free catazine for sound loversvolume 2009-2010

FreeMagazin

e

the successful phenomenon scala

the role of design in loudspeakers

portable radios

choose the ideal loudspeaker

a peek into the living room of tomorrow

pop Simple MindsJim Kerr on music, travel

and the significance of graffiti

art Art meets Sound Video artist Dara Birnbaum @ SMAK

sports Punchy musicPunchy songs for Wouter DHaene

Ilse Heylen - Cdric Van Branteghem

technology Multiroom What is an audio

distribution system?

health Music as therapyThe healing power of sound

What is this products position in the mar-ket? How does the price come about? And so on... Of course these are all questions you ask yourself, and which we also always have in the back of our minds.

So, on a regular basis, I take the time to carefully think things over. My favourite place to do this is the threshold of my back door, looking out over the wide Flemish elds. Are you familiar with the old con-ventional wisdom the early bird gets the worm? Here at ArtSound, we know better: the second mouse gets the cheese. If youre not big, then you have to be smart.In other words, we are not pretentious enough to think that our products have to be the rst on the market. Nor do we feel compelled to change the world. Our prod-ucts just have to offer solutions! I admit, it sounds like an advertising slogan, but we do mean it.By listening carefully to what you - our cus-tomers - expect from us, we have increased our range sixfold over the years. Thanks to your ideas. We can summarise all of these products using one common denominator: SMART. And this is where our mission statement comes from: Smart Solutions in Audio. In other words: at ArtSound, you will nd a loudspeaker for every situation, in every style or colour, for every environment or application. ArtSound is a touch cocky, with a healthy dose of self-condence, sincere and proper, and also important: just your size and affordable. Okay, we might be the second mouse, but were far from average!

What drives us, what keeps the re burning inside us? Allow me for a minute to offer an analogy with the shipping world. If you want to build a ship, and it has to make it out to sea this year, you look for organisers to plan the work, experienced leadership gures who can give orders, and employees with two good hands. But you could also awaken their desire for the expansive, endless sea. For adventure, the urge to accomplish something. This driving force is so much stronger, and this is exactly the mindset at ArtSound: we are a group of young, sometimes slightly eccentric people who steer a straight course for the project, who listen to the call of the sound ocean, who brave the waves for our customers. Its a great feeling, that feeling of solidarity. And its not just the Art of Sound, the art of making good loudspeakers! It is an Art of Life: the art of living, of dreaming about the sea together, the pleasure of making beautiful things reality, with each other...and with you!

Your ever-faithful mice,Kristof van Hoorebeke & Michal Bing

mouseif you believe in

something - be it a political party, organic

fruit juice or an expertise in loudspeakers - you will be asked the same

questions on a nearly daily basis: what is it that

you actually do?

Smart

1dara birnbaum @ smakonwall

4 Art meets Sound Video artist Dara Birnbaum at the SMAK 8 Stijn KolacnyThe successful phenomenon Scala 10 Play it differentThe role of design in loudspeakers

inwall

24 LoudspeakersInstalling inwall speakers A how-to guide

26 Hidden perfectionThe 4 criteria of a good loudspeaker 30 Healing musicMusic as therapy

32 Into the futureAn interview with Bart Ameele, head of development at ArtSound 34 Audio distribution systems Divide and conquer!

39 Technical specifications

12 Jim Kerr The Simple Minds and their relationship with sound

15 Thanks for the speakers column

16 Music as an upper Sound and music in the world of sports

18 Line UpBrace yourself, the G-force is here. 20 AudioTrendy portable radios

ColophonArtSound catazine no. 1, September 2009

Publisher: JobetradeKazerneweg 15 - 9770 KruishoutemBelgiume-mail: info@artsound.betel: +32 (0)93808180fax: +32 (0)93861235VAT: BE454.287.820

Concept: Michal Bing, ArtSound - Mieke Van Den Ouweland, M-ideaTechnical support: Dieter VanhoenackerCoordination: PalabraDesign/lay-out: M-ideaEditing: Liesbet CoppensEditorial staff: Benedikte Van Eeghem, Thea SwierstraTranslation: Bureau Het Juiste WoordPrinter: Roels Printing

This catazine is an ArtSound publication.www.artsound.beIf you would like to receive additional copies of this catazine or order the 100V catalogue, please send an e-mail to: info@artsound.be or contact us by telephone on: +32 (0)93808180.

2009 Jobetrade. No part of this publication may be copied or reproduced in any way without explicit prior permission from the publisher.

Contentsph

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JAGUAR.BE

More adrenaline. Less consumption.

With its new, high performing 3.0 litre V6 Twin Turbo Diesel

S engine, the Jaguar XF sets the standards by which the

rest of his class will be judged.

Not least because astonishing performance is paired with

lower consumption and fewer CO2 emissions. In short,

the Jaguar XF offers you more. With less.

Average consumption Jaguar XF Diesel S : 6,8 l/100 km. CO2 : 179 g/km. 0-100 km/h : 6,4 sec. Environmental information (RD 19/03/04): www.jaguar.be. Model shown features optional equipment. Give way to safety.

JAGB01_9130_XF_A4_E.indd 1 4/09/09 17:11:02

3JAGUAR.BE

More adrenaline. Less consumption.

With its new, high performing 3.0 litre V6 Twin Turbo Diesel

S engine, the Jaguar XF sets the standards by which the

rest of his class will be judged.

Not least because astonishing performance is paired with

lower consumption and fewer CO2 emissions. In short,

the Jaguar XF offers you more. With less.

Average consumption Jaguar XF Diesel S : 6,8 l/100 km. CO2 : 179 g/km. 0-100 km/h : 6,4 sec. Environmental information (RD 19/03/04): www.jaguar.be. Model shown features optional equipment. Give way to safety.

JAGB01_9130_XF_A4_E.indd 1 4/09/09 17:11:02

photography: matuvu.nu

Onwall

ONWALL SPEAKERS MAy BE uSED AS STAND-ALONES, OR

MOuNTED ONTO THE WALL OR CEILINg. ARTSOuND SPECIALISES

IN THE MANufACTuRE Of COMPACT LOuDSPEAKERS:

LIMITED DIMENSIONS, INCREDIBLE quALITy AND ENDLESS

LISTENINg PLEASuRE!

dara birnbaum is an eminent figure in the world of audio-visual art. this video artists first retrospective exhibition was held at the smak, the municipal museum of contemporary art in ghent (belgium) until 9 september 2009. the museum had reserved half of the first floor for her work. anyone visiting retrospective: the dark matter of media light was welcomed by high, sharp creaking sounds. birnbaums art is overwhelming, huge. instal-lations that take over entire rooms. incomprehensible and even off-putting at first glance, these works reveal a treasure trove of ideas to those who dare to take a closer look.

video artist dara birnbaum at the smak

5meetssoundart

photography: matuvu.nuwords: lc

Audio-visual art: I must confess, Im hardly an expert in the eld. Nonetheless, this should not be an excuse to not want to learn more about this craft. I set out for the SMAK, where I meet artistic director Philippe Van Cauteren, who initiates me into the history and life work of Dara Birnbaum. We begin at the beginning: a portrait of the artist and the spirit of her time.

The American artist Birnbaum started her career as an architecture student in the 1960s.

During that time, artists rebelled against the idea of art as a saleable product. During the sixties, art was more of a concept, a decision to take action, judgement that was being passed. The ultimate creation was of se condary importance. The years that followed represented the heyday of mini-malism: trite, direct shapes such as bars, cubes and spheres appeared here and there in the art produced at the time. It wasnt the shape itself that was important, but the relationship between the art and the specta-tor. Conceptual artists also rejected classical painting methods, using their own bodies as the material for their art instead.

Dara Birnbaum observed this entire evolu-tion from a distance. The New York art world of her generation was primarily a mans world, where women played no role. This was precisely the reason that Birnbaum was so critical about everything happening in society at the time. Although initially she too experimented with her own body in her art, she quickly resisted this trend and chose instead to apply a ready-to-consume medium: the television. After all, for a great percentage of the American population, this was what life was all about at the time. Unlike many of her peers, Birnbaum did not merely use the television as a source of inspiration, but she recycled actual television images in her own work.

As I stroll through the SMAK, the state-ment Birnbaum wants to make with her work slowly becomes clear to me. Her ideas are interwoven with the elaboration of these ideas. The pieces of the puzzle neatly fall into place in my head. Given what I now know, this artists installations are still huge, but are less overwhelming. Birnbaum is intriguing and just a touch mystical, but her work is no longer o-putting.

In the largest room of the retrospective (photo 1, p. 4-5), I nd two gigantic instal-lations with televisions and loudspeakers. Orange sofas have been placed between these works, neatly grouped around screens connected to headphones. One of the screens is playing Wonderwoman, one of Birnbaums most famous works. She created her own montage from the 1970s television series Wonder Woman, about the transforma-tion of an everyday housewife into a woman with superhuman powers, clad in a sexy Lycra suit. By repeating this transforma-tion over and over again, and focusing on the relationship between the music and the text, Birnbaum wants to demonstrate that what we are watching is nothing more than a myth. The so-called entertainment is less innocent than it would seem at rst. The woman and the stereotypical role patterns imposed upon her, from good housewife to an object of lust, represent the common theme running through many of Birnbaums installations.

