The VAMP VERZA amp received its beautiful design in Italy, and was constructed in Japan. The device is compatible with the VERZADOCK, and is a Hi-Fi 150mW x2 (USB Mode) and 130mW x2 (iOS Mode) amplifier with a 2200mAh battery, which gives users up to 7 hours of playback. There are 2 dedicated DACs, 6-layer PCB, 3 enhancement modes, a bass enhancer, pure audio, optical audio output, a variable gain switch, and a rotary volume control.

The Metallo case, meanwhile, is made of V-ANGLE lightweight machined metal, and offers substantial protection for your handset. It has an interchangeable VERZADOCK plate, as well as a sliding lock mechanism. The case is compatible with the VERZA amplifier, allowing the use to create a portable audio powerhouse.

Says V-MODA’s Chief Visionary Office Val Kolton, “For the avid audiophile, VAMP VERZA supplements the poor audio quality produced by smartphones and delivers the purest fidelity imaginable. We shrank the analog-age component spirit into a sleek, spy-like multifunction gadget that is portable enough to use anytime, anywhere. When you combine VAMP VERZA, Metallo, M-100, and the new Samsung Galaxy S III/S IV, Note or iPhone 5, you achieve the ultimate technology trifecta that truly stands apart from the crowd.”

The amp can be used independently or in conjunction with the Metallo case. The case will be available for the Galaxy S III, Galaxy S IV, Samsung Note II, and iPhone 5 for $101. The VAMP VERZA, meanwhile, will be available in matte black, Shadow (red and black brushed metal), and white with orange accents for $598. They’re available for pre-order now from V-MODA.

With an innovative new design these impressive fully open dynamic headphones will be one for the high-end that is for sure. Speaking about this new design, the ear cups have been designed with the sound waves coming in at a slight angle rather than straight on and flat like most. Sennheiser has also revealed their new ventilated magnet system design that will direct the airflow of the fully open cans in a way that will reduce distortion and present a cleaner sound.

The technology might be confusing for most but for the die hard audio fan this will surely be something you’ll want to look into. Essentially as the magnet delivers the sound the airwaves make their way out of the open design but it usually manages to find its way back around. The new magnet, along with the angled cup design allows for a flow that will direct this away from the cups and therefor give a better audio experience with less turbulence or distortion. In case you were wondering about the design of the cups, they are also designed all around the flow of air and soundwaves to keep things clean, clear, and crisp.

Enjoy a few photos below and hopefully we’ll have one in for review soon.

JHAudio is covering all their bases, as they’ve released not one pair of audio monitors, but four different variations. JHAudio is confident in their in-ear audio monitors, saying that the custom-fit, in-ear monitors deliver the best quality and best accuracy when it comes to enjoying your music. They also offer up the best clarity, as well as more effective noise isolation than any other audio monitor on the market. And if bands like Aerosmith, Lady Gaga, Linkin Park, and Guns ‘N Roses praise them, then they must be good.

Each of the four different models all share the same design, and have some of the same features. For example, you’ll find JHAudio’s proprietary precision-balanced armatures and integrated three-way crossover, which should help in reducing distortion, and help in that top-notch delivery of sound quality. The audio monitors also offer up to -26dB, which should help in the reduction of background noise.

All four models are available right now from the company’s site. The JH 10X3 has a retail price of $799. The JH 11 will cost you a cool $850. And the JH 13 and JH 16 will run you $1,099 and $1,149 respectively. Check out the full press release below.

Press Release

JHAudio PRO Series In-Ear Monitors Deliver Rock-Star Sound Quality for iPods, MP3 players

Custom-Fit In-Ear Monitors Deliver Unsurpassed Audio Clarity and Accuracy; Audiophiles and Music Lovers Praise the Exceptional Quality and Noise Isolation Trusted by Rock Gods and Professional Musicians around the World

Apopka, Fla.—Audiophiles and music lovers can now experience the same unsurpassed audio quality and sound clarity for their iPods and MP3 players that is already trusted by professional musicians and rock gods worldwide. The JHAudio PRO series custom-fit, in-ear audio monitors deliver the most accurate sound quality, greater clarity, more effective noise isolation and better comfort than any other in-ear audio monitors on the market.

