- Three balanced-armature driver construction
- Three-way passive crossover (Single low, single mid, single high)
- Two-bore acoustical design
The Ψ (psi), is the main axis our designs, being 3-way it was the starting point to others. The goal of tuning this three-driver model was most pleasant musical sound reminding a little bit classical hi-fi and pro-audio equipment from ‘70s and ‘80s . Overall sound was meant to be extremely natural, a little bit laid back, balanced, full, pleasant, musical and very faithful in monitor kind of way.
Lows that are punchy and could get pretty big if sound engineer meant it that way. Soft mids, in their vocal range recessed just enough to avoid nasal sound. and sharp enough in higher part of the band to maintain punch in snares or grain in distorted guitars. Due to unique acoustical tuning highs were kept crispy, but not harsh.
Extremely natural soundstage width and depth. Great but not obtrusive source separation, natural, coherent imaging.
- Depending on listening level to make use of the Fletcher-Munson law (for lower listening levels the bass can be boosted to make it better audible)
- Depending on level and quality of bass in the recording (if the bass is great it can be made very powerful, on the other hand if material is not to well mixed and lows are becoming boomy and out of control they might be trimmed down)
- Depending on external noise levels (If you’re listening in noisy environment like airplane, subway or similar where low-end noise masks the lows, you might want to switch them up).
The switch controls the bass and lower mids (below 1000Hz). It can be used e.g.: