 COMPASS
Acabamento: contraplacado de nogueira/carvalho/cerejeira/rosada
Enchimento lã de carneiro e polifil
virgem
- Potência admissível: 200 W max
- Frequência de resposta: -3dB/40-18,000 Hz
- Impedância nominal: 6 ohms.
- Sensibilidade: 89 dB
- Dimensões: 87,5cm x 25cm x 25cm
- Peso (par): 19,5 Kg
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| SHAH COMPASS CHERRY |
Par de colunas Compass - acabamento em madeira
cerejeira |
4.900,00 € |
| SHAH COMPASS WALNUT |
Par de colunas Compass - acabamento em madeira
nogueira |
4.900,00 € |
| SHAH COMPASS OAK |
Par de colunas Compass - acabamento em madeira
acer |
4.900,00 € |
|
On the face of it, about the last thing we
need is yet another new loudspeaker! In fact,
it would appear that from 1931 (Rice &
Kellogg) to now, every possible permutation
has been expressed. No matter; “new” designs
continue to appear and disappear. And who
would have thought that in the last ten years,
we would have witnessed the vacuum tube rebirth
and revolution, not to ignore the many formats
and raging controversy in solid state as
well.
Our observation of this controlled, commercial
chaos has a specific calming effect. We are
far too small to have grand commercial aspirations
and find the warlike climate distasteful.
We are also foolish enough to believe that
if we study and practice hard enough, we
may discover real artistic solutions to acoustic
problems ..................Which brings us
to 1934, Westphalia, & Enckel, the original
designer of the OMNIDIRECTIONAL or Kugellautsprecher.
His loudspeaker was brought to the U.S.A.
in 1955 and was used for the first FM STEREO
experimental transmission of the Chicago
Symphony under Stokowski, to New York via
the Crosby system. The impression, shared
by many, was that this was a stunning achievement
technically and artistically. Of course,
it was hardly commercial or mainstream and
thereby disappeared.
The effect upon me was absolutely conclusive.
It was clear that the only valid approach
to recreate the radial, OMNIDIRECTIONAL waveforms
in real life was to utilize OMNIDIRECTIONAL
LOUDSPEAKERS. (I have covered much of this
in previous writings.) The new vertical loudspeakers
with diamond shaped baffle shall be called
the “COMPASS” and "STARTER". This
is nothing more than a continuation of the
work we started in 1977 after many years
of investigation begun in 1952.
The enclosure is a rigid pipe with two dissimilar
chambers for the Compass and one chamber
for the Starter. The bass loading is achieved
by means of strategically placed friction
slots. This specific loudspeaker pays homage
to Briggs & Voight as well as Enckel,
Hegeman, & Fuller. The diamond baffle
is ideal to reduce unwanted typical diffraction
problems and thereby produce a smooth, uniform
radiation characteristic. The one-inch (19
mm) titanium tweeter with neodymium motor
is our first choice device and is used in
some of our other loudspeakers. The six and
one-half inch woofer with a truly extraordinary
new hybrid cone is almost spectacular. The
filter network, as in all of our designs,
is 6dB trailing edge for the woofer and 18dB
leading edge for the tweeter. NO ZOBELS,
RESISTORS OR SPECIAL CORRECTIVES. The phase
is correct and seamless.
The enclosure is our standard 19mm Finland
birch with a variety of available face veneers.
All four surfaces are finished, permitting
a variety of placement choices, including
surround applications. Connection is made
in the base and will accommodate any gauge
wire.
We believe you will find the overall performance,
for the modest size and price, to be quite
special. We take a peculiar view of so-called
specifications as they tell very little about
the actual sound produced. (Almost like specifying
the smell and taste of food.)
Though the sensitivity is reasonably high,
and one may employ a modest amplifier for
a small domestic environment, we did spend
the final months of engineering utilizing
a quite powerful 200-Watt per channel amplifier
in a 29,000 cubic foot space playing, at
times, at quite loud levels. At all times,
on classical or jazz music, very low levels
of distortion were maintained.