Revered by the likes of Aerosmith, Guns ‘N Roses, Lady Gaga, Linkin Park, Alicia Keys, Barry Manilow and many other professional musicians, the JHAudio PRO series leverages the company’s signature proprietary design to incorporate an unprecedented number of audio drivers in a small, comfortable device. The resulting sound quality and noise isolation properties enable music lovers to experience never-before-heard sound from their favorite tunes, without the risk of hearing damage from hi-volume listening.

“Everyone who tries our products is absolutely blown away by the new sound elements and audio levels they hear with our PRO series even from music they’ve listened to a million times before,” said JHAudio founder and audio pioneer Jerry Harvey. “Listening to music through the PRO Series is like sitting right there in the studio mix down room with the sound engineer.”

Each model in the PRO series features JHAudio’s proprietary precision-balanced armatures and integrated three-way crossover to reduce distortion and deliver more accurate sound quality. Noise isolation of up to -26dB reduces background noise for greater sound clarity without increasing the volume to prevent hearing loss that often results from loud music. The three-way PRO series is available in four models, each custom-fit and tuned according to the customer’s unique ear shape and auditory anatomy for extreme comfort and superb sound:

· JH|10X3 PRO offers a single low, mid and high range driver, a frequency response of 20Hz to 17Hz and retails for $799;

· JH|11 PRO features dual low drivers with a single mid and high range, frequency response of 10Hz to 17 Hz and retails for $850;

· JH|13 PRO is the world’s first-ever six-driver in-ear monitor that features dual low, mid and high range drivers on board, a frequency response of 10Hz to 20kHz and retails for $1099;

· JH|16 PRO is the only 8 driver in-ear monitor on the market, featuring double dual lows, single dual mid and single dual high drivers, a 10Hz to 20 kHZ frequency response range and retails for $1149.

“Not only is the sound quality unprecedented, but the PRO series is designed to be exceptionally comfortable,” Harvey said. “They’re custom fit to stay put and built to withstand the head-banging, over-the-top, soaked-with-sweat on-stage performances of professional performers.”

The durability and reliability of the PRO series makes it ideal for nearly any consumer use, including motorcyclists, travelers, adventure sports enthusiasts and more. Customers who order the devices visit a professional audiologist who takes an impression of their ear canal. The mold is then sent to JHAudio, which designs the shell piece to precisely match the mold for a truly custom fit. Shells are available in clear and 50+ other custom colors for an added personal touch.

A long-time audio pioneer, Harvey has worked as a sound engineer with some of the music industry’s most recognized performers, including Van Halen, David Lee Roth, k.d. lang, Engelbert Humperdinck and Linkin Park. The founder and former chief designer at Ultimate Ears has led innovation in the development of earphones and audio circuits since 1995.

JHAudio’s signature JH|13 PRO is the subject of the single longest running thread the history of Head-Fi.org, one of the largest online forums for personal audio listening gear. The JH Audio JH-13 PRO appreciation thread features more than 5,000 posts since starting in June 2009.

The player is set for delivery in November and can provide maximum fidelity from all optical audio media including CD, CD-R, SACD, and Hybrid SACD and more. The device has and aluminum die cast transport base and a die cast disc tray for stability of play. It also has an advanced digital laser servo motor for quite operation and accuracy along with more accurate positioning for the twin laser optical pickup.

It features fully balanced analog output and internal analog to digital conversion. It uses four 32-bit/192kHz, PCM/DSD Digital Audio converters per channel in a Quad Balanced configuration. The device also accepts USB Audio digital input with data rates up to 32-bit/192kHz.

If you’re looking to consume multimedia, such as with an HDTV or a HiFi system of some sort, the “Home Bar” could offer HDMI, VGA, composite and component connections, along with ethernet and USB.  Meanwhile, a “Pro Custom Audio Bar” might have XLR, MIDI and S/PDIF connectivity, for integrating the tablet with an existing synth, turntable or DJ system.

Since the connections are in the dock, not the tablet itself, they could be left connected and the slate simply snapped into place whenever you want to use the audio functionality.  Meanwhile a “simple” dock could be used merely to prop the tablet up in table-top or picture frame orientations.

