At Accucoustics, we are committed to the accurate reproduction of sound. Our name says it all; Accucoustics = accurate acoustics.

The problem most often overlooked with most speaker systems is accurate reproduction of the bottom most octave. With the exception of the recent breed of 1 cubic foot subwoofers using exotic drivers and multi-kilowatt amplifiers equalized to achieve good bass response to the bottom octave from a 1 foot cube, most systems known for their good low frequency response have used:

1) Large sealed or vented cabinets and large woofers
2) Multiple or compound (isobaric) woofer alignments
3) Mass loaded vent substitutes (undriven cones)
4) Accelerometer/servo amplifier based systems

All of the above, including the small brute force cubes are either expensive approaches or produce bass which is limited in output at the lowest frequencies. We at Accucoustics believe that the enclosure itself should be designed to reproduce the lowest frequencies possible for a given cubic volume, without the excessive low frequency rolloff or midbass peak so typical of a number of popular sealed and vented enclosure types. We definately do not believe in using a large amount of EQ to make up for enclosure design inadequacies.

Of all the enclosure types, only the transmission line (TL) offers a - 3 dB point BELOW the free air resonant frequency of the woofer itself. In all other types of enclosures, the volume of the box raises the system resonant frequency ABOVE the woofer's free air resonant frequency. In the case of the typical closed box (acoustic suspension) the internal compliance of the enclosure raises the system resonant frequency to nearly double that of the woofer's free air resonant frequency, below which the response falls off at a rate of 12 dB/octave. With the typical ported enclosure, the system resonant frequency is about 1.4 times that of the woofer's free air resonant frequency, below which it falls off at a rate of 18-24 dB/octave, depending on the size of the port.
In 1968, I acquired a deep interest in and love of the pipe organ. I got my first exposure to the intricacies of such an instrument during that year when a large instrument was being installed in Corbett Auditorium on the campus of the University of Cincinnati.

Between 1974-1982 I got the opportunity to work on a large Wurlitzer theatre pipe organ being installed at Emery Theatre in Cincinnati, OH. Being in electronic engineering, I decided to apply my knowledge of test methods and procedures to perform a four year independent research project on the subject of Flue Pipe Acoustics, the study of the Physics behind the Sound of Organ Pipes and Whistles.

That research culminated in a number of domestic and foreign patents on two entirely new classes of whistles of extremely high efficiency and output, known as toroidal whistles, suitable as replacements for DES warning sirens. That is somewhat of a different story and can be found in my sister website entitled "Flue Pipe Acoustics".

I had spent the next 15+ years searching for loudspeakers which could do justice to the low frequency reproduction requirements for the pipe organ. The bass of most existing woofers and subwoofers have most of their output in the 50 Hz-70 Hz range. It is rare to find any loudspeaker which can maintain its full output to 30 Hz or below with low distortion. This is the type of bass extension I had been searching for in a loudspeaker, but have been unable to find without spending a small fortune.

Within the past several years I decided to apply my findings on my research toward the design of transmission line (TL) loudspeakers of higher efficiency. A TL loudspeaker is basically a pipe coupled to a small chamber behind the woofer. During this time I collaborated with my friend and associate, Todd Birdsong to build some VLR-4 prototypes using a 10" woofer. VLR stands for Very Low Resonance and the suffix stands for the enclosure volume in cubic feet.

The prototypes were awesome on all types of music and reproduced sounds normally only heard during live performances or in high end loudspeakers selling for several thousand dollars a pair. Our business started from this.

Richard Weisenberger .

FBT marks its entry into the world of the line-array with an innovative system offering all of the latest developments in true full-range line-array technology to those users so far forced to use traditional systems because of the high cost and of the difficulty of use of other line array systems. Our solution involves grouping four modules in a single enclosure no bigger than one traditional 2-way horn enclosure, producing vertical and horizontal dispersion patterns already optimized to effectively meet a broad range of sound reinforcement requirements, from small/mid live touring to permanent installations. The new FBT MODUS series modules (Precision Coverage Vertical Array) are very competitive and extremely easy to use. No compromise has been made in terms of quality or performance ...

Early in the eighties SD Systems decided to try solving an old problem: how should a sax player in a rockband manage to project the sound of his horn over the dominant group sound? No mike existed which would offer sufficient quality and without limiting the freedom of movement of the player. The fact SD designers were sax players themselves was of great advantage for the development of the mike.

