems use:

• An open baffle design
• Universal class D amplifiers with up to 700 Watts of power
• Linear power supplies with surplus power reserve and special Low ESR sound electrolytic capacitors to avoid power drawdown on low frequencies
• A digital processor for frequency control, no passive elements
• Four user selectable presets for different environments
• A DSP compensation for complete flat frequency response (similar to the principal of phono cartridge frequency correction for vinyl records to achieve full range playback)

http://www.r2raudio.com/about.php
[DOUBLEPOST=1444424365][/DOUBLEPOST]Why are our loudspeakers and acoustic systems different in sound character from others? What is the reason and outcome of our design approach?

There are two fundamental principals we believe in:

• Musical and vocal signals have nothing in common with stationary sinus signals
• Impulse signal (Dirac function) and a speaker's acoustic impulse response are the signals that should be used for measurements. The analysis of these signals paints a complete picture of subjective results of the listening and objectively measured electro-acoustic characteristics.

How did we arrive at this conclusion?

Because we are not attempting to build the theoretical model of a loudspeaker and create a new one to simplify the analysis. We are not trying to invent new interpretations of laws of physics through simplifying electro-mechanical models.

We are trying to understand the features of single impulse’s radiation into the compressible medium.

Traditional methods of electro-acoustic measurements, such as frequency response, phase response and total harmonic distortion, etc. are based on sweep tone and stationary noise and showed that they consider spectral balance only. But the other sound parameters, such as slew rate, attenuation time, power responce, non-liner displacements on real signal, still need further research.

For our own usage we created proprietary methods of electro-acoustic measurements and tests allowing us to effectively develop new product and solutions in short period of time in all applied areas:

• Measuring and analyzing of the electro-acoustic transducer’s impulse response in the surrounding field and defining its main parameters
• Measuring of the environment’s attached mass and evaluating its effect on a speaker's efficiency
• Measuring of non-linear displacements (total harmonic distortions) on real signals
• Measuring of the musical and vocal signal’s real crest-factor and comparing its acoustic image with its electric image with visualization and evaluation
• Measuring and visualization of musical signal parameters of reproduction in real time using different signal sources and different digital formats; also the later comparison of obtained results with the results of the subjective examinations
• Measuring and visualization of the positions of sound images in front of a pair of speakers; determination of displacements of the virtual sound images in depth and height, with measurements of correlation parameters between the channels

These methods and results of our research helped us to make the following conclusions:

• Thielle-Small Parameters have very limited applications in loudspeaker and acoustic system design for musical and vocal content reproduction
• Any acoustic enclosure, besides the unlimited baffle and a baffle of limited size, has a negative effect on correct low frequency envelope reproduction of the musical signal. It’s related to resonance fluctuations in a closed or ported box. The incorrect reproduction of the low frequency envelope brings an almost complete loss of area information, stability and localization of virtual sources
• With multiple driver systems, the diversity of electro-acoustic transducer centers in space and frequencies causes the complete destruction of the musical signal image integrity and the stability of virtual sources in the front, depth and height of the soundstage
• Any naturally sounding musical instrument has higher front impulse and exceeding capacities compared to any perfect sound recording or sound reproduction equipment by many times. The reason for this is excitation speed of the string, horn and drum instruments’ elements compared to the speed of electro-acoustic transducer's impact on its cone
• The weight of the driver’s moving system should be many times less than the weight of the joined co-fluctuating air. Only then the active radiation of the acoustic energy will grow dramatically.