Firmware and the UI in general are a little buggy, apparently, but that’s more than made up for by audio Joker describes as “transparent”.  That means very dynamic, clean and clear, with a flat spectrum and – thanks to a rotary volume control – you don’t even need to turn the capacitive touchscreen on (which can apparently introduce a little buzz) to tweak the output.

It’s worth pointing out that the rig in the photo above is the S:Flo2 strapped to Joker’s DIY mini3 amp outputting to a set of Beyerdynamic DT770/250 headphones; the actual PMP is far more iPod touch like on its own.  Not for the mass market – as you might expect, shoddy quality MP3s will quickly get shown up by this particular mediaplayer – but a reasonable choice if you’re looking for audio performance on a budget.

[via MP4Nation]

From the side it does look a little like a stainless steel pan on top of a portable stove, but we’re guessing that’s not a comparison DaVinci would particularly like.  Underneath there are custom adjustable feet, and the company will also sell you an optional second tonearm.

Don’t expect any of this to come cheap, however.  DaVinci Audio Labs are asking 29,600 Swiss francs for the UniSon MK II, which works out to a heady $27,800.  You’ll also need a suitably rarefied amp and speaker system, of course.

[via Born Rich and via]

The G2 line consists of three high-end models – the Uno, Duo, and Duo Omega.  All three models feature a frequency response of 170-20,000Hz for speakers and 20-350Hz for the subwoofer.

The Uno is the most affordable (maybe affordable isn’t quite the word here), priced at $27,270.  The Duo is $34,447, and the mighty Duo Omega will set you back for $41,623.  In return, you get some fantastic-sounding and looking pair of speakers.  This one’s for the audiophiles.

The Atlantic Technology AT-1 is the first production speaker to utilize the H-PAS bass technology developed jointly by the company with Clements/Solus Loudspeakers. The breakthrough is a proprietary acoustic technology capable of delivering extended bass from an enclosure half the size of conventional speaker cabinets: that means Atlantic can use smaller drivers and lower costs.

The AT-1 Loudspeakers at the show floor were driven by Parasound Hola series setup; the system’s bottom end moved air one rarely hears from such compact floor-standing speakers: 1.6 cubic feet. They’re finished in a glossy black metal-flake, each housing a pair of 5.25-inch drivers and a one-inch low-resonance tweeter with high quality crossover components. Atlantic expect them to begin shipping at the end of Q1 2010 at $1995.

Interestingly for more mainstream users, we were told that H-PAS technology will soon making an impact on compact PC speaker systems to provide a new level of audio performance in gaming and digital entertainment. The company is apparently working closely with PC speaker manufacturers who are licensing the technology, though right now they’re not revealing any specific brands or timescales.

There’s also a USB port, into which you can plug your iPod or other PMPs, and as it’s iPod certified you can control the Apple mediaplayer’s playback via the UnitiQute controls.  There are also a couple of regular analog inputs along with a 3.5mm headphone socket and an onboard DAC with five 24bit/192kHz capable S/PDIF inputs for external sources.

Of course, part of the reason you go to Naim is their amp and speaker prowess, and the UnitiQute shouldn’t disappoint there, either.  There are separate power supplies for the digital, analog and power amps, with 45W per channel in the preamp and 30W per channel in the power amp.

The Naim UnitiQute will arrive in the US and UK in March 2010, priced at $3,000 and £1,350 respectively.

Press Release:

Naim Audio’s New UnitiQute High-End, All in One, System

CES Show Las Vegas 7th January 2010. Naim Audio, the UK’s largest and most successful specialist audio manufacturer, launches UnitiQute a smaller more compact all-in-one system than NaimUniti Naim Audio’s multi award-winning system.

Naim developed UnitiQute recognising a new breed of consumers – those who want the performance and the convenience that new technology brings but will not accept the compromise in performance that following this route from a non-audiophile brand might entail.

The UnitiQute is the first high-end remote controlled all-in-one audio player to offer so many sources: FM & Internet Radio (plus DAB in supporting markets), MP3 / iPod (Authenticated digital iPod connection), Streamed audio and USB.

