Stax vol 3 e brochure

Page 2

r all starts with a sound hilt the sound is not

yet a vibration from the air, it doesn't make

the eatdtums vibrate. The sound makes
itself Felt inside the brain as it [l'aVclS around the
neurons and synapses. either turtively or out in
[llC open. This sound for example awakens all
the five senses inside of our body: It allows the
listener to be in a different time and place. from
the moment the sound enters his or her
eardrums, our sense of hearing is aroused. The
wund takes LLx away to a place that is serene. \We
can feel the soft grass under our Feet and the
warmth ofthe sun on our skin. The whole tield
is filled with the sweet smell otiwild flowers. As
we explore further. we can also hear the trickling
from a stream near by and in the distance we see
the clouds turning gray. As the rain begins to tall
we can taste the salty raindrops on our lips. The
sound leaves us at peace. This is what a compos-
er sees in his or her mind as they consider how
to deliver expressions to these images.
A piece acquires its tharatter through the selec-
tion ofa particular key. This process is as
dctailcd as that oian architect when designing a
building. He or she thinks about the overall
design and the Structure. The composer explores
new sounds by combining different instruments.
The sound otcreation. this is what the per-
lormer hears. He translates the notes into sound
in his head; in this sense the performer hittiselt is
it listener. SVI'AX ear speaker then continues the
process by converting this sound into vibrations
in the air. This has to be done by means of an
electrostatic method because we cannot afford to
lose even the smallest details. The smallest sound
may possess little volume, but it has an extreme-
ly important role to play in recreating the tonal
texture. The tonal quality ul'a particular imttu-
ment is determined by its content. as it gets
under Way.
The question is. how to convert this insrrument
into air vibrations.> This has to do with quality
rather than quantity. This is just one olithc great
merits of the electrostatic method This method
allows the slightest nuance [0 be converted into
air vibrations without difficulty. It goes withotit
saying that it is also able to trace the ultimate
degree; the echo content ola sound as it dies
away in a concert hall. The transducer and elec-
trostatic speakers are extremely unusual. 1 he
polymer film is as thin as several microns in
thickness iequivalent to air). is made to vibrate
by the drive power created by static electricity.
We are able to [1'ch the struggles undergone b}

the composer as he works on his piece.

The space inside

a composer's brain

An electrostatic transducer
with high aesthetic qualities

Electrdde
(taxed poi-rim A
Positioned on both sides at
the diaphragm ivrdrairng film)
inquire. with etaclludé lfixsd
Dale) 3 Has $trong. uniloim
flnvz poweron an surfaces rn
respect |d the diaphragm and

possesses an opening for

efficiently radiating dniwards
my sound waves generated
by means of thiilliorl Since
it is not iiseli subtract In Sym-
naineic vibration. m.
maizridis an? chest: with ma
dreamt care

It is extremely difficult to reproduce
audio sound. All sounds in this world
are a product oi themselves. For
example. the sound of a Violin. the
chirping of birds. the sound of a
steam engine or the roaring of a Jet
plane. These are all "natural sounds
there are no distortions here. in the
sense of audio. But things are diiierr
ent when it comes to audio sound.
The sound of a Violin is emitted from
something totally different. Speakeri
A speaker is a transducer that
attempts to recreate all sounds with
totally different features emanating
from the world of nature. For exam-
pie. when something is struck, it will
emit a noise. The noise peculiarly
close to whatever the substance may
be. There's no need to point out that
the diaphragm of a speaker does not
in itself possess any such sound. If it
did this would be the cause of distor-
tion and would result in the specific
sound being added to the signal.

As far as speakers are concerned,
there are at least three questions that
needs to be solved, Inertial mass.
speed of response (transitional prop«
erties). and bending of the diaphragm
(split Vibration). Since a speaker is a
physical obiect. the diaphragm of the
cone must inevitably possess mass.
Inertial mass will invariably result it
the diaphragm is moved. In other
words, there will be no movement
until the energy needed for move-
ment is added and it will not stop until
the energy has been fully expended.
This results in a major differences

Electrdde

(fixed polarity) a

Music signals are supplied by
pustrnllll [0 me electrons:
tilxea poidnty), man a plus
signal votllgs is applied um.
a wholly contusltng minus
Signal voltage IE supplied to
B. The diaphragm munny
mims onto the minus slac-
node side. lollowiriu mamas
tn voltage in a lunar mannar

Diaphragm

(vibrating min)

An ultra-mm polymer nim
between i and 2 memos (l n
0 out to a 002 0! n millimer
tail think. it rs afllched with
Mr the nghi degree at in
sign in allow tor n lo vibra|e
A Dias vnlllgl of several
hundred volts is cnnatanlly
applied to rr. rasulltng in plus
paieniidi. The unilorm avar-
all drive makes II possime to
obtain me ideal surfane vibra~
tinnul amplitude, The most
advanced and ideal mdienais
are read.

between such sounds and the
sounds oi the natural world

One way in which this matter can be
dealt with is by having a drive or con-
trol power on such a relatively large
scale that its mass can be ignored in
respect to the diaphragm. This is
known as dynamic type. Another
approach is to lighten the diaphragm
to the absolute limit. which is known
as electrostatic or condenser type.
The structure is extremely simple. as
shown in the figure, two electrodes
are arranged in parallel facing one
another and a very thin polymer film
which has a thickness of no more
than a couple of microns IS set
between them. In the case of an ear<
speaker, the mass is no more than
the area of the ear. It is extremely
light virtually to zero, A high-voltage
bias is feed constantly to the polymer
film lie. the diaphragm, this results in
plus potential. When a music signal
is sent to the electrodes on both
sides by push-pull, one of the elec-
trodes become plus while the other
electrode acquires minus potential.
Since the film has plus potential it
moves to the minus electrode side to
the extent of any change in voltage.
This continuous motion generates
compressional waves in the air,
resulting in the production of sound.
The physical movement represented
by change in voltage of displacement
of the diaphragm has clarity. similar
to a leaf floating on the surface of the
water. This results in reproductions
With an extremely high degree 0t
faithfulness with outstanding startup .
response properties. The soutidyqual~
ity is highly detailed virtually free bf
distortion and has a quality of which _
one never experienced. Electrostatic ,
type diaphragm is driven by the i i i
whole surface of the electrodes. This
creates the extremely strong and
robust flat surlacewlth no warping.
The level achieved is so high that
there is virtually no time delay or
rebounding from the edge caused by
the transmission of movement.