Hadron Production Detail
Here are a few details of the Hadron cabinet production.
Milling cabinets out of solid blocks of plywood might appear to be overkill however this is a process derived after a long evolution of building cabinets in various ways, measuring and listening to them at each step.
This expensive and elaborate cabinet is not a product of theory. After years of trial and error, many versions of various cabinets evolved into this. It was an empirical process.
Braces and supports are not added. They are integral in the layers themselves. This not only adds strength but also provides paths and nodes for resonance distribution within the material.
The philosophy is not to eliminate resonance entirely (which is impossible). Reduction in amplitude and distribution over the entire construction is one step in resonance management. The characteristics of material internal dampening are critical.
The first part is not like a musical instrument which resonates intentionally over a broad frequency band. Here we would like to distribute resonances and lower amplitudes. The second part is to be mindful of the nature of resonance which inevitably remains and are internally damped by the material. This last part is very much like a musical instrument. Since we cannot eliminate resonances completely the remainder must be damped with pleasing qualities. Just like amplifiers - is not as much the amount of distortion but the nature of it which is important.
The cabinet shape is a fundamental and critical aspect of resonance management. Here a Fibonacci arch is implemented which is far more potent in distributing harmonic reflections than a similarly proportioned rectangular chamber.
The port is designed into the layers and milled out of the solid wood.
The result is an annealed, solid wood construction which handles resonances evenly.
With considerations of this kind the material of the cabinet itself is critical. It has been recently been made popular with the Dennon 103 re-housing movement (and others that have followed) that a phono cartridge's performance is subject to the material it is housed in.
Sugano San knew this as early as the Rosewood Supex cartridge production of the 1970's and was further mapped out by him in the the evolution of Rosewood, Urushi laquer coated Aluminum, Onyx and other semiprecious stones the Koetsu line utilized over the following decades.
The loudspeaker is an electro-mechanical transducer ust like a cartridge however its amplitudes are far greater than a phono cartridge's. It should then be easy to understand that a material's resonance characteristics in a loudspeaker are of great importance.
One interesting aspect of this construction method is that the wood which has been subjected to stresses and pressures in manufacture and bonding processes is annealed in the milling process. Not only is an annealed product stronger but it is also more "at rest" which improves its resonant qualities.
Hadron loudspeakers are now available with shorter lead times.
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