ARTSOuND SuPPLIED

THE SOuND fOR SEVERAL

Of BIRNBAuMS WORKS.

as20

as30

as40

as50

as-a100

7

Basic } P 40

Basic

The large installation with targets in front of the screens is named Hostage. Although Birnbaum did not create this work until the 1990s, the theme she chose was the inci-dent in which Hanns-Martin Schleyer was taken hostage by the Rote Armee Fraktion (the Baader-Meinhof Gruppe) in the late 1970s. She gathered all of the image mate-rial on the hostage-taking that was available in America at the time. The material she found was very fragmented, making her realise once again how dependent we are on what the media chooses to show us. We are, in a sense, taken hostage by television. Birnbaum integrated this feeling in a physi-cal installation composed of various screens in a row. This prevents the viewer from ever seeing the complete picture. You are dependent on the images being presented to you, just as you are in real life.

In one of the smaller rooms in the ret-rospective I end up in front of Tapestry: Elegy for Donna. Old television images are projected onto the threads of a loom. We see the late Yasmine, when she was still working as a radio announcer and those broadcasts could be seen live on televi-sion. Birnbaum got the idea for this piece during a visit to Belgium. She found the images of a visibly bored Yasmine in the radio studio and on television completely unrealistic. Later Birnbaum also visited the historical tapestry studio in Mechelen (Malines). Here, she realised how large the gap is between the slow production proc-ess involved in making tapestries and how these works can survive intact for centuries, and the speed with which random and use-less television images follow one another in sequence.

I slowly approach the end of the Retrospective. My guide and I say goodbye, and I take some time to allow the story to sink in a bit more. Birnbaum has opened the window on the art world for me a bit further.Art is not merely making things, it is a conscious choice. Taking a concept and transforming it into sound or images and deciding that it is art: this is what an artist does. The spectators opinion is of secondary importance, and Birnbaum is no exception to this rule. Will I go to museums more often in the future? Perhaps. Birnbaum is still not really my thing. I prefer less disturbing images and less noise, but thats a matter of personal preference. However, I will never again walk into an exhibition, have a look around, turn up my nose and say, without thinking: I dont get this at all...

The loudspeakers come equipped with a ball-and-socket joint bracket for perfect alignment (AS20, AS30 and AS40) or with a u-shaped metal bracket for rapid installation (AS50).

the basic series provided the visitors to dara birnbaums retrospective: the dark matter of media light with a unique sound experience. thanks to their all-round applicability, they are at home anywhere...

Scalas two-voice aspect has been known to give many people gooseesh. Why is that?Stijn Kolacny: We have the good fortune of working with talented, driven and youthful ladies. They help give the choir its contem-porary sound. Also, the girls who come to sing with us are experienced. They are often conservatory students or friends of mem-bers who have singing experience. Not just anyone can become a member of Scala. At a minimum, candidates have to have taken music reading classes, and be able to sing in harmony.

Scala means more than just classical choral singing. You also perform songs by U2, to name an example. Why this choice of mate-rial?

Kolacny: Originally, we were just a classical girls choir. That was a conscious choice on the part of my brother Steven, until we dis-covered that young girls naturally also listen to contemporary pop and rock. We started pouring these types of songs into a choral arrangement mould, and what came out was an instant success. We owe our international breakthrough to this approach. These days, our set list is a mix of classical, contempo-rary and our own music. I am convinced that within a repertoire, you have to change course on a regular basis in order to keep it fresh, without going about it too brusquely.

How much involvement do the girls have in what you perform?Kolacny: We are always open to their ideas

of course. We try out a lot of different things, musically. However, if were not satised with the nal results, we just drop certain ideas.

Is there such as thing as The Sound of Scala?Kolacny: Denitely. When were working on a new song, we know what we want to get out of it. Scala also has to sound good recorded; it has to really grab people right away. When were recording in the studio, we try to mix our music so that it will sur-vive any hi- system. In the car, at a bar, on television: it has to sound good everywhere.

So you also listen to Scala on a good hi- system?Kolacny: I always want to be able to hear

Stijn Kolacny is a true phenomenon on the music scene.

Together with his brother Steven, he manages the Scala girls

choir which performs throughout Belgium, on stages from

Sint-Niklaas to Spa. The formula is also very popular beyond

the Belgian borders. Recently, part of the choir set out for

Canada for yet another introduction to audiences overseas.

stijn kolacny on the successful phenomenon scala

9Sonar

AS350 } P 42

AS550 } P 42

AS450 } P 42

Music shouldnt just be hard and aggressive

With the Sonar series, ArtSound has gotten back to basics, returning to loudspeakers in

their original and purest form.

The cabinet is made from solid wood, and has been given a conical shape. This combination guarantees a warm sound with excellent reproduction of details. Bet-ter drivers are used in this series, and when it comes to the mounting materials, only the best was good

enough for these loudspeakers: pure rubber. Thanks to these high-quality and high-tech components, these loudspeakers produce vibrations that repro-duce remarkably fast, far and pure. All of these

qualities almost make the Sonar atypical: in spite of their relatively small dimensions,

the speakers are still able to produce an exceptionally clear and warm sound. Pure essence, packaged in a sleek design and manufactured using

noble materials.

the details of the music, even when Im not listening to Scala. This is why I dont mind spending money on a really good speaker. I like to listen to music at high volumes, so I want sound that is rich enough. It shouldnt just be hard and aggressive.

What is your ultimate tip for a loudspeaker manufacturer? Kolacny: Whatever you do, be sure to test your loudspeaker using symphonic, clas-sical music! Beethovens fth symphony, for example. The low tones always have to sound full and beautiful as well. Only then is a speaker really worth the money.

The AS350 is finished with four layers of high-gloss lacquer. It is available in mother-of-pearl black, white, silver-grey and warm (brown) cherry.

The AS550 is the largest and the most powerful of the bunch. It produces an unusually warm and detailed sound, making it suitable for a relaxing evening at home as well as a heavy-duty party. Available in black.

photography: Leon Auwerswords: bve

In terms of features, the AS450 falls right between the two models above. It is larger and more powerful than the AS350 and offers more volumi-nous bass, yet is more compact than the AS550. It is available in black or in birch or cherry, all three of which have a matte finish.

Playit dierent!

AS100 } P 41

AS-A800 } P 41

AS401 } P 42

Take this sub-woofer for exam-ple. Sub-woofers are usually huge

clunky absurd things that have to be placed on the floor, somewhere in the

living room. Showy and ugly, and hard to keep clean. Id much rather have the

ArtSound AS-A800. Despite its flashy design and high-gloss lacquer, it still manages to be discreet. And also extremely powerful by the way: 150 Watts, ideal for transforming your liv-ing room into a stylish home cinema.

To be honest, it took me a little while to adjust to the AS10. Is that a loudspeaker? It has a feminine aspect about it, but less refined, it is smooth, and tapered from bottom to top and from front to back. This would make the ideal corner speaker, which more or less fades into the background in a corner where two walls come together. Perfect for my office I thought, mostly because it was specially developed for

background music.

are you also the type of person who doesnt get worked up about a tailored suit, who just cant seem to get enthusiastic about the mass-produced-but-now-available-in-a-new-colour dining room table? yep, just like me. i may as well admit it. i dont go with the flow. i need colour, variety. not that i wouldnt be caught dead at ikea, or think molteni is ugly. no, i prefer to have a look around, browse here and there and put together my own pallet. these days its called customising. when i was young, we still called it stick to your taste and your budget. not only do i do this with furniture and clothes, i also do this when it comes to loudspeakers. loudspeak-ers? you mean those ready-made, rectangular and usually pretty boring cabinets? oh yes. but not for myself. i went off in search of speakers that really make a difference.

sqircle speakers?found them !!

711

AS250 } P 41

AS150 } P 41

AS5002 } P 41

AS10 } P 41

The first time I saw the AS100, I thought it was a designer wall lamp! Wrong again! Its a wall-mounted loudspeaker. Perfectly at home in every hallway, bathroom (its damp-resistant!), bedroom, officea gadget for anyone who loves sleek design!

Loudspeakers that usually get noticed for their looks (showy and clumsy also being a look) are tower loudspeakers. Okay, I get it, I now realise you need a certain volume to be able to enjoy the sound (get it? volume?), but cant it be done more elegantly? I noticed the AS5002 immediately. Very slender, not too big, and it just has to be said, a mind-blowing sound (175 Watts). And for just under 500 Euros per set, youre guaranteed a lot of listening pleasure.

Vintage is in. Carbon reigns supreme thanks to the bicycle boom. And these two have found each other in the ArtSound AS401. Just look at that shape - its almost sqircle! And its even high-gloss. Just a step away from being 1970s brown (fortunately?). you can use it as a stan-dalone as well as in a home cinema set-up. Would you like some crisps with that?

I dont mind telling you my kitchen has a lot in common with a lounge bar. And 98% of the loudspeakers on the market would denitely not t in well. fortunately, I found something to my liking in the AS150 and AS250. Pure lounge, with those rounded corners and hip colours. Their sound reflects their appearance: nice and warm.

The top view shows why they t so snugly in a corner. Their design may be a touch exotic, but you get used to it. Their sound, on the other hand, will beguile you from the very first moment.

an interview with jim kerr about music, travel and the significance of graffiti

photography: David Ellis (p 12) - Sven (p 14)words: bve

13

Jim K

errSim

ple M

inds

If the stage is your natural biotope, then music is your second heartbeat. You wake up with it and go to sleep with it. And this is no dierent for Jim Kerr, the lead singer of the Simple Minds. Kerr has been in the music business for over 25 years. He is, and we mean this with the utmost respect, an old-timer with a story and a vision. Just this once, we are going to take the microphone to talk to him about music, inspiration and how Simple Minds work sounds best.

