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The Ayal

Music, timed to perfection.

Best small speakers, Transient perfect speaker, 1st order crossovers, transient perfect speakers, Chris Beeching review, The

First order crossovers

Transient perfect

Time and phase coherent

Stepped baffle drivers

Since the launch of our first loudspeaker, the Translator in March 2016, we have wanted to fully explore the area of time coherence in our designs and the benefits it should bring to music listening.


We already know the importance in using 1st order crossover filters because they establish time and phase coherence for each drive unit and for all frequencies. Our crossovers are also transient perfect in operation and this qualifies our loudspeakers as prime candidates for physical driver alignment on the baffle. 

Loudspeakers that use 2nd, 3rd or 4th order crossovers will have less benefit from moving the tweeter backwards, as the signal passing to them already has frequency dependent time errors.


Work began on the Ayal in June 2017 and in the prototype we seated the tweeter in a movable compartment positioned above the bass driver, allowing us to experiment with tweeter alignment. 

Prior to moving the tweeters we needed every other element of the design to be in place and the Ayal performing to its absolute best. Having achieved this it was time to start the process of aligning the tweeter.

It was interesting to hear no noticeable change when the tweeter was at the extreme front or moved too far rearwards but eventually there became a distinct hot spot, a 10mm window, that narrowed to 5mm once the listener had acclimatised to the structure of improvements that were appearing.

It was very exciting to hear what at first seemed subtle and nuanced become magnified with extended listening. 

What were we hearing?


Initially we picked up an extra tight focus on percussion instruments, their energy concentrated within each sound and preceded by the smallest of details on the leading edge. 

Over extended listening there developed the feeling of people performing 'live' rather than being reproduced from a recording. Each part of the music became more distinct and separate yet it let the listener easily accept this separation and make it gel as a greater unified performance. 

A voice was often placed so vividly you could imagine seeing the singer at the microphone in front of you. 

At the very end of optimising the tweeter position we began to wonder if the pitch of playback had been effected. It just sounded like the increased differentiation of instruments was due to the pitch of each now being resolved with greater accuracy.

We feel the Ayal is a very special loudspeaker, presenting music as a live event. 

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