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KV2 Audio
Description
KV2 Audio. Defining Performance. Creating the next generation of advanced, high-definition, active loudspeakers.
When we started KV2 Audio in November of 2002, we knew that being a small company provided incredible flexibility to change directions and to "get things done". As much as passion defines our direction, we could never lose focus of the reality of creating products that have to be easy to use and demonstrably better. At the end of the day, we all had to agree on a central aspiration.
As has been our tradition over the years, our goal evolved with the help of napkins and pencils over long, sometimes heated, conversations. We were confident that our little company had the experience and talent to develop truly unique concepts, but the core questions about what we were about to develop remained: Why is it better? How is it different?
George Krampera defined it for us succinctly and with his extraordinary knack of identifying something that was always in front of us, yet remained unnoticed. "If we want products with extreme clarity, definition and output, increase the audible dynamic range." George said the key would be in producing dramatic improvements in what he called the "True Dynamic Range" of a loudspeaker system.
He defined "True Dynamic Range" (TDR) as the ratio between the maximum output of the speaker vs. the noise floor. Critical to his noise definition was that he includes both harmonic distortion and intermodulation distortion as well. The reason is simple. As the audio signal becomes more complex, harmonic distortion and intermodulation distortion are summed together and also become more complex. The noise floor now assumes the behavior of random noise.
A device, speaker or amplifier, which has been specified as having 1% of THD over a frequency range, is considered to have an acceptable "industry standard" distortion spec. In terms of noise floor you find that 1% THD is equivalent to 40 dB of dynamic range (Sound System Engineering Davis & Davis 20 log10 [ 1 - 99%/100] = 40 dB) ...
When we started KV2 Audio in November of 2002, we knew that being a small company provided incredible flexibility to change directions and to "get things done". As much as passion defines our direction, we could never lose focus of the reality of creating products that have to be easy to use and demonstrably better. At the end of the day, we all had to agree on a central aspiration.
As has been our tradition over the years, our goal evolved with the help of napkins and pencils over long, sometimes heated, conversations. We were confident that our little company had the experience and talent to develop truly unique concepts, but the core questions about what we were about to develop remained: Why is it better? How is it different?
George Krampera defined it for us succinctly and with his extraordinary knack of identifying something that was always in front of us, yet remained unnoticed. "If we want products with extreme clarity, definition and output, increase the audible dynamic range." George said the key would be in producing dramatic improvements in what he called the "True Dynamic Range" of a loudspeaker system.
He defined "True Dynamic Range" (TDR) as the ratio between the maximum output of the speaker vs. the noise floor. Critical to his noise definition was that he includes both harmonic distortion and intermodulation distortion as well. The reason is simple. As the audio signal becomes more complex, harmonic distortion and intermodulation distortion are summed together and also become more complex. The noise floor now assumes the behavior of random noise.
A device, speaker or amplifier, which has been specified as having 1% of THD over a frequency range, is considered to have an acceptable "industry standard" distortion spec. In terms of noise floor you find that 1% THD is equivalent to 40 dB of dynamic range (Sound System Engineering Davis & Davis 20 log10 [ 1 - 99%/100] = 40 dB) ...
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Date
Sep 9, 2005
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Link ID
9954
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analog-to-digital converter, digital-to-analog converter, 96-kHz, 24-bit, A/D
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amplifier, remote gain, microphone preamplifier, distribution amplifier,
interface amplifier, mic-preamp, VU meter, location recording, audio meter,
balanced input, AES3, AES/EBU, S/PDIF, SPDIF, audio mastering, noise shaping,
line amp, professional audio, recording equipment, pro-audio, preamp, pro-audio
equipment, broadcast equipment, audio engineering, AES audio, TOSLink, word
length reduction, digital audio workstation, audio PPM, clean audio
analog and digital audio equipment used in broadcast and recording studios.
Benchmark Digital Converters, with their outstanding jitter reducing Phase-Locked-Loop, are considered by some to be the highest performance converters available. With proper use the results are breathtaking! See what our customers are saying or order CDs created with Benchmark Converters and hear the difference.
digital audio, audio converter,
analog-to-digital converter, digital-to-analog converter, 96-kHz, 24-bit, A/D
Converter, digital audio, D/A converter, 24-bit,digital audio converter, line
amplifier, remote gain, microphone preamplifier, distribution amplifier,
interface amplifier, mic-preamp, VU meter, location recording, audio meter,
balanced input, AES3, AES/EBU, S/PDIF, SPDIF, audio mastering, noise shaping,
line amp, professional audio, recording equipment, pro-audio, preamp, pro-audio
equipment, broadcast equipment, audio engineering, AES audio, TOSLink, word
length reduction, digital audio workstation, audio PPM, clean audio
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Winner of numerous industry awards, Audio-Technica manufactures products that set quality, durability and price/performance standards for live sound tours, broadcast and recording studios, corporate and government facilities, house-of-worship venues, and more. A-T microphones are chosen for critical government installations such as the U.S. House of Representatives and Senate. Audio-Technica microphones and wireless systems are also selected for major broadcast music events, including the GRAMMY® Awards and the Rock & Roll Hall of Fame induction ceremonies.
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Widely renowned in the Spanish market for being a leader in the industry, world-wide we work with distributors in over thirty different countries and reach other professionals through our own International Sales Department. Our international division has enjoyed continued growth since it’s creation in 1985 and now accounts for 50% of turnover.
We strive for continuous improvement regarding both product and service. Complementing our already extensive product range and post sales team, our strategy –focus on end-user feedback- has the aim of continuing to supply our customers with the very best and user-friendly products in the market.
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sweden's legendary Rune Rosander established Pearl in 1941 which was the first microphone manufacturing company in Sweden, and remained the sole Swedish microphone manufacturer for the next 40 years,
In the beginning, Pearl produced mostly crystal microphone. In the early 1950's, Pearl manufactured large volumes of dynamic microphones for PA-systems. As well as developing the first condenser microphone. Bernt Malmqvist was hired in 1954, and in a few years was promoted to the position of Production Manager of the Pearl microphone range. Simultaneously Malmqvist was involved in R&D at Pearl. Mr. Rosander became Mr. Malmqvist 's mentor for learning every aspect of developing microphones. In 1987, Mr. Malmqvist and his family became the proud owners of Pearl.
At the end of the 50's, the well-known Pearl rectangular condenser capsule was developed. Pearl has continued to improve the capsule over the subsequent 40 years, and today it is one of the very finest capsules available for music recording. From 1960 to 1980, Pearl produced several different kinds of microphones such as crystal, magneto-differential, ceramics, dynamic and condensers for customers such as Ericsson, Tandberg, Radionette, Luxor, Swedish Radio, etc.
In the early 80's, Pearl focused on R&D of microphones only. In close cooperation with Pearl, a separate, trusted company was responsible for manufacture and worldwide sales of the microphones. When this association dissolved, Pearl resumed responsibility for its sales along with production and marketing. The first model in this new "era" was the unique stereo microphone - the TL 4. Since then, Pearl has developed twenty new models appropriate for numerous applications among them a range of stereo microphones.
pearl, mikrofoner, microphones, micrófono, mikrofon,microphone, membrane, MS, X/Y, dynamic, Bernt, Margita, Malmqvist, fig. of eight, omni, cardioid, phantom power, windscreen, stereo, mono, condenser, high level, högnivå, multipattern, blumlein, dubbelmembrankapsel, rectangular, dual, capsule, PML.
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