It is no overstatement to say that the Simple Minds are a phenomenon in the music indus-try. A quarter-century old and still going strong. How do you explain your success with various generations?Kerr: Yes, our music does appeal to a very broad audience. I cant actually give you a denition of why what we do actually works. One thing I can tell you is why I think it works. Pop or rock music is always a combination of lyrics and melodies. If you really want a song to be a hit, you have to be able to add a really strong vibe to it. And I think its this vibe that makes Simple Minds so unique. If you go over our entire body of work, you will notice that we dont shy away from variation. Over the years, we have tried out an awful lot of genres: elec-

tro, ambient, pop, rock, folk...the inuences have been numerous. Now and then we have also sent a political message; it has literally been a musical journey. This allows us to reach a whole lot of people.

Colouring in songsHow does the mix of styles actually grow? Is it related to what you experience on and o the stage?

Kerr: First of all, the musicians in the band can take credit for our sound; I take my hat o to them. They have a really rich imagi-nation, and this helps colour in our songs even more. Their musical talents are what makes Simple Minds who we are. And I have to include myself in that too, of course. (laughs)As a musician, you have to take a broad view of things. All of the members of the band regularly watch lms, read books; theyre interested in whats going on in the world. This is why we have never really run out of inspiration - lets hope it stays that way!

Whether they produce classical or contempo-rary work, artists always say that their work is never really nished. Right after releasing a new record, theyre already saying: We could have done this dierently, were going to change that....Do you agree with this? Kerr: Ab-so-lutely. I am rmly convinced that the last note of a song is never the end of the song. If you have written a song or even an entire album, you have completed that specic assignment. But music evolves. As soon as you play songs onstage, the whole evolution kicks o. Youre singing and thinking: We should have done it this way on the record. Thats why you interpret it dierently the next time. Its a process that never ends. I always compare a recor-ding or an album with a Polaroid picture, a

Music evolves. As soon as

you play songs onstage,

the whole evolution kicks off.

Im not really a sofa person

photography: David Ellis (p 12) - Sven (p 14)words: bve

blueprint. Its the start of something that still has to grow. Whether or not you perform a song with an orchestra, like during the Night of the Proms, or you throw it into the mix during an acoustic show twenty years later, the song goes its own way.

Are you already thinking about these things while youre recording an album? This is how it should sound live, or this is how it should sound when played on a hi- system...Kerr: Oh denitely. Regardless of where they listen to it, I want people to always think that we sound fantastic. (laughs) Whether youre in the car, jogging with your iPod, looking for comfort, or just listening to music: music has to move you. Thats why I love pop and rock; its a very subjective genre. You can pick a song from our new record and say: Hey, now thats a good track! Or you might nd another song completely worthless. Why? Thats really subjective; there are no rules. But still...when we record a song in the studio, we actually know pretty fast: this is

good, this will be a hit. So you persist in that one composition, continue to tinker with it, polish ituntil it nally becomes the top hit you had in mind from the start.

What percentage of your work falls under that category? What are you the most proud of?Kerr: (sighs) Thats a tough one I think pride is such a strange concept anyway. We have written an incredible amount of music over the years. The one song was a success, another less so. But we learned a whole lot from the ones that didnt do so well. As I said, what we do is actually one long journey. If, at a certain point, you look back briey, you see things from the past which are sudden-ly inspirational. Songs which once seemed worthless can still have a certain quality. You stop seeing things as being successes or failu-res, you just see it as the experience, and it has been a great experience.

Vision versus experienceHave you always had that vision?Kerr: No, denitely not. In the early days, we had that typical urge to become famous. It was a constant focus on success. Sometimes we got lucky, sometimes we were way o the mark and then we would even have the nerve to complain. We even got frustrated. Glittering Prize is a great example of that. Ive only just recently discovered how much potential that song has. At the time, we were just too ambitious; we had more vision than experience. Fortunately, thats changed for the better.

Is Jim Kerr the kind of guy who likes to lie on his sofa on his days o and listen to music? Kerr: Im not really a sofa person. (laughs) Of course, were often busy working on recordings, on new things, and then I am practically forced to listen to my own mate-rial. And other music, well...The disadvan-tage of this life - as much as I love it - is that

I have to travel so incredibly often. Usually its really dull, but then at least I have time to listen to the music I like.

At times like that, do you place a high priority on how something sounds? Do you give in to the traditional warmth of vinyl, or can it be digital Kerr: As far as all that goes, Im kind of a nerd. Many of my friends will go on for hours and hours about the warmth of an old record. I do understand what they mean, but Im actually not so interested in that. If we are talking about the quality of our own material, I think its essential for a record to have a nice design, for example: the cover, the photos. This is what Im most concerned with. But now that you mention it... yester-day in Italy, I happened to hear a song from our new record Grafti Soul on the radio! And I must say, it sounded damned good. Powerfully produced and stu. (laughs) So yeah, in that sense, I can be pretty focused on sound.

WHEN yOu ARE WORKINg ON MuSIC, THINgS yOu DIDNT EVEN KNOW ExISTED SuDDENLy BuBBLE TO THE SuRfACE.

15

Jim the gypsyDo you spend a lot of money on hi-? Kerr: I used to. I used to be guilty of buying expensive equipment from reputable brands, this record player or that loudspeaker. But those days are long gone These days Im more of a gypsy. I hardly even know where I live (Kerr shuttles back and forth between homes in Nice and Sicily) and I dont feel like dragging half my house with me each time. That doesnt mean that I think reliable hi- equipment is unnecessary.It is amazing how fast everything evolves these days. And quality doesnt always have to be pricey. Take for example the ridicu-lously small earphones you plug into your iPod - the sound on those is great, isnt it?

Lets talk about the new album Grafti Soul for a moment. When I think of grafti, I think of a mix of bright colours and lines that you can only appreciate from a distance. Does the record have this same multi-layered aspect?Kerr: Yes and no The process involved in making this record was how shall I put it a bit mystical. When you are working on music, things you didnt even know existed suddenly bubble to the surface. Emotions come oating up and that hidden beauty suddenly gives you a wow feeling. Something very basic can surprise you and grab you by the throat. Thats why we chose Grafti Soul as the title. In essence, grafti is random scribbles or sketches, applied to a surface. An entire story can be hiding behind these quick little scribbles. This also applies to the record.

Finally: after all these years, how can we summarise Simple Minds in three words?An incredible band. (laughs and winks) May I go onstage now?

photography: shutterstockwords : bve

i may as well admit it. im no tech-nical wonder, but im positively mad about technical masterpieces. i love decibels. for me, music may be - what am i saying? - must be played loud. and if you have to ignore european and other sound standards to do so, then so be it.

With this thought in the back of my mind, I took a drive to Paris one night this summer. No galeries Lafayette or bateaux-mouches for me, no thanks. I was headed for the Stade de france stadium, to see U2 live in concert. And just in case you have been living on Mars for the past 20 years or so, u2 is frequently called the best, biggest, most professional and fantastic rock group of all time. far be it from me to bring down the reputation of the gentle-men in the band.

The 360 tour in Paris marked my fourth live u2 experience. People often worry that after so many live concerts, they might grow tired of an artist and cant expect to see anything new. Incorrect assumption, as it turned out. from the very first to the very last second of the concert, I was completely blown away by a brilliant show, a monstrously huge stage, and a pen-etrating sound. The sound was beyond perfec-tion, and Jesus, Mary and Joseph, it was blast-ing out of speakers more enormous than any I had ever seen in one place before. At least 750 of them. At LEAST. I would have loved to count them, but it might have annoyed the other 70,000 concertgoers if I had.

750 or more concert speakers in one place. I swear, that is a lot of damned speakers. And when they all start working at once, you feel your socks shrink spontaneously from the fright. for a minute, a few ows may be heard, and then a whole lot of oooohs. Although really loud music may mean torture for your ears, this time it was endless pleasure for me. So, thank you u2 for the music, for the vibes, and mostly for the speakers. They definitely made my day.

thanks for the

SpeAkerS

photography: Stephan Vanfleterenwords: ts

Kayaker Wouter DHaene (27), who won fth place at the 2004 Olympics in Athens, cannot survive without his iPod before races.

Its nice to be able to listen to music, particularly while Im preparing for a race. A good beat can really get you motivated. When Im getting ready for a race, I can really recharge my batteries with music. Depending on what Im in the mood for at the time, I might listen to trance, techno or even the hard stuff, like Rammstein. Something really heavy can make me aggressive, giving me what I need to go the extra mile. It just can be that tiny difference that determines whether I win a medal or not. Sometimes I realise Ive forgotten my iPod for a race, and then I really curse myself. Without music, Im more easily distracted and its harder for me to focus. And this is exactly what I need to be able to visualise the race. How to structure it, how I have to perform technically, and the weak points I have to watch out for. During the rst few metres, the audi-ence doesnt have that much inuence on my performance. I dont require anything extra in the way of cheering me on during this stage. This is also because 1000-metre kayak races start rather far away from the crowds. We dont approach the spectators until the last 200 metres or so. At this point, it can be a huge motivator to hear them cheering you on. I cant hear exactly what theyre saying, its more like a loud hum. Its

hard to describe, but this gives you a sort of itch which makes you work even harder. Even if youre really tired. The only things I can really hear clearly are the signals from my trainers whistle. Sharp, powerful signals tell me that I have to go faster, and that my opponents are gain-ing on me. If the coach whistles slowly, that means that everythings going well and that Im in control of the race. You cant really tell from the sounds of the kayak whether or not youre doing well. It is true though that the more you splash, the less efcient youre kayaking. Its best to kayak as calmly as possible. This is better for your propulsion.