Key to UnitiQute is its digital audio streaming capabilities. UnitiQute can wirelessly stream music stored on UPnP™ networked devices, providing access to even more music including – the increasingly popular – hi resolution 24bit / 96kHz WAV or FLAC files.

With its onboard 24bit / 192kHz capable DAC, UnitiQute is the ultimate audio source hub, able to interface with digital audio sources, such as computers and gaming consoles and the latest TVs.

UnitiQute combines proven and multi-award winning analogue engineering as it is derived from Naim’s top selling and again multi-award winning, NAIT 5i integrated amplifier with state-of- the-art up–to-the-minute digital engineering to deliver the sonic performance to make the most discriminating customer proud.

The large linear power supply designed for UnitiQute ensures that it can deliver the necessary goods even at party levels.

The industrial design reflects the company’s belief in understatement and elegance. The design however is not just cosmetic: the choice of non-magnetic materials — to reduce eddy currents significantly — and the fit and finish are all added extras in the performance.

UnitiQute will be available worldwide in March at an anticipated cost of $2000 in the USA and £1350 in the UK. Prices in other markets are available from Naim’s local distributors.

Feature summary

A complete audio system – just add speakers

UPnP™-enabled for playback of network-stored audio / internet broadcasts from PC, Mac or NAS drives
Front-panel USB for iPod/MP3 player and USB memory stick playback
Multi-format radio (FM/DAB*/Internet)
Apple authenticated enabling digital output from iPod for ultimate quality
iPod control, charging and front-panel content display when connected to front-panel USB port via standard iPod cable
3.5mm front panel input that supports both analogue and digital sources
Two analogue inputs (3.5mm front-panel socket and RCA)
Onboard DAC with five 24bit / 192kHz capable S/PDIF inputs for external digital sources
Preamplifier and 45W per channel into 4Ω, 30W per channel into 8Ω power amplifier
Ethernet and Wi-Fi network connectivity
Plays WAV, MP3, Windows Media–formatted content, AAC and FLAC from any suitable UPnP™ device together with WAV, AAC, MP3 and Apple Lossless (from an iPod)
Switchable bass contour control for low-volume listening
Bass management system for use with subwoofer-satellite loudspeaker systems
Digital output on 75Ω BNC connector (RCA adapter supplied)
Front-panel display with intuitive interface, remote-controlled
Front-panel 3.5mm headphone output
Front panel logo touch-sensitive mute function
Full v5*Tuner internet radio service
Linear Power supply with 200VA toroidal transformer with three separate windings
Separate power supplies for digital, analogue, and power amplifier
Ground selector switch for optimum performance
High quality Wolfson DAC
Naim compact, non-resonant, non-magnetic case
OLED, two size, display for high contrast and easy visibility
British design and build
*Digital Audio Broadcasting only in markets supporting DAB
UPnP is a trademark of the UPnP forum
Windows Media TM is a trademark of Microsoft Corporation
iPod and Mac are trademarks of Apple Inc., registered in the U.S. and other countries
Naim products are designed and manufactured at the Naim headquarters in Salisbury England. Naim pride themselves as being an engineering led company where technical excellence vies with sound quality as being the primary driver.

Every aspect of the design and build is under Naim’s control. Production is cellular: one person assembles a complete product to instil the pride of “getting it right, the first time – every time”.

CES Innovations 2010 Design and Engineering Awards Honoree

The Naim Audio UnitiQute has been named an International CES Innovations 2010 Design and Engineering Awards Honoree. Products entered in this prestigious program are judged by a pre-eminent panel of independent industrial designers, engineers and members of the media to honor outstanding design and engineering in cutting edge consumer electronics products across 36 product categories.

Naim Audio’s UnitiQute will be displayed at the 2010 International CES, January 7-10, 2010 in Las Vegas, Nevada. The Innovations Design and Engineering Showcase will feature honorees by product category in the Grand Lobby of the Las Vegas Convention.

The Innovations entries are judged based on the following criteria:

Engineering qualities, based on technical specs and materials used
Aesthetic and design qualities, using photos provided
The product’s intended use/function and user value
Unique/novel features that consumers would find attractive
How the design and innovation of the product compares to other products in the market
Products chosen as an Innovations honoree reflect innovative design and engineering of the entries. Examples may include the first time various technologies are combined in a single product or dramatic enhancements to previous product designs.

