A5 - ADAM Audio A5 Powered Nearfield Studio Monitor (Black)

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ADAM Audio A5 Powered Nearfield Studio Monitor (Black)

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Product Code: A5

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Description

The brand-new A5 is the smallest scion of the ADAM Studio Monitors and technically a smaller brother of the A7. The A5 uses the same ADAM proprietary transducer technology (ART) and the same woofer consisting of a sandwich construction of carbon fiber and Rohacell®, only reduced in size to 5“. The built-in amplifiers with 2 x 25 W power control the drivers directly. On the rear side there is a panel with numerous possibilities to adapt the loudspeaker to the specific room acoustics or personal preferences. Also, the A5 features both ballanced (XLR) and unballanced (RCA) inputs to ensure connectivity to virtually any application in professional studios or at home. A useful special feature is the Stereo-link®, an exclusive technology of the A5: There are two additional in- and outputs for the second stereo channel which enable the user to adjust the volume of both loudspeakers with one control only.

Technical Data (A5)

2-way active bass reflex speaker
Woofer 147mm (5.5“),Rohacell / Carbonfibre
ART tweeter
Freq.response (± 3 dB) = 55Hz - 35kHz
Panel (rear-mounted) Input/HF gain, Hi/Lo EQ
Built-in amps 2 x 25W (RMS)
Inputs
- balanced XLR +
- unbalanced RCA
W x H x D 172 x 285 x 200mm (6.8" x 11.2" x 7.9")
Weight 5kg (11lbs)
Warranty 5 years

Accelerating Ribbon Technology
The ART (=Accelerating Ribbon Technology) tweeters and midrange units take a completely new approach in kinematics to move air and improve the quality of music reproduction. Based on the original works of Dr. Oskar Heil, who invented his "Air Motion Transformer" back in 1972, new electroacoustic transducers have been developed that are based on improved layouts and new materials. The membrane consists of a lamella like folded diaphragm whose single folds move according to the alternate current, thus squeezing air in and out. All other loudspeaker drive units, whether they are voice coil driven, electrostatics, piezos or magnetostatics, act like a piston, moving air in a 1:1 ratio. This is undesirable, as the specific weight of air is much lower than that of the driving mechanics. Speaking in terms of electrical Engineering one could say there is a bad match between source and load. The ART principle achieves a 4:1 velocity transformation between driving diaphragm and driven air, i. e. the air moves in and out four times faster than the folds itself are moving. This superior "motor" is responsible for the enormous clarity and transient reproduction that is to be heard from the ART drive units.

The ART principle
Besides the transformation advantage the construction of the membrane in single stripes avoids the typical break up of stiff domes or cones at higher frequencies and the resultant dynamic limiting. Another factor in dynamics is diaphragm area. What you see is what you get. The cone area you can see is always the acoustically active area of the loudspeaker - this is true for practically all other drive units. By folding the ART diaphragm into the third dimension as seen from the listener's position a much larger folio can be used. A factor of more than 2.5 can be seen between the sound generating area and the acoustically effective area of the diaphragm. Thus a smaller movement is needed for a given sound pressure level, enabling the unit to reach a higher sound pressure level without dynamic compression. To improve the reproduction in the middle frequencies the ART Midrange Unit has been designed. The same principle is applied, however by using different sizes in geometry, width and depth of the folds as well as in diaphragm thickness; frequency response here starts at 300 Hz. To avoid resonances in the most critical midband area the unit is housed in its own small cabinet that is acoustically decoupled by "floating" on a damping foam within the main cabinet. Exact transient reproduction and spatial information are the benefits of this approach. The air gap in this unit has an enormous volume compared to comparable voice coil based systems. 28 neodyme magnets of the highest strength available are used to get the efficiency needed for good overall performance. This costly decision pays off however with the unsurpassed clarity and fidelity achieved by this unit

The principal task of an electroacoustic transducer is to generate sound from incoming alternate current. Practically all studio monitors offered today use voice coil based drive units for this purpose. To transmit the motion of the voice coil stiff domes or cones are connected to it. Air is always moved in a 1:1 ratio between diaphragm and air, and always the diaphragm area you can see is the acoustically active area. These two properties are also valid for all the other transducer principles. As pointed out before new tweeters and midrange units have been developed based on the original works of Dr. Oskar Heil and his Air Motion Transformer.

Tenchnical Data - ART Tweeter
A new approach in geometrics and the use of previously un-available materials enabled ADAM to redefine the original idea and build tweeters and midrange units we consider being second to none. The name for the new Technology is ART (=Accelerating Ribbon Technology). ART tweeters are superior in musical clarity and transient reproduction. They have an above average efficiency of ~93 dB/W/m, a perfectly linear impedance of 3.2 ± 0.05 Ohms, an equally perfect phase response of ± 1° within the used bandwidth, a reasonable directivity characteristic and a thermal power handlin g that exceeds that of 1" domes by a factor of 2 to 3. Summed up here is a completely new transducer that has no weaknesses in terms of operation, compatibility, reliability or other electroacoustic specifications. Looking back into loudspeaker history you will not find anything comparable.

Tenchnical Data - ART Midrange
There was a special interest to build a midband transducer using the same principle. The ART Midrange covers the range from 600 Hz to 3.2 kHz in the present studio monitors, using a diaphragm that weighs only a fraction of comparable voice coil types. Furthermore the 4:1 velocity transformation between folio and air improves the transient response, and the far larger diaphragm area permits much greater levels. The clarity and airiness achieved we consider to be without comparison.

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