Judoka Ilse Heylen (32), bronze medal winner at the 2004 Olympics in Athens and winner of seventh place at the Peking Games in 2008, does a lot better at matches when her fans shout her name.

There are judokas who prepare for a match with their headphones on, but this doesnt work for me. I try to visualise my match beforehand. Things are happening all around me, but I can shut it all out really well. I can hear people are talking around me, but it doesnt get through. During the match, I cant hear exactly what all the spectators are shouting. Im so focused during a match, and try to listen to my coach. Afterwards, fans will ask if I heard them. I say: Yes, I did but actually thats not true. I would feel really stupid though if I had to say no.

I do hear them when they shout my name though. And this has a positive effect on my performance. This helps me do bet-ter; it makes me that little bit more aggres-sive. During my rst match at the Olympics in Peking, I was the rst to compete. I was absolutely shattered, and was sure I would lose. Then I heard everyone shouting and knew I wasnt in it alone. I really went for it then, and ultimately won. For me, there are other times that music is important. I have to drive a long way to get to the place where I train. Then I really need to have sound. I hate silence, even at home. Usually I just listen to the radio. A lot of my training involves running, anywhere from 45 minutes to an hour. I never run without music. When Im listen-ing to my iPod, time goes a lot faster. Ive got everything on my mp3 player, from Dutch music to pop, Bryan Adams, Bruce Springsteen and Bon Jovi. No classical music - I want to be able to sing along and its got to have a good, fast beat. On the other hand, I dont want anything too extreme, so no house music.

I hate silence.

Ilse Heylen

While jumping, high-jumpers enjoy having their performance accompa-nied by a rhythmic clapping of hands from their audience. Footballers pro-voke their audience to loud cheers of encouragement. Other athletes prefer to shut themselves off from the world by putting on headphones before de-livering a top performance. How im-portant is sound in the world of sports?

Musicas an upper

17

My iPod is broken and is stuck on shuffle, so I never know which song will play next. Cdric Van Branteghem

music should be cheerful, and denitely not depressing love songs. For me, its not a total disaster if I dont have my iPod with me. Im not superstitious and try not to be dependent on anything. Its not like if I wear the wrong socks Ill run slower. Ultimately, its my responsibility. For a sprinter like me, the starting shot is essential. You have to get off the block as quickly as possible. This is why I often ask the audience to be quiet beforehand. But during the race, their shouts and clapping actually help push you forward. Sometimes youll hear one particular person above the rest at smaller meets. Sometimes this throws my concentration off. Hes here too, ashes through my head, and then straight away: No! Focus! I would also rather my coach didnt shout my intermediate times either. I cant really hear what hes saying anyway. And if Im racing on a small track, this just distracts me. Then I start to think: Punch it or Slow down. Im experienced enough to know what I should do.

For track and eld athlete Cdric Van Branteghem (30), fth in the 4x400 metre relay at the 2008 Olympics in Peking, listen-ing to music while getting ready for a race depends on his mood.

I often listen to music before the race, but sometimes I dont. It depends on my mood. Sometimes I can go without it for smaller meets because I dont want to be cut off completely from the world and want to hear whats going on around me. At times like that, sometimes I warm up with a train-ing partner. For the bigger meets, I often listen to upbeat music because thats what I need to recharge. What I listen to can vary a lot. Rock, house, hip-hop: I like different types of music. My iPod is broken and is stuck on shufe, so I never know which song will play next. Ive got everything on there: Beach Boys, AC/DC, Abba and Metallica, all mixed up. If the music is too mellow, I click forward to the next song while Im doing my stretching exercises. At the very least,

Line Up

g4 - g5 } P 44

360

The G-Line speak-ers are unusually

versatile, and may be used in professional

as well as residential environments. Built to

last and with a timeless design. Powerful yet discreet. These pro-fessional loudspeakers have been developed so that you can eas-

ily connect four speakers to your amplier without overloading it. The speakers come complete with patented bracket so that you can mount them to the wall or ceiling, or even use the bracket as a handy base. Available in black or white.

Rugged and hard-as-nails. Tough and powerful. These loudspeakers from the Line Up series are no softies. White and black, they are reminiscent of the prison uniforms in comic strips. And yes, they may not have a sweet, elegant design, but they are true top performers. They brave any kind of weather, ll large or small spaces with a powerful sound, and can remain modestly in the background or blow you away completely.

The E-Lines strong frame conceals a tech-nical tour-de-force that produces power-ful sound. The specially designed double woofer guarantees a warm sound that carries over unusually long distances. The curved design ensures that your favourite music will be distributed throughout the entire room. The E-loudspeaker is available in black or white, and comes complete with the multi-functional bracket.

This specially designed multi-functional bracket

may be used as a base, a wall bracket or even as a ceiling bracket. Thanks to the ball and socket joint, you can align it in any direction you like. Comes complete with screws.

G-Linee-

Line

Beauty is skin deep.

19

E3 - E4 - E5 } P 43

ASROCK } P 45

ASW65 } P 45

ASW55 } P 45

Singin in the rain...Sunshine on my shoulders...

Lets go outside

This specially designed bracket is multi-functional. It allows you to mount the loudspeaker to the wall vertically or horizontally. you can also align it based on the room in which it is located. Due to the loudspeakers sturdy nature, this bracket is manufactured from metal. Comes complete with screws.

These tough little rascals were ini-tially designed to be used in large spaces, such as swimming pools or sport halls, a large patio or a pub. Their power is not their only trump though. Just like their exterior, their sound is round and full. They may not be masterpieces of design, but the old adage also applies here: beauty is skin deep!

feel free to sing right along, no matter what the weather. with these superstars, youll never have to run in from the rain again!

The ASW55 and the ASW65 available in black or white have a trendy, curved profile that guar-antees excellent sound and an extra high range. Both are specially designed for outdoor use (patio, garden, street, etc.), but are naturally also perfect for damp spaces (jacuzzi, sauna, swimming pool, bathroom...). The AS rock is a loudspeaker in the shape of a rock. Its brown or grey colour makes it practically invisible in any garden. Thanks to the special bass reflex, it produces a powerful sound and can handle large spaces.

R5 } P 45

Ri50 } P 45

Its not true I had nothing on,

My R5 radio. Admit it, isnt it adorable? Compact and light, you can easily take it anywhere. This small, stylish radio will denitely steal the show. Thanks to the illuminated tuning knob, you can tune in to any radio station, with extreme preci-sion. Suppose you would rather play more intimate music on that romantic evening youve planned, well, just plug your MP3 player into the R5. A wall socket is handy, but not essen-

tial: with its built-in rechargeable battery, the R5 can easily go strong for a couple hours. And get a load of the choice of colours! Its available in trendy black, silver, red and white, or in deluxe weng, cherry or beech.

} Im going on a picnic, and Im going to bring

} Aha! An Internet radio player!This elegant black beauty can receive up to 10,000 radio stations from all over the world. WiFi, a memory capable of storing ve preset radio stations, an alarm functionin short, everything an Internet radio

needs. Plus a remote control - no need to get up from your recliner to switch stations. Radio will never be the same again.

Are you still dragging the

little radio you had when you were a

kid around with you wherever you go?

Do you love to belt out songs in

the shower to the radio, but dont feel

like running wires throughout your

entire house? If so, ArtSound has some great ideas for you...

21

ASA-275i } P 46

ASA-400i } P 46

u1 } P 45

I hadthe radio on.

Marilyn Monroe

WR1 } P 45

Fortunately, the technology inside this hip AM/

FM radio has nothing in common with the

1950s. The dynamic bass compensation ensures

a rich bass sound and the speaker produces a

unique warm and full sound. The buttons and

dials may take you back to days gone by, but

this radio allows for extreme ne-tuning, a

fully modern concept. No more crackling

sounds with this beauty! You can even con-

nect external sources to the radio, such as

a CD player or MP3 player. It may look

old-fashioned, but this radio was born

yesterday!

} Im going on a picnic, and Im going to bring

} Retro

} All inclusive

} Aha! An Internet radio player! } A punchy radio

Yes, of course there are hun-dreds of loudspeakers on the market you can plug an iPod into. Naturally, ArtSound could not lag behind in this respect, and has done its part to chip in. However, ArtSound would not be ArtSound if we didnt give it our very best, time and time again... First of all, we are talking about a pair of loudspeakers, for optimum stereo sound. Secondly, the central loudspeaker where you plug your iPod or iPhone into has a balanced

amplier on board, and both loud-speakers are equipped with the latest technical features. Your digital music has never sounded so powerful and detailed! The AS-A275i combines power with a compact design. The AS-A400i is larger, even more pow-erful and its even equipped with an RDS tuner. Both models come with a remote control So kick off your shoes, put your feet up, lean back and just enjoy the melodies.