Teclast have picked Rockchip’s RK2806 chipset as the heart of the T51, which is capable of HD-quality 1,280 x 720 video and playback of 720p AVI, H.264 (MKV) and RMVB footage.  That’s paired with not one but two Wolfson WM8740 audio chips, each serving one of the stereo channels, for a maximum of 120dB per channel and increased audio isolation.

Meanwhile the line-out connection is served by a dedicated TI Op Amp OPA2604 chip, while Teclast have used a completely separate Philips UDA1308 professional headphone amp chip for private listening.  There’s also a “CBB polypropylene filter capacitor” and if you know what that is then you’re one step ahead of us; feel free to show off your knowledge in the comments below!

There’s also the same much-praised UI and battery life from earlier Teclast models, including dynamic scrolling.  No word on pricing, but prototypes are tipped to be ready in the next few weeks and mass production within 4-8 weeks.  If the high-end components do their job, this could be one no-name PMP well worth importing.

[via MP4 Nation]

Electrostatic drivers are the key elements here, promising far lower distortion than standard dynamic drivers.  Unfortunately you can’t just plug them into your iPod; they require special electronics, such as the WES amp; the up-side is a system that can reveal unheard detail in even familiar tracks.

“Keith Richards’ guitar wizardry lights up “Sway” like never before, and I’m hearing a sense of depth and space around Charlie Watts’ drum kit for the first time. I feel like I’m hearing a band live in the studio, not a recording. Quiet details, such as subtle reverberation in the mix are newly audible … Amy Winehouse’s Back to Black uncorked heretofore unheard details of the brash electric guitars contrasting against lush orchestral strings. And Amy cooing in my ears like never before tops off the experience” Steve Guttenberg, Home Entertainment

Of course, when an self-confessed audio-addict says “tiny fraction”, that might not mean the same thing to budget-minded you and I.  In fact, the WooAudio WES amp comes in at $4,990 (just $4,500 if you pre-order) and the Stax headphones at $2,410.  WooAudio expect to begin shipping each hand-built WES from October this year.

[via Crave]

We’ve had more than a few people ask where our CT6 review is, and we admit its been some time since our video unboxing (which you can also see below). What we’ve been tracking is the Customs bedding in, the single-We’ve also been using the Customs in a variety of situations, from airplanes to listening to MP3s and CDs, both at home or the office, and when out in public.

Both of Sleek’s products are special because they’re customizable, though of course they go about this in different ways. For the SA6s, you have the choice of several interchangeable bass and treble tubes which allow you to tweak the standard balance depending on your musical and sound preferences. In the case of the CT6 Customs, their unique tailoring comes from the fact that they’re individually made for a single wearer’s ears. Sleek took molds of our outer and inner ears, and from that their audio specialist Bill crafts two unique acrylic shells, inside which their signature single balanced armature drivers.

Other choices depend on whether you prefer the cable to hang down or flip back, over the top of your ear. Sleek will position the removable-cable port either high up on the CT6 or down closer to the bottom, depending on your preference. There’s also a broad array of colors and finishes, from clear through various transparent and translucent shades, to solid acrylics and even slightly glittering options. They’ll also print on a logo of your choice from an image file you send them; as you can see, we went with the SlashGear roundel.

Sleek will fettle the treble and bass of the CT6 Customs as you enjoy it – this is obviously easier if you’ve lived with the SA6s for some time, and can carry the “settings” over – but it’s a one-time decision. Still, given the relatively fiddly nature of the bass and treble tubes on the stock headphones, it’s unlikely you’d be wanting to change them all that often anyway.

Back in our Sleek Audio SA6 review, we praised the earphones’ sparkling treble, consistently warm and natural mid-range and thick, satisfying bass. Interestingly, the sound profile of the CT6 Customs is noticeably different, even though Sleek had made them to the same settings as we were used to with the SA6s.