Specifications
6 ½” composite cone woofer, 1” neodymium-titanium
tweeter. Floor standing vertical enclosure
with multi-chambered pressure loading; drivers
mounted on diamond-shaped, angled baffle. |
HAWK
Acabamento: contraplacado de nogueira/carvalho/cerejeira/rosada
Enchimento lã de carneiro e polifil virgem
Modulo médios - agudos
médios: 4 altifalantes de 14 cm
agudos: 3 altifalantes de 19 mm
Super tweeter: 4 altifalantes
com cúpula
em “W” de titânio e poliamida de 10mm
- Potência admissível: 600 W max
- Frequência de resposta: -3dB/250-22,000 Hz
- Impedância nominal: 6 ohms.
- Sensibilidade: 87 dB
- Dimensões: 17,5cm x 41cm x 29,5cm
- Peso: 10 Kg
Modulo subwoofer
Woofer: altifalante curvilínear (21 cm) de
polipropileno, com suspensão de borracha,
bobina de alumínio de alta temperatura de
38 mm e armação em magnésio
Radiador traseiro passivo
- Potência admissível: 250 W max
- Frequência de resposta: -3dB/25-250 Hz
- Impedância nominal: 6 ohms.
- Sensibilidade: 87 dB
- Dimensões: 78cm x 43,5cm x 32cm
- Peso: 29 Kg
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| SHAH HAWK CHERRY |
Par de colunas Hawk - acabamento em madeira
cerejeira |
15.500,00 € |
| SHAH HAWK WALNUT |
Par de colunas Hawk - acabamento em madeira
nogueira |
15.500,00 € |
| SHAH HAWK OAK |
Par de colunas Hawk - acabamento em madeira
acer |
15.500,00 € |
|
Hawk Subwoofer
The HAWK Subwoofer is essentially one-half
of a DOUBLE EAGLE, turned 90° and inverted.
In addition, the built-in filter module provides
several crossover options. All can be bypassed
for bi-amp function. The HAWK is not only
to expand our product line, but also to solve
specific problems and provide options previously
unavailable.
To begin: All who have a central fireplace
or large-screen TV can now place the split
HAWKS in the standard left-and-right room
locations. This permits one to make a variety
of satellite choices, such as locating them
directly on top of the HAWK, or at some desired
distance, thereby allowing the HAWK to be
utilized as a pedestal for lamps or vases,
etc. Their slender, vertical disposition
suggests surround sound suitability as well.
A pair of HAWKS and SUPER ELVES can be set
up in a few minutes by means of a short umbilical,
or longer if the alternate pedestal usage
is preferred. This makes a wonderful matched
system, by the way, both acoustically and
visually. If startup cost is limited, an
even more modest form of temporary satellite
is possible.
The appearance of the HAWK brings us one
step closer to the completion of our modular
building-block program and becomes the foundation,
the very nucleus of that program. The final
ingredient in the plan is the companion HAWK
Module. And that brings us to the conclusion
of an ambitious program which heralds flexibility
never thought possible. At last, an exciting
yet affordable plan that lets you aim as
high or as low as you wish, and select precisely
what you want.
Hawk Module
The HAWK Module is nothing less than a meticulous
reduction of the DIAPASON Module. The essential
geometry has been retained, only the complement
of drive elements reduced. The HAWK Module
contains 8 drivers as compared to the DIAPASON'S
14. The characteristic tone color is similar
though a touch less opulent. The objective
was to provide a modest alternative to the
DIAPASON forfeiting little in the way of
performance parameters. And though designed
as a perfect companion to match the HAWK
Subwoofer, it may be used with the DOUBLE
EAGLE Subwoofer as well. A thorough reading
of our DIAPASON literature should cover the
basic philosophy of the HAWK as well, since
they share salient features.
Specifications
Hawk Subwoofer
Hybrid transmission-line design with 8” curved
polypropylene cone woofer with rear firing
10” passive radiator bass chamber. Designed
for use with Hawk Module, but can be purchased
separately. ¾” Finland birch enclosure. Crossover
point selectable at 125 and 250 Hz. Crossover
bypass.