Originally, the U1 was intended as a sturdy, old-fashioned shipyard radio, but has since grown into a waterproof jack-of-all-trades with numerous possibilities. It comes complete with a microphone input, battery compart-ment, 12-volt connection (to be used with your cars cigarette lighter), an

output for headphones, LED light-ing... Fortunately, this radio comes equipped with its own all-weather gear. So no worries, you can easily use this radio outdoors: in the garden, poolside, during home renovations, at the campground...

.Kunst Nu

Carl De KeyzerTriNiTy 1991-200713.06... 06.09.2009

Expo S.M.A.K.

Navid NuurThe Value of Void13.06 16.08.2009

www.smak.be

Michel Franois10.10.2009... 03.01.2010

europalia.china05.12.2009...07.02.2010

Beyond thePicturesque04.04 23.08.2009

Extra S.M.A.K.

zoveel stadCarl De Keyzer Trinity, 1991-2007 (Tableaux politiques)

Car

l De

Key

zer.

Raphal Buedts05.09.2009...15.11.2010

Faux Jumeaux18.10.2008...31.01.2010

Klaus ScherbelMallarm, The Book10.10.2009...31.01.2010

Ben Benaouisse05.12.2009...07.02.2010

Gagarin05.12.2009...07.03.2010

Nick ErvinckGNi-ri sep2009EiTOZOr05.09 22.11.2009

Coming People10.10 29.11.2009

Dara BirnbaumrETrOSPECTiVE: THE DArK MATTErOF MEDiA LIGHT04.04 06.09.2009

Collectie5.09... 22.11.2009

.Kunst Nu

Carl De KeyzerTriNiTy 1991-200713.06... 06.09.2009

Expo S.M.A.K.

Navid NuurThe Value of Void13.06 16.08.2009

www.smak.be

Michel Franois10.10.2009... 03.01.2010

europalia.china05.12.2009...07.02.2010

Beyond thePicturesque04.04 23.08.2009

Extra S.M.A.K.

zoveel stadCarl De Keyzer Trinity, 1991-2007 (Tableaux politiques)

Car

l De

Key

zer.

Raphal Buedts05.09.2009...15.11.2010

Faux Jumeaux18.10.2008...31.01.2010

Klaus ScherbelMallarm, The Book10.10.2009...31.01.2010

Ben Benaouisse05.12.2009...07.02.2010

Gagarin05.12.2009...07.03.2010

Nick ErvinckGNi-ri sep2009EiTOZOr05.09 22.11.2009

Coming People10.10 29.11.2009

Dara BirnbaumrETrOSPECTiVE: THE DArK MATTErOF MEDiA LIGHT04.04 06.09.2009

Collectie5.09... 22.11.2009

23

inwALL

Inwall speake

rs are integra

ted into the

wall or ceiling

, and are also

often pain-

table, so you c

an make them

practically

invisible. Fro

m the basic s

eries to the

top-of-the-li

ne, ArtSound

only oers

the very best

quality in eve

ry category.

Tool b x

basics } P 47-48

what do you need?

no, none of that is necessary. its actually really easy.

dead easy, we would even be so bold as to say. all you need

are some basic tools and a fairly steady hand, thats it.

good luck!

Remove the inwall speaker from the box. In the box, you will nd a stencil. Check care-fully to make sure which line on the stencil you need, and cut the inside of this out. Do not discard this inside piece; you will need it again later! Hold the stencil to the spot where you want to mount the loudspeaker, and using the pencil, draw an outline along the edge of the stencil.

Drill one or more holes along the inside edge of the pencilled-in line. For square or rectangular speakers, it is easier to drill four holes, whereas for a round speaker one hole is probably sufcient.

Using the jig saw, saw along the edge so that you are left with a nice, round, square or rectangular hole.

On the back of the loudspeaker, you will see four poles with clamps. By pushing the clamps upward, you can pop the grill out.

Pull the clamps back in and turn them all inward. Connect the loudspeaker cable. If you forget to do this, you will have to remove it again later!

Place the inwall speaker in the hole. Tighten the screws. This will cause the clamps at the back to automatically turn back outwards so that the loudspeaker will lock in place. In photo 7 you can see what the back will look like.

You can now push the grill back in. If you like, you can also paint the loudspeaker. If you glue the inside of the stencil (impor-tant: you have to remove the edge rst) to the grill, you can simply paint the edge of the loudspeaker with a roller, at the same time you paint the ceiling. It is best to paint the grill with a ne brush or spray paint.

If you would like to remove the loudspeaker or paint the grill, you must remove the grill rst. The best way to do this is using a ne object with a sharp point: poke this into the holes of the grill and pull the grill out slowly, bit by bit. Be careful, do this by going round in a circle and using different holes with each turn so that you can do this gradually without damaging the grill.

Building in loudspeakersis it difcult?what do you need?

How is this done?

Do you need two right hands to do it?Should i keep a rst-aid kit within reach?

1

2345

6-7

8

9

The Basic inwall series contains no surprises, no unnecessary technical features. Just the basics, the essentials. After all, you still want reliable quality at a good price. The Basics are powerful. Equipped with a two-way

system, they also offer great sound quality. And most of the models are even paintable, so you can make them virtually invisible. your friends are sure to ask: Wheres that pure sound coming from?

wheres that pure sound coming from?

2 5

1 2 3

4 5 6

7 8 9

what do you need? Do you need two right hands to do it?

photography: shutterstock - m-idea

it is a well-known fact among hi- lovers that rst and foremost, speakers must be inconspicuous. A good speaker must convey music in all its glory, reproducing all of its facets undistorted and uncoloured, without adding anything. Speakers with a lively, bold and noticeable sound seem more attractive at rst, but after having listened to them for a longer period of time, these speakers mostly just appear to sound extremely tiring. The better models on the other hand can bring you hours of relaxed listening pleasure.

Hiddenperfection

27

x-tended } P 49

The 4 criteria of a good loudspeakerYou can judge the quality of a(n) (inwall) loudspeaker based on four criteria: the con-struction of the housing, the loudspeaker components used (woofers and tweeters), the way the components are mounted, and the cross-over lter. First of all, the housing or loudspeaker cabinet must be as rigid as possible so as to avoid undesirable vibra-tions. As far as the loudspeaker components are concerned, the diameter and the choice of materials - aluminium, titanium, poly-carbonate and so forth - as well as the size and strength of the underlying magnet are all crucial. And since loudspeaker compo-nents have to be able to move (forwards and backwards), they have to be mounted in a way that allows this movement, not too much and not too little. Finally, the cross-over lter must be able to split the incoming sound signals so that they can be sent to the woofer and tweeters, without any distortion occurring in the process.

Inwall loudspeakers are however designed to be discreet, not only in auditory terms, but also when it comes to another aspect. After all, your decision to buy a inwall speaker is based on the ability to integrate it into your interior as discreetly as possible. The

complete speaker cabinet actually disap-pears into the wall or the ceiling so that only the front remains visible. In addition, the ArtSound X-Tended and Gold inwall speakers also offer the option of painting the grills on the front together with the rest of your wall or ceiling. This makes these speak-ers nearly invisible.

ArtSound x-tendedThe X-tended series includes four different inwall speakers. The most compact speakers in the series are the SQ525 and the RO525. In technical terms, these speakers produce an identical sound. Both models have a two-way co-axial system. In other words, the tweeter is positioned exactly at the cen-tre of the woofer, creating an ideal, tapered sound source. The frequency range of these loudspeakers runs from 65 Hz to 20 kHz.

LOWER quALITy SPEAKERS WILL START DRONINg ON IN yOuR HEAD, fORCINg

yOu TO TuRN THE VOLuME DOWN

ArtSound gold Series

gold Series } P 50

1

3

2

4

5

The inwall speakers from the Gold Series are the dream solution for anyone who will settle for nothing less than the highest sound quality. This series is unique when it comes to three of the four criteria: the choice of materials used in the loudspea-ker components, the quality of the cross-over lter, and the mounting. Every Gold Series loudspeaker has a real titanium dome tweeter, driven by a powerful neodymium magnet, and a woofer made from anodized aluminium.

The range starts with two round models, both of which have a two-way co-axial design. The MDC700 is the smallest, with a 21.5-cm diameter. Measuring 24 cm, the MDC800 is slightly larger in diameter, allo-wing room for a larger woofer (6.5), which allows the low range to run to 60 Hz.

The DC700 is technically identical to the MDC700 described above, yet is available in a square model. The DC800 is the square version of the MDC800.

The DC1000 and the DC2050 are the ultimate speakers in the line. The DC1000 is a rectangular, 2-way inwall speaker which accommodates a 6.5 woofer and a 1 tita-nium dome tweeter with a neodymium magnet. The low range runs to no less than 50 Hz. The DC2050 is also a rectangular speaker, yet is designed specically for use as a centre speaker; and should preferably be built in horizontally. The tweeter is the same as the one in the DC1000, yet is equipped with two 5.25 anodized titanium woofers for the low/mid-range tones.

the tweeter may also be swivelled, which makes it a lot easier to guide the loudspeakers radia-tion pattern. for example, if the speakers are mounted high in the wall, the tweeter may be

pointed downwards, guiding the sound directly to your ears.

when purchasing an inwall loudspeaker, be sure to review and compare these four criteria

1 the size and materials used for the drivers2 the presence of a filter or cross-over filter

(may also be seen in the frequency range)3 the choice of materials used in the frame4 the mounting (rubber, plastic, paper, etc.)