Part of this is undoubtedly down to the longer sound tube, which extends further into your ear canal with the CT6 Customs. Sleek will make this either long, medium or short (ours fall in the middle), dependent both on your own preference and the results of your ear mold. Given the delicacy of the inner-ear, we’re pleased their team have a background in audiology to be able to advise on that.

That’s not to say the sound is disappointing; anything but. The mid-range manages to be clearer, smoother and more balanced than with the SA6s, stepping forward as a dominant frequency range rather than merely bridging the bass and treble as so often is the case. General vocals and instruments, whether the guitars of mainstream rock or the center section of an orchestra, are finely detailed. Meanwhile the treble – in our case with the “plus” tuning, so emphasized above the norm – sparkles as with the SA6s but with a new-found airiness that’s always on the right side of shrill.

The bass – which we also specified to Sleek’s “plus” setting – isn’t as grumbling as on some headphones we’ve tested, and if your preference is truly throbbing lower frequencies then the CT6s may not quite satisfy. That said, we can only comment on our own setup; talk to Sleek Audio and stress how much low-end you’d like, and they’ll probably be able to muster up some extra in-ear thumping. That’s the benefit of having not only custom earbuds but custom tuning, too. Nonetheless, the CT6s certainly aren’t a weak bass performer, and the overall impression is one of a very balanced mixture of mids, highs and lows that suit a broad range of musical styles.

Since we still had Sleek Audio’s wireless system in from our tests with the SA6s, we plugged it into the CT6s to see if we could notice any difference. Sleek’s wireless setup bypasses Bluetooth A2DP and instead uses technology by Kleer; that promises CD-quality lossless audio. The downside is that you’ll struggle to find a PMP or cellphone with a Kleer transmitter built-in, and instead have to use the supplied dongle.

For full details of the Sleek Audio Kleer wireless system, check out this review; in terms of the CT6 Customs, we could notice no difference between the cable supplied and when going wireless. Even better, the occasional habit of the Kleer receiver swinging at the back of your neck and tugging out an SA6 earbud was bypassed with the CT6 Customs, since they have such a good grip on your ears.

Durability is a tricky one to judge. The acrylic seems sturdy, though the curved inner-ear tubes make us a little more wary of dropping the CT6s into a pocket unprotected. While the hard case Sleek Audio provide is certainly impressive, it’s also not especially pocket-friendly, and we wish they’d thrown in at least a padded pouch that would cushion the earbuds during travel. Still, they’ve survived several plane journeys, knocked about while dangling from the top of a shirt, and there are no noticeable scratches or chips; even the logos are still clear and whole. We’re perhaps being over-cautious because we know that replacing the CT6s isn’t just a case of grabbing another off-the-shelf pair.

It’s their uniqueness that makes the Sleek Audio CT6 Customs less straightforward than the SA6s – or indeed any standard earphones – and which, along with the price, could put people off. Having to have impressions made requires a trip to an audiologist, and then there’s the delay in waiting for them to be crafted and delivered; none of this is easy-going in a world where we’re used to pretty much instant gratification.

Stick it out, though, and you’re rewarded with an excellent audio experience and superb fit. The SA6s did a good job of staying in our ears, but the CT6 Customs are another level of comfort and stability; these are earbuds you can jog, jump or somersault while wearing them, and you’d strangle yourself with the cable before they fell out of your ears. Invest in the Kleer wireless system and they’re even more wearable.

There’s no denying that they’re relatively expensive for earphones: $349.99 for the earphones, plus the cost – between $25 and $50, on average – of having impressions made. The Kleer wireless system is usually another $120, though buy it at the same time as the CT6 Customs and the lot comes to $449.99. For your money you’re getting not only custom molded earphones, as a fair few other companies offer, but custom tuning too. It’s the latter that would see us picking Sleek Audio over the other premium headphones offered; at $100 over the standard SA6s it’s a small price to pay for unique fit and sound.