Hawk Module
Four 4 ½” curved poly cone low/midrange drivers
with 1” voice coils, and four 1” titanium-neodymium
tweeters. Designed as a companion to match
the Hawk subwoofer, may be used with Double
Eagle subwoofer as well; a meticulous reduction
of the Diapason with essential geometry retained.
Features cabinet shaped as an asymmetrical
prism with unequal rakes fore and aft, and
equal rakes left and right; low/midrange
drivers with 1” aluminum voice coils and
10-oz ceramic magnets, 1” tweeters feature
high efficiency neodymium magnets, mixture
of first and third order filters (6 and 18
dB) for minimum phase function; 250 Hz input
filter may be bypassed for substitution,
if required, for use with other subwoofers;
internal wiring consists of Kimber 4tc with
low flux high quality pure solder. Direct
bypass for electronic crossover option. |
DIAPASON
Acabamento: contraplacado de nogueira/carvalho/cerejeira/rosada
Enchimento lã de carneiro e polifil virgem
Modulo médios - agudos
Four 5 ¼” curved poly cone low/midrange
drivers,
two 1 ½” Titanium dome high midrange
drivers,
two 3” cambric dome low tweeters, and
six
½” W-shaped Titanium dome supertweeters.
Designed to fit precisely atop the
Double
Eagle subwoofer. Features cabinet constructed
of 13-ply Finland Birch, and shaped
as an
asymmetric prism with unequal rakes
fore
and aft, and equal rakes left and right;
also wall-mountable at some distance
from
subwoofer; low midrange drivers have
1-in
voice coil and 20-oz ceramic magnet,
high
midranges have special east/west magnet
structure,
and low tweeters have phase correcting
faceplate;
electrical distribution is four stage
branch
circuit of first and third order filters
for minimum phase function; 2 optional
input
filter choices, or direct bypass for
electronic
crossover and biamp function; other
variations
include biwiring and twin amplification;
internal wiring consists of Kimber
4tc with
low flux pure solder.
- Potência admissível: 800 W max
- Frequência de resposta: -3dB/125-22,000 Hz
- Impedância nominal: 6 ohms.
- Sensibilidade: 87 dB
- Dimensões: 56cm x 18cm x 40cm
- Peso: 15 Kg
Modulo Double Eagle Stereo Subwoofer
Twin, back-to-back, hybrid transmission
line/passive
radiator bass chamber design with two
8”
polypropylene curvilinear cone drivers.
Features
woofers with 1 ½” high-temperature
patented
D.D. voice coils and34-oz. Ceramic
magnets;
¾” Finland Birch cabinet construction;
built
in 140 Hz/280 Hz 18 dB passive filters
which
may be bypassed for bi-amp operation;
bridgeable
into mono mode for double unit operation
or stacked for quadruple high-power
function.
5-way binding posts. Sits on 4 twin-wheel
casters. 3-position passive input filter
module optional. May be purchased separately
from Diapason module.
- Potência admissível: 300 W max
- Frequência de resposta: -3dB/23-140 Hz
- Impedância nominal: 6 ohms.
- Sensibilidade: 87 dB
- Dimensões: 59cm x 38cm x 81cm
- Peso: 48 Kg
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| SHAH DIAPASON CHERRY |
Par de colunas Diapason - acabamento em madeira
cerejeira |
23.500,00 € |
| SHAH DIAPASON WALNUT |
Par de colunas Diapason - acabamento em madeira
nogueira |
23.500,00 € |
| SHAH DIAPASON OAK |
Par de colunas Diapason - acabamento em madeira
acer |
23.500,00 € |
|
Double Eagle Stereo Subwoofer
Since the introduction of the "Contra-Bombarde”,
we have had the notion of producing a smaller,
more cost effective stereo subwoofer. It
finally dawned on us to adapt the OBELISK'S
unique hybrid transmission line bass chamber
to a twin back-to-back configuration. The
east/west driver position and rear-mounted
passive radiators have many advantages and
offer a modular flexibility as well as reduced
cost. A single unit (stereo) can be used
with simple passive low-pass filters (included),
for a 3-unit satellite-type system, or as
an add-on to existing full-range systems
to augment the bass and reduce distortion.