ArtSound has always taken these four criteria into account, and has developed different series, each of which is distinct with regard to these factors, resulting in

various levels of price and quality.

The RE650 uses the same drivers as the SQ525 and the RO525, yet has a rectan-gular cabinet measuring 19 x 28 cm. Since the speaker cabinet on this model is slightly larger, the low range runs to 60 Hz instead of 65 Hz. The tweeter may also be rotated in these speakers. And nally, the RO650 is a slightly larger, round speaker - with a dia-meter of 22.5 cm - which features the same rotating tweeter, but this one is combined with a larger 6.5 aluminium woofer for a more powerful reproduction of lower tones.

The gold Series is equipped with a swivel aluminium tweeter (1), treble-bass control (2), a titanium woofer (3), a bass-reflex system (4) and gold terminals (5).

2 9

JORI infocenter: complete collection and free advicewww.jori.com, tel +32 56 31 35 01

Design: VERHAERT NEW PRODUCTS

LONGUEVILLEModel: LonguevilleDesign: Verhaert New Products

2009

A discovery for mind and body

The end of the rst decade of the 21st century is approaching rapidly. These days, we refer to music using terms such as digital, mp3, wav, mpeg. The list seems endless. No more fragile record players

or high-priced tape recorders in the living room or record store. Music has become instant and inexpensive. Anyone who doesnt have the time to go to the store to buy CDs simply downloads their music from the Internet. Copy, paste and listen, wherever you are.

Fortunately nothing about the concept of music itself has changed. Music still has the power to transport you, whip you up into a frenzy, or even completely relax you. Did you know that the Hindu doctors in India over four thousand years ago arranged for calming sounds to be played while performing surgery? Even then they knew that this would benet their patients. In our Western civilisation, healing music did not start to become the rage until a few decades ago. One of the pioneers in this genre is Aeoliah. In 1980 he released his debut album Inner Sanctum. Aeoliah had based the record on a painting. He discovered that certain combinations of tones were in perfect harmony with the art, and that they also had a healing effect on body and mind. Now nearly 30 years and 40 albums later, Aeoliah is still popular. Those in the know describe his work as music for healthy living.

the conclusions are, however, striking in every way:

^ the pain symptoms of chronic pain patients decrease an average of 20% when they listen to classical or jazz music (Cleveland Clinic, uSA)

^ your cholesterol level can drop sharply (Maryland university, uSA)

^ music is benecial for blood vessels and reduces the chance of a heart attack (Maryland university, uSA)

^ a depressive state is made 25% more bearable by music (Cleveland Clinic, uSA)

^ premature babies grow faster if they listen to music (university of Alberta, Canada)

Amazing and surprising, isnt it? Even if some of these research results have been touched up here and there, theres no getting around it: listening to music makes us happier and healthier.

VARIOuS RESEARCH STuDIES THE WORLD OVER HAVE SHOWN THAT MuSIC IS HEALTHIER THAN THE MOST ORgANICALLy-gROWN HEAD Of LETTuCE. ILL REfRAIN fROM COMMENTINg ON WHETHER OR NOT THESE STuDIES ARE ALWAyS RELIABLE.

healing sounds

A musicsandwich

words: bve

31

MDC64 } P 48

MDC6 } P 48

DC84 } P 48

Waterproofphotography: shutterstockwords: bve

healing soundsessential life forceMusic is not truly therapeutic until it helps us focus our atten-tion on positive things, the composer says. This causes the level of stress in our bodies and minds to drop and brings our emotions into balance. The essential life force, which the Chinese call Chi, grows again. This in turn has a positive effect on our immune sys-tem and our endocrine glands. Music helps us distance ourselves from our daily habits and programmed behaviour so that we can discover a world of inspiration, beauty and harmony.

Inspiration, beauty and harmony: anyone who listens to music for the music itself might consider this an old-fashioned sales pitch. Nonetheless, Aeoliah knows how to reach a large and even famous audience. The actress Ashley Judd has said that she considers his music as a form of relaxation, and healing. Continental Airlines and KLM programmed Aeoliah into their sound systems for long-distance flights. Wellness above the clouds. Surely this must be the highest point one can reach in a lifetime...

wellness is a reference to health and well-being. for many people, music is cru-cial for them in order to feel good about them-selves, and the Waterproof series responds to this need. This loudspeaker series has been spe-cially designed for rooms that are subjected to an unusually high degree of dampness as well as for outdoor areas. Each component is damp-resistant, and can withstand both high and low temperatures. The loudspeakers have a distribution diffe-rential that ensures that the music wont sound nasal, and that it can carry over unusually long distances. The series includes two round and one square inwall loudspeaker.

More and more these days, airlines are programming healing music into their sound systems to benet the wellness of their passengers on long-distance flights.

Into t

he fut

ure .....

.

Research and development engineers usu-ally do their job deep in the belly of a com-pany, and rarely if ever come in contact with the press or general public. There are two reasons for this. First, the engineers know exactly which products and technology are in the pipeline, and as a manufacturer, you naturally want to keep this information inside the company. Secondly, they commu-nicate chiefly in terms of scientic theories and formulas, so the average Joe usually cant quite follow everything they say.

Okay, so maybe the second reason is one giant clich, but the part about secrecy should be taken very seriously. For the occasion, we dragged Bart Ameele, Senior Engineer

R&D at ArtSound, out from behind his desk. Working in the nerve centre of ArtSound, Bart is the perfect person to tell us about the future of multi-room systems.

Are multi-room systems reserved for people with a big budget?Those days are gone. More and more manu-facturers, including ArtSound, are launching reliable, price-friendly systems on the mar-ket, resulting in a substantial increase in the number of systems in homes.

Can you install one of these systems yourself, or is it better to hire a technician?We aim to make our systems as user-friend-ly as possible. They have to be plug-and-

bart ameele senior engineer r&d at artsound

during the previous century, rapidly advancing technology chan-

ged the world for good. theres no doubt about it; we can expect

even more innovations yet to come. but what will the future bring?

we cant speculate too far in advance, but one things certain:

multi-room systems will conquer the market in the years to come.ph

otog

raph

y: m

atuv

u.nu

33

33

play. Only the really sophisticated functions, like the sound of a dog barking if someone rings the bell when the owners arent home, require customised installation.

Whats your take on streaming audio? Is that the future? Actually, that future is already here. On-demand applications, where you can purchase or hire music online, are making rapid advances. The sound quality is not yet the level you nd on a CD, but since the price of storage memory devices are steadily decreasing while network speeds continue to increase, this will no longer be a problem in the future.

Isnt this all a bit too complicated for computer illiterates?This is one pitfall we watch out for care-fully. It is our goal to ensure our customers take full advantage of computer technology. Just think of the advantages of networking, higher storage capacity, downloading pos-sibilities, and so forth. Combine these with true user-friendly operation, so that you can use it immediately.

You brought an accordion with you. Looks like a high-tech model.Its a digital accordion. It feels and plays the same as a classic model, but you can make a lot more different sounds with it. Technology used to benet music, lets say. Now that I think about it, this also applies to my work at ArtSound...

A crystal-clear soprano voice can give someone gooseflesh and, provided some effort has been put into it, even cause crystal to shatter. Even tones that are not nearly so high have been known to produce strange effects. The wind rushing under a bridge, for example: that kind of vibration can cause other vibrations, and then resonance occurs. In 1940, the resonance at the Tacoma Narrows Bridge in the uS was so high that the bridge construc-tion completely collapsed. As the story goes, during the incident, the only death was that of a cat. When it comes to resonance, were a bit more modest. The system doesnt have to fall like a house of cards. All that matters is that you enjoy the sound.

And then the bridge snapped...

no big deal youre thinking, 4 minutes

and 33 seconds? think again. the american avant-garde art-ist john cage once dedicated an entire composition to it. enti-tled silence, this piece consists of exactly 4 minutes and 33 seconds of silence. even more bizarre: initially, cage was not satisfied with the precise tim-ing of the three movements in silence, and rewrote them. as a result, he decided to make it exactly 4 minutes and 33 sec-onds of silence. the true fans would call it a stroke of gen-ius. we would call it, uh, kind of vague.

&Dividean audio distribution system also known as a multi-room installation makes it possible to play music throughout your home. and even outdoors, if the spirit moves you. if the system is installed professionally, the whole shooting match can be hidden away, out of sight. after all, we all may want to hear it, but we dont necessarily have to see it...

Illustration: Mario de Koninck

3 5

What if you want to listen to Kings

of Leon in the living room, but the

lady of the house wants to hear a

classical piece at the same time in the

bathroom?

conquerThe term multi-room means that one central sound system can play music simul-taneously in several rooms, or zones. A number indicates exactly how many rooms are involved. The ART 2.4 for example, is an audio distribution system that can play music in four different zones. The term multi-source is used to indicate how many different sound sources may be played at the same time. Sure, the pos-sibility of being able to listen to music on an integrated system throughout your entire house is a pretty interesting concept. However, what if you want to listen to Kings of Leon in the living room, but the lady of the house wants to hear a classical piece at the same time in the bathroom, and junior would rather rock out to the sounds of his favourite alternative radio station in the privacy of his own room? Believe it or not, this scenario can actually become reality if you link multiple sound sources to your audio distribution system provided the system is capable of switching between all these different sources.

