System Performance:
Response: 16 Hz to 70 kHz (+/- 0.5 dB anechoic, +/- 1 dB in room response typical)
In room low frequency response: (-1.5 dB @ 16Hz, -3 dB @ 13Hz typical, dependent upon room volume)
Efficiency: 93.5 dB (1 watt @ 1 meter)
Harmonic distortion: 0.30 % throughout the bandwidth at rated efficiency
Inter-driver phase deviation: 3 degrees within all cross bands
Noise floor: 68 dB from signal level (maximum noise level), 76dB Typical
Group delay distortion: 3 milliseconds 100 Hz to 16 Hz. 1 millisecond 100 Hz to 20 KHz.
Impedance: 6 ohms nominal (4 ohms minimum @ 80 Hz)
Recommended amplifier power: 15 to 500 Watts

Powered Isobaric Transmission Line Specs:

Power: 3.2 Kilowatts per channel
Automatic signal sensing and gain matching
Master Gain: +/- 2.5 dB (fixed resistor elements of 0.25 dB increments)
Toggle switch for selecting low frequency contouring: Maximum extension or Transient Speed
Tempered-scale aperiodic tuning
Fully Analog symmetrical circuitry
No digital signal conversion or manipulation
Driver Complement (Per Channel):
4 x 15" low Q high force factor sub-woofers
1 x 11" ceramic/honeycomb underhung voice-coil midbass
1 x 4.5" ceramic underhung voice-coil midrange
1 x .78 " diamond underhung voice-coil tweeter
Physical Parameters:
Four independent cabinets, two per channel vertically integrated
Overall Height: 87" (221 cm)
Width: 29" (74 cm)
Depth: 32" (82 cm)
Weight: 827 lbs. per channel (375 kilos), 1653 lbs. total (750 Kilos)
Shipping weight: 2002 lbs. (908 kilos)

TESSERACT represents the culmination of over 25 years of research into the subtleties of musical waveforms and the psychoacoustic perception of sounds in space. Our research into physical forms and how they react with ambient musical information has led us to two essential innovative concepts. First, it is possible to make a large full range system fully disappear sonically. Second, it is possible to create 3-dimensional images within a soundstage using conventional stereo recordings.

Our Stealth Technology, the redirecting and diffusion of ambient room energy, makes the disappearing act possible. The use of tensor field mathematics, assigning a value and direction to expanding harmonic waves, along with enormous amounts of number crunching, has given us the ability to make reliable predictions regarding which physical forms will best disappear in space. Making an array which is over 7 feet tall disappear is quite a feat of practical mathematical prediction and actual form fabrication.

Sonic Holography is accomplished through meticulousness in recovery and preservation of low level signal information which is encoded into any well made recording. Whenever a microphone is open it is collecting phase and spatial information which is rarely fully decoded by a playback system. This fragile information may be destroyed at many stages of the recording/playback process. Our goal is to preserve as much of the truth that inhabits each recording without putting our own fingerprints on the final presentation.

Most importantly, we never apply technique without considering the effect it will have on the emotional content of the presentation. For us technique is always in service to the music. There must be an aesthetic or emotional result for each intellectual or technical choice we make, one that speaks to our souls.




Our goal was to create a high-resolution, high-energy, full range transducer that would both fully disappear within the soundstage it created and do so while preserving the humanity and emotion that is music. Technique was always subservient to the aesthetic ideal, however important the development of new technique was in achieving that aesthetic ideal.

The contextual mindset we have followed in arriving at a solution to each aspect of our investigation is that physical wave phenomena, whether optical, magnetic, or gravitational, all follow the same laws. For example, Maxwell’s partial differential equations are not only the foundation of electrodynamics, but also of fluid dynamics, and in the case of tensor fields also govern gravitation and special relativity. In other words, it is possible to find a solution to each of our technical challenges through research into immutable physical principles.


A Flat response between 16Hz and 70 kHz. (‐3db points 13Hz and 70 kHz).


A new family of filter topologies developed exclusively for this project based on classical all‐pass phase networks. These proprietary networks are more phase coherent in the cross band between drivers (minimum time ripple) with lower output in the stop‐band. Transducer phase coherence is vastly more complex than the elementary alignment of drivers in space according to their acoustic centers. Generating smooth lobing patterns in 3‐dimensional space requires blending of 2π to 4π radiation patterns with the intrinsic lobe output of the electrical network. Our proprietary networks maximize phase coherence by taking into account the variable radiation area of the piston, inter‐driver distance, and frequency at which the drivers cross. These new formulas dictate that driver filters will be idiotypically different within the array. Phase in this regard includes all distortive effects that compromise the presentation of time in a recording. Digital audio engineers are acutely aware of the bandwidth and transient response compromises inherent in brick‐wall filters vs. more sophisticated methods. The passage of time is an absolute constant; loudspeakers distort or destroy this invariant quantity more than any other component in the audio chain. Most loudspeakers do this poorly while some ignore the existence of time entirely.



- Sonic Holography: Superlative 3 dimensional imaging capability with two-channel source material

- Proprietary Quad driver internally powered Isobaric transmission line system

- Symmetrical impedance characteristics

- Constant driver to driver Q

- Purely Pistonic driver behavior throughout the bandwidth

- Point source focus

- Phase linear filter topologies

- Fully damped non-reactive amplifier load

- Stealth Technology: Acoustic radiation control for launch surface and room ambience return energy

- Linear octave to octave radiation balance