Further, two units can be bridged to mono,
yielding left and right channel dual woofers
for even more power handling and lower distortion
with a lower 3 dB cutoff. And all this can
be accomplished without the absolute need
of an electronic crossover, plus power amp
for the bass. A passive input filter module
is available (3-position) for a variety of
satellite options. Special impedance variations
may be considered for commercial stacking
applications.
Diapason Module
The "Diapason" is without a doubt
the crowning piece of our art. A wisp of
an idea, expanded over a span of 25 years,
has culminated into the speaker of my dreams.
We humbly dedicate it to the memory of our
late friend and mentor, A. Stewart Hegeman.
The “Diapason” reveals the enduring impact
he has had on our work. I believe he'd be
pleased to know his influence has not, and
will not, be ignored. Following his particular
vision has been costly. Why have we, then?
We're convinced he was on the right track
all along, just like Armstrong, Crosby, Enckel,
Olson, Cook, etc., and let's not forget the
cosmic elf, Buckminster Fuller, also regarded
as something of a relic. The sophisticates
have passed by these ancients, it seems,
in order to forge their own brilliant identities.
Perhaps we weren't keen enough to do the
same, and lagged behind to absorb what we
might, from these old "has-beens."
What a wealth of treasure they have left
us! How can the whole of the loudspeaker
community have ignored such a trove?… Ego?
Ignorance?
Indulge us but again as we repeat ad nauseam:
A conventional, forward-throwing loudspeaker
cannot begin to replicate the waveforms produced
by natural musical instruments, period. Nor,
for that matter, any other sound made in
the universe! Since we must agree that any
sound has a polyradial trajectory away from
its point of source, we are forced to conclude
that a reproductive source, if it is to approximate
accuracy, must attempt a similar disposition.
A conventional box loud speaker does not
even try! It has already failed on the drawing
board.
Preposterous, you say! Why are there so many
of them and only one of us? Don't know...mystifies
us at times…laws of physics, acoustics, accessible
to all...puzzling.
However, just because one stands alone, this
ought not discredit one's achievements. Noah,
and only his family, entered the ark. And
only they survived the flood. Any and all
were welcome, but declined. We are not merely
whimsical about our somewhat solitary divergence,
but are certain of its fundamental veracity.
May we assert that a simple demonstration
of the "Diapason" will do all that
is required to convince anyone that this
is the only way a loudspeaker can attempt
a re-creation of an actual sonic waveform.
(By “only” we mean to establish a new generic
identity for a methodology of procedures.
Variants of design may surely be employed
in pursuit of the goal, as several of our
other speakers do.)
Further, I'm certain that my design concepts
and conclusions are inspired and invested
with a particular sense of the orchestra.
(If not prepared to describe procedures and
formulas, I can assure you that I am keenly
aware of the ongoing metamorphosis.) I suppose
I'm saying that there is no unique activity
that does not depend on clues and hints left
behind, incomplete, by others (Mozart for
Beethoven, for example). For me the great
challenge has always been the symphony orchestra.
I will not write thousands of words describing
my impressions of an orchestra, except to
say that it can do almost anything sonically,
from a whisper to a roar. In a concert hall
this relates to three-dimensional sensations.
Why, at home, settle for less? Hegeman understood
this aspect of three-dimensional spatial
distribution completely, as evidenced by
his work, and thoughts, which he shared.
He died long before the "Diapason"
was started, but his influence seemed stronger
than before.
The "Diapason" is a veritable confluence
of ideas that reach all the way back to Rice
and Kellogg. After several years of thought,
the first active prototype was built in 1971.
A small amount of tinkering followed, and
a year or so later it was put away in mothballs
to gestate. For 16 years it just nagged away
at a corner of my brain and then, in a flash,
it just was. The day before, nothing. The
ideas and details came in torrents and the
development went at a fever pitch. In about
six months we were close to conclusion and
I knew we had something quite different and
beyond what we had expected.
It is now many years since the public showing
of the final prototype, and the consensus
of critical opinion is astounding; each owner
has described it as his "final speaker"!
