![]() ![]() This prompted a move to a solid timber cabinet, and finding a similarly like-minded perfectionist in both driver and woodwork. ![]() MDF and its ilk simply did not cut the musical mustard. Having listened to classic Lowther designs and even commissioning a variant on the Scott Lindgren Frugel-Horn, perfectionist Lovegrove began to think about building his own loudspeaker he was drawn to the work of Voigt, and realised that such designs rely on extremely rigid cabinetry. It begins (as it so often does in audio) with a personal quest for musical perfection. Back in 1930, Voigt’s concept was to amplify the relatively small signals emanating from a loudspeaker drive unit using a column of air chambered within a cabinet, something Pearl Acoustic’s designer Harley Lovegrove was investigating some 82 years later. The loudspeaker cabinet is a quarter-wave, folded horn design that follows a tradition that stretches right back to Paul Voigt and the first years of electrical loudspeaker systems. The idea behind the Sibelius is a distillation of technology old and new. ![]() In a time where ‘what have you done for me lately?’ rules the audio roost, the Sibelius is a loudspeaker for the ages. It has just the one product – the Sibelius SG floorstanding loudspeaker – and there are no plans to expand, alter, change, restructure or turn the Sibelius into a ‘range’. Companies therefore keep pace by launching ever smaller and larger variations on the same theme. Launch a piece of hi-fi today, and by the end of the week it’s old news. Now, it seems to march to the beat of the smartphone world. Once upon a time, audio used to march to its own beat. ![]()
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