We all know the attraction to use in the own HiFi plant a technology which does not have everyone, are it tubes or record players. With the loudspeaker, where dynamic chassis dominate, the Magnetostats forms the famous Gallic village against the mainstream. For instance with ADAM audio.
Magnetostats with foil diaphragm are as it were the refined variant of the small bands: In order to increase impedance like electromagnetic field strength, a several times wound or swung conductive strip is applied on a non conductive diaphragm foil, stuck as a rule. So the Tones can build more into the width and profited nevertheless from the small weight and the even drive - Piega and Infinity are prominent advocates of this mode of operation. The certainly further challenges in terms mounting of the magnets (these must be evenly close at the conductive strips) and self-bundling (the diaphragm may not become too large) to contain.
The quadrature of the magnetostatic circle, speak the combination of a large propelled diaphragm surface and a small, the round spray behavior beneficial sound radiation surface, succeeded into the 1970ern to the physicist Oskar welfare: It folded a large magnetostatic diaphragm repeated and let it accordions similarly swing. Admits made this concept above all for Elac with their Jet Tweeters. The German box specialist ADAM uses the Heil’ principle not only with the Tweeter, but also in the central clay/tone range.
That is a venture, because the oscillations go here more slowly and more air must be shifted. Into the new Column Mk 3 therefore clearly more increased, with rough rem zigzag raster of provided X-KIND-Midrange is used already starting from 800 Hertz, which already plays in somewhat refined form in the High end Active box tensor delta (AUDIO 6/09). Apropos actively: Adam chief developer Klaus Heinz is since year and day an advocate of the active principle, with which each way receives its own final stage. The Column Mk 3 gives it therefore naturally also as full-active version with inserted final stages, which in the bass owing to better tunability still some Hertz depth are to bring and altogether some more precision.
In order to optimize also the passive variant, the bass reflex channel is very deeply co-ordinated, what makes a large housing volume necessary. The two 17-Centimeters tones from a particularly fused diaphragm-sand-yielded must besides into the central clay/tone range parallel work. Over it only the large, then the small X-ART, takes over both by the way in favor of an even round spray behavior provided with easy sound guidance.
Despite similar genes the high-grown Adam Column set sonically a trace off from the representatives of the tensor series already tested: It reached EH “(Bosic, CPO) in the choir passages of Lehars” the analytic dissolution of the semi-active delta not completely, sounded for it a good portion more approximately and more unexcited. “No fear of monitors!” one would like the HiFi fan acclamations squinting on homogeneity and phonetic warmth, showed the nevertheless straight Column that a high measure of precision does not have to go compellingly debited to the benefit. Tonally and in character it struck Geithain ME 150 thereby into the same, incorruptibly neutral notch as the ME, without wanting to achieve however their leave depths and present concert hall atmosphere.
That was not the development target probably at all: The ADAM addresses itself rather to listeners, that like it directly and intimately, that prefer the breathing immediacy of a studio admission of the somewhat unbridled spaciousness of a Live Recording. Fascinating was it about, the sound Inventors of Whitetree literally with the work on each automatic controller and each short SAM-polarize listen to be able. The Geithain tried, this sounds authenticity and area to breathe, which did not always succeed than, while those represented ADAM ago rather, what her is: ingenious Sound subtleties, which refer its musical atmosphere straight from a certain artificialness. The column was dynamically Thereby beyond each doubt: Michael Jackson’s “Thriller” sounded in the bass stressed soberly and controls, however otherwise sprayed only in such a way before and start dynamics.