Many have said they are so absorbed in listening
to the music, the shortcomings of previous
loudspeakers having vanished. Some experienced
professionals regard it as the finest domestic
loudspeaker ever produced. Unfortunately,
for some, it is not costly enough to merit
serious consideration. It has made us delirious
with pride and joy. You all know the classic
disease of all designers: never happy, never
finished! Well, I'm even healing from that
one. I've always listened to recorded music
with one-half of my faculties discerning
faults, weaknesses, potential improvements,
etc., and the other half trying to enjoy
the music. How, with the "Diapason,"
I am able to concentrate on the music only.
What small imperfections exist are insignificant
compared to the magnitude of its achievement.
The "Diapason" is simply in a class
by itself, and stands apart from previous
and present designs in its ability to present
the total impact of orchestra, chorus and
organ as never before! ("Quite an ego,
this Shahinian," you're thinking at
this point....You listen and decide if it's
not true.) With distortion at a vanishing
point, frequency response and dynamic range
at an awesome level, all requirements have
been met. ..well, not quite. (We tried very
hard, again, to make the "Diapason"
invisible...and failed.) You may, of course,
listen in the dark, which actually improves
illusion and perception.
What makes the "Diapason" unique?
To begin with, topography and layout. The
upper module, which is dimensioned (22 "W
x 15 ¾ "D x 7 "H) to fit precisely
atop the "Double Eagle" subwoofer,
is an asymmetric prism with unequal rakes,
fore and aft; and equal rakes, left and right.
The entire outer skin of this prism contains
14 separate loudspeakers, from 5 ¼” miniwoofers
all the way to ?” supertweeter domes. The
electrical distribution is a four-stage branch
circuit of first and third order filters,
resulting in a phase correct, seamless transition
from about 125 Hz to 22,000 Hz. The word
"seamless" has been grossly overused
and requires, I believe, clarification, as
regards a loudspeaker specifically. We know
it means without breaks, seams. But that
implies "perfect," which is impossible.
This is, believe me, another of those dense
complications one could explore to exhaustion.
There are many accepted loudspeakers that
fail woefully when each driver is examined
at close range (near field) or all combined
in the far field (3 meters or more). Almost
fanatic attention was devoted to the character
of each of the four stages in the "Diapason"
module, and to their potential harmonious
affinity. The inspiration came from music
rather than a textbook; at the very end of
Walton's Hindemith Variations (Columbia USA
MS 6736) there is a ravishing passage consisting
of a high pedal on violins, leading to a
full brass chord, leading to a full woodwind
chord, leading to a full string chord; seamless,
absolutely seamless, as each group hands
off to the other. The wizardry here, of Szell
and the Cleveland Orchestra, has always stunned
me and caused me to ponder if anyone could
make a loudspeaker do the same thing. I believe
we have. A solo speaking or singing voice
is also difficult to project as a whole,
a unity. This, the "Diapason" does
handily. We've chosen appropriate, natural
geometry, and we get the reward of exquisite
results. It's one thing to use a megaphone
outdoors, or aim a horn-type loudspeaker
to get the attention of people, where there
is an absence of a room or hall to collect
and reinforce sound. It's quite another to
bring one's mega-phone into a parlor, to
speak with friends. And yet, almost all loudspeakers
possess this "megaphone" effect,
which is unacceptable. The entire skin of
the "Diapason" module radiates
energy outward, like a spherical, radial
point source... ideal for the purpose ...
like the mouth on your face. You don't have
a horn on your mouth, do you? We don't on
the "Diapason" either! And the
governing principle is the same.
Are we privy to secret data, or clues? No!
It's one thing for Rice & Kellogg to
have put a loudspeaker in a simple box in
1931, but just foolish in 2000! The theories
are fundamental and common knowledge, conveniently
ignored. (There's a huge profit in selling
common box speakers. A careful scrutiny of
a very famous $5,900-per-pair imported loudspeaker
indicates that you pay almost $5,000 for
the cabinets and crossovers. The published
replacement cost of woofer, midrange and
tweeter is about $600 per box! If we used
a similar factor, the "Diapason"
would sell for over $20,000! A small message
here, perhaps?)
Well, enough rhetoric, back to nuts and bolts.