A Leightweight Condenser Microphone, which could be directly attached to the bell of the sax by means of an adaptable mounting system -the legendary LCM85- was born. With it, total freedom of movement on stage finally came, as well as an end to those ever dominating guitars. Serge Schrier, present director of SD Systems, was playing in the rock circuit, at the time where he met Rob Dugour, guitarist and sax player. SD Systems was established in 1981.
During 1985, the highly specialist knowledge thus acquired was put to use in the development of the LCM85.In a certain way the LCM85 meant a fresh start: with the complete concentration of existing manufacturers on voice mikes and studio mikes, a gap in the market was discovered. In those days the LCM85 was still made in a very primitive way: the housing of the capsule consisted of a male-XLR plug with four hand drilled holes in the sides, and to shield the capsules they used mosquito screen which happened to lie in the attic.. The capsules had to be sorted individually with 75% dropping out due to great variation in quality at that time. A very time-consuming job because it had to be done by ear holding the sax in their hand.
In 1986 the first mike system for drums was designed: the LCM90.With its integrated power supply and easily fitting mounting system, gripping the rim of any drum, this mike also turned out to satisfy users' expectations to the model after another, tailored to optimal amplification of each different fullest. One new LCM instrument, was offered to the market.
Meanwhile the competition's attention was attracted. Thanks to annual participation in the Frankfurter Messe they quickly picked up ideas: two years after the introduction of the LCM85, Ramsa (Japan) came with a mike system for sax and drums. In 1987 Shure developed the SM98 with a very primitive mounting system. In 1988 AKG introduced the minimike series. In the USA Countryman was introduced. Copies were made with enthousiasm: in 1990, Beyer introduced a system which looks close to AKG.

Basic mistakes were made in the design of many of these models: the strong sound rumbles from the sax keys were striking, just as a wrong mike-position, bad frequency characteristics in the high range, the design of the preamp, feedback and instable mounting on the instrument.

All the mikes in the LCM series are characterized by a unique mounting system and superior sound reproduction which is pure and natural and very clear in the high ranges. For each application special high-quality condenser elements are selected, whose characteristics are exactly tailored to their specific use. The LCM89 model for example is favoured by many jazz sax players, because during low volumes the patented elastic hangup of the element almost totally eliminates sound rumbles from the keys.

SD has built up a worldwide network of endorsers, in classical as well as in jazz and rock music. This gives a lot of feedback so they know exactly what the needs are. Right now in Holland and Germany, SD is doing the representation direct. This has the great advantage that through these direct lines the retailers' and customers' wishes can be honored more quickly. In order to get firm footing in the US, SD has strongly exerted theirselves to enter the American market. Rayburn Music in Boston was the first shop to sell SD mikes. Now, thanks to the introduction of a revolutionary and ingenious low cost model, the SX-1 sax mike and the High Power LDM94 model that is especially developed for the US market, the American interest is increasing. Many Americans play with enormous sound pressure because of the 'power' mouthpieces which are fashionable over there. A shame, because combining older mouthpieces with an LCM89 mike the dynamic range is higher and variation in sound is easier!


In the meanwile, many endorsements are settled with great musicians. Serge Schrier : " It started with Emilio Lyons' visit at the Frankfurt fair. Lyons is a famous saxophone repairer who works for Rayburn Music, Boston: he 'nurses' the instruments of nearly all the great musicians on the American Jazz scene. about: he introduced us to Stan Getz in 1987. Getz became SD's first major endorser. I've been in touch with him often, an extraordinary kind and charming man. His death shocked us. I myself have been a Jazz fanatic since I was fifteen. It was a great honour to personally meet nearly all my great idols from those days, either at the North Sea Jazz festival in The Hague or at our place. We have developed a personal relationship with them. Americans -however famous- have always been very pleasant and are always receptive to new ideas.
SD Systems has its base in Amsterdam, Holland. Their new premises are located near the beautiful old centre of town. Right now, more than 20 different systems are in production. All this has been made possible mainly by new facilities which they now have at their disposal. At first place new premises have made it possible to make development and assembly more efficient.
In the last few years considerable investments were made in innovative research and test equipment. Many jobs are put out to contract to several specialised top industries in the neighbourhood. SD produces on demand.

The 1073 DPA




For the first time ever, released on its own as outboard – the legendary Neve 1073 microphone/line pre-amplifier.
Previously only available with EQ this historic release is a chance to record with an acknowledged classic.
This is a perfect class A discrete front end for your computer recording system, with all of the warmth, presence, character and power than Neve are famous for.
Dual mic/line pre with balanced analogue outs, click detent input gain with +/- 10db variable trim, 48v and phase reverse per channel, clip LEDs and front panel impedance switch between 1200 + 300 Ohms.
The 1073 DPD


For the first time ever, released on its own as outboard – the legendary Neve 1073 microphone/line pre-amplifier.
Previously only available with EQ this historic release is a chance to record with an acknowledged classic. This is a perfect class A discrete front end for your computer recording system, with all of the warmth, presence, character and power than Neve are famous for.
Dual mic/line pre complete with a stereo A/D convertor of the highest quality featuring 24bit PCM conversion up to 192, or conversion to DSD. The DPD has a balanced stereo I/O insert point before the convertor for the insertion of an analogue compressor before conversion or the recording of the analogue signal. Also complete with balanced analogue outs.
Click detent input gain with +/- 10db variable trim, 48v and phase reverse per channel, clip LEDs and front panel impedance switch between 1200 + 300 Ohms.

The legendary Neve 1073 mic pre EQ is finally re-issued by Neve in a 19" format. For many people this is THE mic pre EQ.

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