The number of zones that your system should be able to control is dependent on the number of rooms in which you want to play music. The golden rule is that it is always better to gure in more rooms than you might need rather than risking coming up short in the long run. The multi-source capacity, or the maximum number of dif-ferent sound sources the system can handle, depends on the number of family members.

StructureTo start, a complete audio distribution system consists of several sound sources. These might be special products designed specically for multi-room applications, but this is not necessary. Secondly, you need a central switching unit. This ensures that each sound source is guided through to the right zone. In many cases, a central unit like this also transmits control commands to the various sound sources. These commands are received via control panels and/or wire-less remote controls in the different zones. Finally, there is usually (but not always) a multi-zone amplier built into the central unit, which produces the wattage necessary to control the loudspeakers in the vari-ous zones. If a multi-zone amplier is not integrated into the central control unit, you can always purchase one of these ampliers separately.

Finally, you must install a couple of loud-speakers in every individual zone. Inwall speakers are usually used for this purpose, but onwall speakers are just as suitable. Also, a control panel and/or a form of wireless remote control are also required.

The audio sources, the central switching unit and the ampliers (built-in or mount-ed) are usually installed in the garage or near the meter cupboard.

The ArtSound SVC4 is quite possibly the simplest multi-room system ever made. All you need to do is connect the device to the loudspeaker output on an existing amplier, and the SVC4 splits the signal four ways. This allows you to connect four pairs of loudspeakers placed in various zones, so you can play the same music everywhere. The SVC6 does exactly the same thing, but with six pairs of loudspeakers instead of four. Normally, you cant just connect several sets of speakers to a single speaker output - your amplier would refuse to cooperate in a matter of seconds, possibly permanently - but the SVC4 and SVC6 have the necessary electronics on board to make this impedance problem a thing of the past.

Moving on to the ART2.1. This is an extremely compact cabinet (12x6.5x4 cm), whose petite dimensions make it easy to place it in a false ceiling, kitchen cupboard or any other small space of your choosing. This little beauty contains a complete FM tuner and a Class D 1 zone stereo amplier. Thanks to the RF remote control included, you dont have to have the aim of a sniper to easily operate the system like one normally would with normal infrared remote control devices. All you have to do is to hook up a pair of speakers (inwall or onwall) and youre ready to (rock and) roll. Strictly speaking, this is not really a multi-room solution. After all, the ART2.1 can only supply music to one zone, however it may be used as a

A system for every single house

, WITH AN Rf REMOTE CONTROL, yOu DONT HAVE TO HAVE THE AIM Of A SNIPER.

37

SVC4 } P 53

SVC6 } P 53

ART5.4 & ART8.8 } P 56-57

ART2.4 } P 55

ART2.1 } P 54

multi-room application if you install these devices in several different rooms. Another nice feature of the ART2.1 is the input suitable for an external audio source, so that you can connect a CD player or iPod to your system, for example.

The ART2.4 combines a 4-zone audio distribution system with a powerful 2 x 25 watt amplier component for each zone. As far as audio sources are concerned, you can listen to the built-in FM tuner, or use the stereo-cinch input, allowing you to hook up a sound source of your choice. Complete with an RF remote control, the system is incredibly easy to operate. You may of course also use several remote control devices, one in each zone, for example. However, you could also equip the system with wall trans-mitters. These are small control panels that you mount to the wall and which then do their job wirelessly. No muss and fuss with cords or wires.

Art Sounds most sophisticated audio dis-tribution systems are the ART5.4 and the ART8.8. The ART5.4 is a 4-zone device complete with a 2 x 25 watt Class D amplier component for each zone. What really makes this unit unique is the several different sound sources it allows you to have at your disposal. To start with, the device has two FM transmitters under the hood. This means for example that you can listen to your favourite alternative radio station in one zone, while classical masterpieces resound from another room. The system also has two audio inputs so you can connect any audio source you like. This could be a CD player, but also an iPod or audio stream-er. Thanks to the remote control that comes with the system, you can even send control commands to these other devices. Zapping to the next track is a piece of cake. Finally, you can also play digital sound stored on a USB device, an SD memory card or via shared media. It is even possible to receive Internet radio stations and to play these in the various zones. As many different hat tricks a system may be able to boast, it still has to remain easy and convenient to oper-

ate if its to be of any use to you. And as far as that goes, the ART5.4 also passes the test with flying colours. The remote control that comes with the system works according to the new 2.4 GHz Zigbee principle, mean-ing that you dont have to aim the remote control and that the effect is extremely reliable. The system also allows two-way communication. In other words, not only can you send commands, but you can also read all sorts of information on the display, such as the names of radio stations, RDS information, track names for MP3 les, and so on and so forth. However, the system is also designed to make operation via small wand panels possible (using the KNX sys-tem), and there are also two RS-232 serial interfaces, which allow the system to be connected to a home automation system.

The ART5.4 described above satises near-ly every conceivable requirement, unless you would like to be able to control even more zones and/or additional audio sources. Enter the ART8.8. This deluxe device can handle eight different sound sources and control eight zones with the greatest of ease. As far as the sound sources are concerned, you have the choice of two built-in FM tuners, three external audio sources - which you can also control using the 2.4-GHz two-way Zigbee remote control - and three digital audio streams. For this last option, you have the choice of USB devices, SD memory cards, shared media or Internet radio. If eight zones still arent enough for your needs, you can expand the ART8.8 with the 8.4S, allowing you to control an unbelievable total of twelve zones.

A system for every single house

, CONTROL PANELS SAVE yOu LONg WALKS fROM ONE END Of THE LIVINg ROOM TO THE OTHER

la

maz

one.

be

if you want to receive the 40 page 100v brochure,

send an e-mail toinfo@artsound.be

artsound has also developed solutions for more industrial environments, with specially designed loudspeakers - for onwall and inwall use - all-in-one amplifiers, public address systems, interfaces, etc. each of these solutions was designed with an eye for detail, safety and particularly user-friendliness in mind.

39

2-way/3-way: In a 2-way loudspeaker, the incoming signal is split into two parts in the cross-over filter. One part is played by the woofer, while the other is played by the tweeter. With a 3-way loudspeak-er, the signal is split into three parts and is played by the woofer, a mid-range speaker and a tweeter.

Active loudspeaker monitor: Loudspeaker with one or more built-in amplifier mod-ules.).Audio distribution system: A system in which the listener chooses one or more sound sources to play in one or more rooms.

Bass reflex: The presence of a special opening in the loudspeaker cabinet which enhances bass sounds, making them stronger and deeper.Bridged: Technique whereby two ampli-fier modules are linked together to create a single much more powerful amplifier module.

Class D: Modern amplifier technique which combines powerful loads with a compact structure and a low development of heat.Coaxial loudspeaker: Technique whereby the tweeter is mounted on top of the centre of the woofer. This creates an ideal tapered sound source.Cross-over filter: Loudspeaker electronic component that splits the incoming sound into two or more parts, so that the indi-vidual parts may be sent to the various loudspeaker units such as woofers, tweet-ers, etc.

Frequency range: The range of the highest and lowest tones which can be played. Expressed in hertz (Hz).

Impedance: Electrical resistance, expressed in Ohm.Internet radio: The possibility of receiving radio stations which are broadcast on the Internet.

RF remote control: Remote control which uses radio waves, eliminating the need to aim the device, as is the case with an infra-red remote control.

Sub-woofer: Special loudspeaker which is designed specifically for reproducing the deepest bass tones.

Tweeter: Loudspeaker designed for repro-ducing high tones.

Wall transmitter: Wireless remote control device mounted to the wall like a light switch. Woofer: Loudspeaker for low tones.

Glossary of terms

Summary Onwall p. 40 Basic p. 40 Genius p. 41 Sonar p. 42 Line Up p. 43 Outsiders p. 44Audio p. 45

Inwall p. 47 Basic p. 47 Waterproof p. 48 X-tended p. 49 Gold series p. 50Drop-in kits p. 51Volume controllers p. 52Audio distribution systems p. 53Infrared solutions p. 58The elements of sound p. 62

Technical specifications

AS-A100 AS50

AS40 AS30 AS20

< 20 m2

20 - 50 m2

30 - 50 m2

20 - 40 m2

20 - 40 m2

BASIC

BASIC

price categoryrange

sound quality

systembass reflex

magnetic shieldedwoofertweeter

max. powernominal power (RMS)

dBimpedance

magnetfrequency range

dimensions mm (h x w x d)weightcolourextra

3-way ABS housing

yes

no

3/2 long excursion mid-range

1 super tweeter

60 W

30 W

86 dB

8 ohm

5.3 Oz

150 Hz - 20 kHz

150 x 90 x 88

2.25 kg / set of 2

white / black / silver-grey

ball and socket joint bracket

systembass reflex

magnetic shieldedwoofertweeter

max. powernominal power (RMS)