Sleek Audio CT6 Customs unboxing:

The whole thing measures 114 x 78 x 25.5 mm and looks a little like a Tricorder from Star Trek TOS.  As well as music from SDHC card, you can also plug in a coaxial feed from your CD player; meanwhile outputs include both headphone and line-out.  Battery life is 6-8hrs, and file format support is as follows:

• APE Fast/Normal/High Mode
• AAC 16K-320Kbps
• FLAC/WMA lossless VBR 44.1kHz (will support 24bit 96KHz via software upgrade in the future)
• WMA 8-355kbps
• OGG Quality 0 – Quality 10
• WAV PCM, MS-ADPCM, IMA-ADPCM
• MP3 (VBR) 8-320Kbps

Pre-orders are currently being taken for the HiFiMAN HM-801, which is priced at a not-inconsiderable $600 for members of the Head-Fi forum.  Estimated retail price come the June 2009 launch is in excess of $700.

[via Generation MP3]

Back on the In-wall unit, the CCM816 is a two-way design with a single one-inch tube-loaded aluminum tweeter, angled at 28 degree, to drive the top-end frequency range at optimum listening position. Midrange and low frequency are taken care of by a 6.5-inch woven Kevlar driver. Yes, besides the color, it’s the smaller version of the same Kelvar driver you can find from the legendary B&W’s 800 Series speakers, or from the CCM818 home theater series speakers.

The new Bowers & Wilkins CCM816 will be available February 2009 at a manufacturer’s suggested price of $600 each.

Replacing its audiophile-beloved Rushmore series active Loudspeakers, Pass Labs SR1 is a passive designed four-way loudspeaker enclosed in a dual separate cabinet, which houses four different drives fabricated from Nextel-coated cones and Crescendo tweeter in different sizes. The staggeringly large lower enclosure houses a 10-inch and a 8-inch drivers while the top takes care of the mid-bass driver and SEAS Crescendo tweeter.

Different from its presuccesor, the SR1 offers more flexibility in selecting complementary amplification and crossovers network, it allow independently adjustable amplification packages and four-way active crossover if you have a deep pocket.

CES ’09, LAS VEGAS, Dec. 31, 2008 — Pass Laboratories, Inc., an audio innovator renowned for its unique high-performance products, showcases the SR1 Loudspeaker, a high-performance listening system using the highest quality drivers available, at the 2009 International Consumer Electronics Show.

The new SR1 is Pass Labs’ second loudspeaker, following and replacing the Rushmore, its exceptionally dynamic introductory model. The SR1, a four-way floorstanding system, is equally uncompromising. Its highly refined sound stage, deep awareness of micro-detail, and effortless dynamics deliver superb, accurate musical reproduction.

Each SR1 consists of four independently adjustable amplification packages plus a four-way active electronic crossover integrated with four highly efficient speaker drivers. Like the Rushmore, the SR1 leverages the ability of dedicated, active electronics to enhance and complement the performance of its passive components. More than the Rushmore, the SR1 emphasizes absolute audio performance over driver sensitivity, and offers more flexibility in selecting complementary power amplifiers and crossovers, which can range from totally passive to active quad-amplification.

The SR1 has been designed to harness the classic “mass controlled piston” model, in which the speaker’s radiating surface behaves as a rigid surface. This yields a well-defined characteristic in the spectral region where the sound is proportional to the electrical current through the voice coil. At the boundaries of this frequency band, the response falls off in a predictable manner.

The trick is to find a perfect piston driver. The cone surface must maintain its shape over the frequency band without breaking up into resonant vibrational modes. The suspension and motor system must remain linear with high excursion. But most speakers allow the cone to flex in a way that gives some extension at higher frequencies at the cost of an irregular response in the frequency response and phase performance.

The SR1’s drivers are the best available — Nextel-coated cones and a Crescendo tweeter from the renowned Seas of Norway. They present the best combination of low distortion, high dynamics, and predictable performance. It takes a minimum of four sizes of these drivers to span the SR1’s 10-octave audio range without significantly leaving the “piston” region.

The SR1 uses dual enclosures. A large bass enclosure with ten-inch and eight-inch drivers handles the bottom four octaves, and an adjustable smaller enclosure carries the midrange and the tweeter. The Seas drivers are complemented by a set of crossover and equalization electronics created to elicit the drivers’ best performance.

The SR1 Loudspeaker is available now from authorized Pass Labs dealers at a suggested price of $25,000/pair. It can be seen with Pass Labs’ other outstanding products in Suite 29-140 at the Venetian Hotel during the show.