The ULTRASOUND brandname takes origin from the initiative of a professional engineer, Roberto Creazzo, who operates in the audio-acoustics area. Dr. Creazzo, member of the main scientific international associations (between which, Euro pean Acoustic Association and Audio Engineering Society) and assiduous experimenter, realizes in the 80's that the audio products take little advantage of the potentialities of the modern technology (for instance, the availability of the first personal computers allows low cost FFT), and the sound quality of the current products is, in most cases, lower than those of the past (when materials and measuring instruments were limited). Apparently, commercial companies (High-End too) have no knowledge in acoustics (the science of sound) and, in most cases, they produce only one type of component: so the speakers' builders don't know about amplifiers, and vice versa.
Moreover, they are very conformist: no new ideas, they continue to do always the same things in the same way. Creazzo instead thinks that using the capabilities offered from the actual technology, it is possible to try new solutions not accessible before. The genesis of the ULTRASOUND products derives from this postulate: a research, with the more advanced materials and technologies, for the best possible sound quality in domestic rooms, going beyond the conventional solutions and developing new ones to overcome the actual limits.
The search takes origin from the consideration that remarkable differences exist between the feelings that one can have in a live concert and those relative to the same music reproduced at home. The first innovation consists then in the method of search, that starts from the comparative analysis of the parameters of the two acoustic fields (concert room - domestic environment); Creazzo, for his profession of acoustics consultant, has operate in many different environments (not only musical, but also industrial) excited from different sonorous stimuli, accumulating a notable experience and a remarkable database of objective and subjective data (between which measures of RASTI, RT60, ETC, C80, etc.). From that has derived the conviction that a conventional sound diffusion system (a low efficiency point source) badly approximates the live situation and that only a system with multipolar radiation (that is using many souces interferring between them) allows to go near to such characteristics. After around 10 years of research, thousands of working hours and a financial notable investment, he produces the first object destined to carry the ULTRASOUND brandname: the HORNBLOWER, an acoustic revolutionary loudspeaker system, the first with multipolar radiation, that surprises the professionals (according to them, it could not work) and the audiophiles (for the aesthetical appearance and the new perspective that opens to the domestic reproduction). This system proposes an other absolute innovation: the system of reproduction of the low frequencies DBL (Double Balanced Line), that consists of joining two transmission lines to two different transducers in way that the irregularities of each are compensated from that of the other, getting sensible improvement in extension, efficiency, distortion. The Hornblower, altough designed for a placement in domestic environments, is not however an object conceived as series product; it is rather the result of a search to improve the sound reproduction in domestic environments, an object with limits and potentialities so elevated to be extremely critical respect to the hifi gear and the acoustic characteristics of the room. This system employs 8 electromechanical transducers of three different types to cover all the audio band; all, except one, have a back radiation too, realizing a system of fifteen virtual sources, creating a distribution of the acoustic energy similar to the one present in a live execution. The system has a sensitivity of 100 dB, a frequency response beyond the threshold of the audible and works practically without crossover.
After the realization of an extremely complex object like the Hornblower, the following challenge has been that of simplify the most possible, downsizing without lost of the prerogatives of a multipolar system : the attempt leads to the realization of an other loudspeaker, called PRAXIS because of the simplicity and of the elegance of the solution.
One of the fundamental steps that allowed reaching these results has been the study, the research and the development of suitable transducers. In fact, one of the limits more difficult to overcome is that generally, for cost reasons (and designing incapacity), the systems are based upon loudspeakers already existing in commerce. Also if many claims that their loudspeakers are specifically builded, almost always it is only a matter of changing the label of the component; as the transducer in a system is like the motor in a car, using standard components leads to standard results. In the development of the multipolar systems, not being possible apply to standard components, has been necessary to design the loudspeakers, to search the right materials, to manufacture the necessary equipments, and finally to produce them.
The only perplexity connected to the multipole, their dimensions and their cost, pushes Creazzo to design and realize objects more easy to place in rooms, renouncing to the multipolar radiation but maintaining as strictly as possible the other fundamental characteristics emerged from the research: high efficiency, linearity in both frequency and time domain, absence of crossover. Also in this case, it is the approach to the problem that is substantially inverted; rather than to adapt a cabinet around two or more existing transducers, he first conceive a design, with the only limit of the physical laws, and then realize all the necessary components , with a procedure of approximations toward the objective. In this way two systems originate: REBUS (14 liters, 92 dB) and ALIAS (28 liters, 93 dB) in which each thing, from the loudspeakers to the cabinet, to the absence of crossover and of acoustic absorbent, is part of a sinergy.
It's only at this point that Creazzo decides to start the commercialization of the products; he establishes (1994) the ULTRASOUND brandname and, without particular clamors and despite the unhappy period, the sales begin beside the more advanced operators, impressed by the quality of the products.
In the meantime, the research doesn't stop; he bears a new multipolar loudspeaker, the EXCALIBUR, presented at the Top Audio 1995, with some characteristics complementary to those of the PRAXIS; a signal cable and a power one able to improve of the signal transfer are presented too.
In the 1995 there is also a first concrete result of a study relative to a particular transconductance amplifier that, differently from commercial products, that are all voltage generators, is able to control directly the current circulating in loudspeakers.
At the Top Audio 1996 two new versions (that they don't replace, but they add to the others) of the REBUS and ALIAS models are presented; they are the "Light" versions, in which the moving mass of the transducers has been lowered of the 30% as regards to the normal versions; this allows a more airy and transparent sound, particularly suitable to tube amplifications.
In the 1998 sees the light the third model of the Energetic series: the STRATOS. It' s a floorstanding model based on a particular system of reproduction of the low frequencies: it employs two empty transmission lines with variable section, each of which controlled by a resonator.
In the 1998, arrive also the first samples of PARADOX and PARADOSSO, integrated amplifiers for the current driving derived from the bigger models.
In the next times, two preamplifiers and power amps are expected; there will be a new versions of ENERGETIC loudspeaker, particularly suitable to current driving; later a new floorstanding model is scheduled.
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