The "Diapason" module atop the
"Double Eagle" becomes, the "Diapason"
system. Though the "Diapason" might
have been used with other subwoofers, none
we or others have tested seem to do complete
justice to the totality of the original design.
There are, however, several usage permutations
embodied and included at no extra charge.
It is possible to choose, for peculiar environments,
a crossover one octave higher than the basic
140 Hz by means of rewiring external terminals.
It is also possible to overcome some spaciousness,
if a more direct presentation is desired,
by rotating the module 180°, facing the short
angle forward. The
"Diapason" module may also be wall-mounted,
at some distance from the subwoofer, if required.
Primary filters may be bypassed for electronic
crossover, bi-amp function. Other variations
include bi-wiring and twin amplification
(separate amplifiers for tops and woofers,
passive filters), and additional surround
subwoofers. Some unique high-power auditorium
applications may be accomplished by simple
stacking/multiplying.
Words and words and more words, and we still
haven't told you what a "Diapason"
sounds like. Just as a great chef cannot
tell you how his feast is going to taste,
the only way to experience it is for yourself.
The peculiar personality and character of
the "Diapason" can only be hinted
at. Do we mean to tell you the "Diapason"
is not that paragon of virtues—neutral? Yes!
Just as Heifetz's Stradivarius and Guameri
had different personalities. (And we don't
think it images well, either, whatever that
means. As hard as we've tried, we can't seem
to see anyone between our loudspeakers, whether
playing or not.)
My own reaction to all of this is rather
unexpected. I had never anticipated quite
the level, the standard achieved. I feel
like saying, as Mozart did about his "Marriage
of Figaro" in "Amadeus," "It's
the best opera ever written"!
The "Diapason" is absolutely the…well,
I'll leave that to someone else. (I'm certain
it's the best Armenian loudspeaker ever made,
anyway.)
It's here ...a real-world, cost-effective
instrument you can acquire in stages or all
at once. And crystallizes for sure that this
is the best time in history for music lovers.
As concert and opera tickets continue to
climb beyond the workingman's reach, there's
a pragmatic alternative at last—to assemble
a system around such a speaker and have at
your disposal the treasures of music on command.
And for those of you, who feel the live concert
experience can never be matched, relax; so
do we. At times, it can actually be improved
upon. (Imagine walking up, tapping the conductor
on the shoulder and asking him to play Delius
instead of Brahms…fat chance.)
Listening to a pair of "Diapasons,"
coupled to a reasonable high-power system,
can be a unique, new, awesome experience,
likened only to a live concert. Of course,
it is still artificial, synthetic; but you
won't care anymore. The level of your involvement
and concentration will exceed all previous
experience. I know whereof I speak; this
is not mere propaganda, talk for money. This
is an artistic, cultural activity we hope
many of you will share.
About the press and propaganda: We've always
felt it was a duty for any publication to
report and print the news without partiality.
To ignore facts or fabricate, as some have
done, is odious. Small companies who may
have much to offer the public may also be
without the means to inform and promote.
While I've thought we were doing that which
was exciting and newsworthy, it seems I have
been perceived as a musical genius and an
audio eccentric. (So much easier to bury
in fine print on page 5.... What? There is
no page 5? Oh well, forget it!)
You may imagine, then, my amazement at "colliding"
with that elfin wordsmith, J. Gordon Holt,
a man who loves, digests and writes about
music. Yes, music! Over the years I may have
ignored his work as much as he overlooked
mine, but considered it essential to acquire
any recording he mentioned in print. Well,
the very unlikely has happened: We have befriended
one another. Imagine, a journalist and crazy
me! In the April 1990 issue of Stereophile,
he has embarrassed me with an omnibus article
on me, the "Diapason," audiophiles,
music, philosophy, etc. I am grateful for
his kindness and perceptive observations,
but more than anything for a most magical
evening in our exhibit room at winter C.E.S.,
where we (and a few others) spent about three
hours listening to music including the whole
of Copland's 3rd symphony (Levi, Atlanta,
Telarc), ending with applause.
For a brief time, we were transported to
Symphony Hall Atlanta. It happened ...I was
there. See you soon, Gordon. |
