Q/A  Commonly asked questions about the CS2

1. How many amplifier channels do I need? Is bi-amping necessary? A: The CS2 system is a stereo, bi-amplified design requiring a high and low frequency range amplifier for each channel. Therefore, a total of four channels are required. There are several popular amplifier configurations on the market including monoblock (4 needed), stereo (2 needed), or multichannel amplifiers (1 needed).

2. What types of amplifiers work best? A: We have found that a variety of amplifier types work well with the CS2. Both conventional

linear solid-state, as well as digital amps can provide outstanding results, including ICEpower, Tripath, and Hypex based designs. Using the same amplifier design on the high and low range is recommended but is not a requirement. Tube designs are often successfully deployed as the high range amp.

High Frequency Section Amplifier:

• Recommended types: Solid state- linear and digital, Vacuum Tube

• Power minimum: 10 Watts or greater

• Speaker load impedance: 8 Ohms nominal, resistive load.

Low Frequency Section Amplifier:

• Recommended types: Solid state - linear and digital

• Power minimum: 200 Watts @ 4 Ohms or greater

• Speaker load impedance: 4 Ohms nominal

• Amplifier location: next to speaker if possible with balanced

   interconnect cables and short speaker cables.

3. Can I mix solid state on the bottom, tube on the top? A: Yes- assuming you follow the guidelines above. Differences in gain between different amps will have to be taken into account during the DSP setup procedure. We can easily walk you through this level matching procedure over the phone.

4. I like what you’re doing, but I use vinyl, not digital. A: It doesn’t matter since the standard DSP controller accepts an analog signal from your preamplifier

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5. From a purist standpoint, it seems redundant to convert the analog signal into digital for processing and back again. Doesn’t that degrade the sound? Idealy, we would rather process the digital data directly from the CD player or hard drive for the best results, but modern DSP processors available in the marketplace have reached such a performance level that their presence is essentially undetectable. Passive crossover networks in conventional speaker inflict far more damage to the signal. The stock Behringer DCX2496 DSP has a digital input allowing the use of products such as the Slim Devices Transporter digital file server, thereby bypassing the Analog to Digital stage.

6. What type of signal connections come from the DSP? A: The standard Behringer DCX2496 DSP controller has balanced, differential outputs via 3 pin XLR connectors. Always use balanced interconnect cables if your amps have balanced XLR inputs. If not, we can supply XLR to RCA adaptor plugs. Our optional processor can be supplied with XLR or RCA connections.

7. Is the DSP complicated to operate? A: No. The DSP comes preconfigured and ready to use. You will simply recall the appropriate file preset. These presets are based on the speaker’s distance from the wall. For example, if your CS2s are placed 4ft from the front wall, recall and select the file named “4Ft”, then press “OK”. You are ready to play music. Differences in amplifier levels can be easily matched allowing the use of different amplifer designs for the high and low ranges.

8. Does the stock DSP provide room correction? A No. However, the DSP file presets have typical room anomalies compensated for through equalization

9. Why is dipole bass and midrange so good? A: The sound of dipole bass is a revelation the first time you hear it. It just sounds like the bass instruments present in the music without boxy, boomy, pitch-shifting effects of box speakers- just fast and tight reproduction. The advantages are very striking on music with several bass instruments-They are sorted out and distinct in 3D space instead of clumped together in a resonant, thudding sound. Premium box speakers usually minimize these problems, but at enormous cost to manufacture. The open-baffle midrange presents an open, unstrained reproduction, with the speaker disappearing, leaving only the musicians. Pitch accuracy and timbral resolution are intact and uncontaminated by box effects.

10. I’ve always heard that horns sounds honky and overly bright-what’s different about your product?  A: The CS2 uses a very mild horn flare that eliminates the effects you mention. These types of devices are usually referred to as waveguides (although all horns are technically waveguides). This design is used in studio monitoring applications where accuracy and directivity control are the priorities (and extreme output levels are not necessary). Dramatically better dynamic response and soundstage reproduction is possible with a properly designed and implemented waveguide/compression driver system compared to even the best direct radiator domes and ribbons. In conjunction with DSP controlled frequency response, the sonic performance is outstanding.

11. Do the included carpet-piercing spikes really affect the sound much? There is a dramatic improvement when using the spikes with the CS2. We strongly encourage their use even on non-carpeted surfaces.

12. I have read where many people say the CS2 sounds better than speakers priced at $20,000 or more. How could this be?

Is it the components you are using, or the boxless design?

The high level of performance is attained through the proper synthesis of many effective techniques, any one of which would be a big deal in a traditional design. The boxless design is certainly a major contributor, but very high efficiency, controlled directivity and DSP correction are just as important. When used together, along with a number of secrets features, the composite effect overwhelms conventional design technology. It is a matter of using the correct techniques and technologies rather than the cost of the components that makes the difference.

Feel free to email any additional questions you may have to:

clayton@emeraldphysics.com