dBimpedance

magnetfrequency range

dimensions mm (h x w x d)weightcolourextra

price categoryrange

sound quality

active subwoofer

yes

no

8 polymica cone

-

200 W

100 W

87 dB

4 ohm

-

40 Hz - 150 Hz

354 x 240 x 308

9.0 kg each

black / silver-grey

separate volume control / phase control

2-way ABS housing

yes

no

6.5 polypropylene carbon

1 / PEI Ferrite

200 W

100 W

91 dB

8 ohm

13 Oz

50 Hz - 22 kHz

330 x 240 x 180

9.2 kg / set of 2

white / black

complete with u-bracket

2-way ABS housing

yes

no

3.5 foam surround, paper cone

1 / 13 PEI Ferrite

100 W

50 W

86 dB

8 ohm

7.8 Oz

100 Hz - 20 kHz

185 x 120 x 120

3.2 kg / set of 2

white / black / silver-grey

ball and socket joint bracket

2-way ABS housing

yes

no

5.25 polypropylene mica

1 / 13 PEI Ferrite

160 W

80 W

87 dB

8 ohm

13 Oz

60 Hz - 20 kHz

230 x 160 x 138

5.75 kg / set of 2

white / black / silver-grey

ball and socket joint bracket

price category

rangesound quality

50110 Euros 110145 Euros 145165 Euros 165205 Euros 205459 Euros < 20m small kitchen, toilet,... 30m veranda, bedroom... 40m living room, meeting room... 50m retail space, large living room

background allround warm warm and detailed

41

< 50 m2

< 50 m2

AS5002 AS -A800 AS250

AS150 AS100 AS10

20 - 40 m2

20 - 40 m2

20 - 40 m2

20 - 50 m2

GENIUS

GENIUS

systembass reflex

magnetic shieldedwoofertweeter

max. powernominal power (RMS)

dBimpedance

magnetfrequency range

dimensions mm (h x w x d)weightcolourextra

price categoryrange

sound quality

price categoryrange

sound quality

systembass reflex

magnetic shieldedwoofertweeter

max. powernominal power (RMS)

dBimpedance

magnetfrequency range

dimensions mm (h x w x d)weightcolourextra

3-way tower loudspeaker

yes

no

5" double glass fibre cone driver

1 silk dome tweeter, rubber edge

175 W

80 W

88 dB

8 ohm

-

43 Hz - 20 kHz

990 x 160 x 250

11 kg each

high gloss black / matte black

complete with base and spikes

high-end loudspeaker cable connections

active Class D sub-woofer

yes

no

8 paper cone, progressive rubber edge

-

150 W

100 W

90 dB

-

-

30 Hz - 160 Hz

370 x 255

11 kg each

high gloss black / high gloss white

separate volume control

phase control

2-way

yes

yes

5.25 carbon glass

1 silk dome

160 W

80 W

88 dB

6 ohm

10.9 Oz

70 Hz - 20 kHz

235 x 185 x 210

9 kg each

weng

complete with bracket

2-way

yes

yes

3 carbon glass

1 silk dome

110 W

56 W

86 dB

8 ohm

5.4 Oz

100 Hz - 20 kHz

185 x 135 x 152

3.2 kg each

weng / yellow / red / black

complete with bracket

2-way

no

yes

4 polypropylene carbon

0.75 polycarbonate

120 W

60 W

84 dB

6 ohm

7.8 Oz

100 Hz - 20 kHz

280 x 280 x 80

1.2 kg each

silver-grey

damp resistant

2-way

yes

yes

4 paper cone

0.25 super polymer

120 W

55 W

88 dB

4 ohm

5.3 Oz

90 Hz - 20 kHz

250 x 200 x 90

3 kg / set of 2

white / black / silver-grey

complete with bracket

20 - 50 m2

< 30 m2

AS550

20 - 50 m2

AS450

20 - 40 m2

AS350

AS401

GENIUS

SONAR

price categoryrange

sound quality

systembass reflex

magnetic shieldedwoofertweeter

max. powernominal power (RMS)

dBimpedance

magnet

frequency rangedimensions mm (h x w x d)

weightcolourextra

price categoryrange

sound quality

systembass reflex

magnetic shieldedwoofertweeter

max. powernominal power (RMS)

dBimpedance

magnetfrequency range

dimensions mm (h x w x d)weightcolour

extra

2-way MDF housing

yes

yes

3.5 PP cone

0.5 silk dome

110 W

56 W

80 dB

8 ohm

5.0 Oz

85 Hz - 20 kHz

168 x 115 x 166

1.4 kg each

HG white / HG cherry /

HG silver / HG black

complete with wall bracket

2-way MDF housing

yes

yes

5.25 polypropylene injection cone

1 silk dome

200 W

100 W

86 dB

8 ohm

8.04 Oz

50 Hz - 20 kHz

285 x 186 x 275

4 kg each

black

complete with wall bracket

2-way MDF housing

yes

yes

4 PP cone

0.5 silk dome

150 W

75 W

85 dB

8 ohm

5.2 Oz

60 Hz - 20 kHz

225 x 144 x 190

2.5 kg each

beech / cherry / black

complete with wall bracket

coaxial 2-way loudspeaker

yes

no

4 full range, paper cone, satin black

0.25 fabric dome tweeter

100 W

50 W

95 dB

4 ohm

-

90 Hz - 20 kHz

163 x 138 x 170

2 kg / set of 2

high gloss black / high gloss white

complete with wall bracket

fibreglass cabinet

price category

rangesound quality

50110 Euros 110145 Euros 145165 Euros 165205 Euros 205459 Euros < 20m small kitchen, toilet,... 30m veranda, bedroom... 40m living room, meeting room... 50m retail space, large living room

background allround warm warm and detailed

4 3

< 50 m2

< 40 m2

< 30 m2

E5 E4 E3

20 - 50 m2

ASC100

SONAR

LINE UP

price categoryrange

sound quality

systembass reflex

magnetic shieldedwoofertweeter

max. powernominal power (RMS)

dBimpedance

frequency rangedimensions mm (h x w x d)

weightcolourextra

options

price categoryrange

sound quality

systembass reflex

magnetic shieldedwoofertweeter

max. powernominal power (RMS)

dBimpedance

magnetfrequency range

dimensions mm (h x w x d)weightcolour

2-way

yes

no

5" dual paper cone

1 titanium dome

140 W

70 W

91 dB

8 ohm

60 Hz - 20 kHz

355 x 180 x 255

10.9 kg each

white / black

protection system

ABS plastic sound units

complete with wall bracket

Available in 100V and waterproof (=E5T)

2-way

yes

no

4" dual paper cone

1 titanium dome

100 W

50 W

90 dB

8 ohm

60 Hz - 18 kHz

322 x 160 x 230

6.9 kg each

white / black

protection system

ABS plastic sound units

complete with wall bracket

Available in 100V and waterproof (=E4T)

2-way

yes

no

3" dual paper cone

0.75 titanium dome

60 W

30 W

88 dB

8 ohm

70 Hz - 18 kHz

290 x 140 x 205

3.5 kg each

white / black

protection system

ABS plastic sound units

complete with wall bracket

-

2-way centre speaker / MDF housing

yes

yes

4 (x2) polypropylene injection cone

1 silk dome

80 W

40 W

86 dB

4 ohm

-

40 Hz - 20 kHz

155 x 370 x 180

4 kg each

beech and silver-grey

< 40 m2

< 30 m2

ASROCK ASW65 ASW55

G5 G4

30 - 50 m2

40 - 50 m2

20 - 50 m2

LINE UP

OUTSIDERS

price category

rangesound quality

50110 Euros 110145 Euros 145165 Euros 165205 Euros 205459 Euros < 20m small kitchen, toilet,... 30m veranda, bedroom... 40m living room, meeting room... 50m retail space, large living room

background allround warm warm and detailed

price categoryrange

sound quality

price categoryrange

sound quality

systembass reflex

magnetic shieldedwoofertweeter

max. powernominal power (RMS)

dBimpedance

magnetfrequency range

dimensions mm (h x w x d)weightcolourextra

systembass reflex

magnetic shieldedwoofertweeter

max. powernominal power (RMS)

dBimpedance

frequency rangedimensions mm (h x w x d)

weightcolourextra

2-weg coaxial

yes

no

6.5 polypropylene carbon

0.5 PEI ddome

130 W

65 W

91 dB

8 ohm

10 Oz

50 Hz - 20 kHz

320 x 230 x 270

5 kg each

grey / brown

frost-free, splash-resistant

2-way

yes

no

6.5 polymica cone

1 polymer dome

250 W

100 W

88 dB

8 ohm

17.8 Oz

70 Hz - 20 kHz

308 x 220 x 193

6.8 kg / set of 2

white / black

complete with bracket, splash-resistant

2-way

yes

no

5.25 polymica cone

1 polymer dome

200 W

75 W

87 dB

8 ohm

13 Oz

85 Hz - 20 kHz

269 x 187 x 165

5.5 kg / set of 2

white / black

complete with bracket, splash-resistant

2-way

no

no

5 PP cone

0.75 Mylar

70 W

35 W

89 dB

8 /16 ohm

60 Hz - 18 kHz

256 x 168 x 166

3.7 kg each

white / black

protection system

ABS plastic sound units

complete with wall bracket

switch button 8/16 ohm

2-way

no

no

4 PP cone

0.75 Mylar

50 W

25 W

88 dB

8 /16 ohm

70 Hz - 18 kHz

238 x 155 x 151

3.0 kg each

white / black

protection system

ABS plastic sound units

complete with wall bracket

switch button 8/16 ohm

4 5

< 20 m2

R5 B/R/S/W R5 WE/S.BE/B.CH

20 - 50 m220 - 50 m2

20 - 50 m220 - 50 m2

WR1 U1 Ri50

AUDIO

AUDIO

price categoryrange

descriptionradio

frequencieshousing

dynamic bass compensationexternal FM/AM antenna

tunerpower amplifier

loudspeakeraux-input

headphone connectionbattery

power sup