Controlled directivity
Silent Pound controls how sound leaves the loudspeaker, keeping more acoustic energy focused on the listener.
Technology
We keep sound energy focused on the listener and reduce room influence.
01
Less energy into side walls
02
More direct sound at the seat
03
Controlled low-frequency excitation
Room acoustics strongly affect how a loudspeaker is perceived. Reflections from walls, ceiling, and floor can mask detail, shift tonal balance, and make the stereo image less stable. At low frequencies, room modes can make bass sound boomy, weak, or uneven depending on where the listener sits.
High-quality room treatment can help, but it can also be expensive, visually intrusive, and difficult to integrate into real living spaces. Silent Pound takes a different approach: instead of only correcting the room after the fact, we reduce how strongly the room is excited in the first place.
A cleaner starting point — before room correction, panels, or digital processing are added.
Acoustic modelling
The shape is not decoration. It is part of the acoustic system.
Every Silent Pound system starts as an acoustic model. We use CAD, mathematical simulation, and finite-element analysis to study how the cabinet, openings, baffles, drivers, and crossover interact before the design is built.
This allows us to evaluate how sound energy moves around the loudspeaker, how pressure builds around the drivers, and how the system radiates into the room. The goal is not only a beautiful object, but a shape that supports controlled directivity and lower room interaction.
The final result is refined through prototypes, measurements, and critical listening. Simulation guides the direction; real-world testing confirms whether the design behaves as intended.
Full-range directivity
Clearer imaging. More stable soundstage placement. Tonal balance that changes less from room to room.
Most loudspeakers become more directional at some frequencies and less directional at others. This uneven radiation sends different parts of the music into the room in different ways, making the final sound more dependent on wall distance, listening position, and surface materials.
Silent Pound is designed to maintain controlled directivity from the bass region through the midrange and into the treble. By reducing lateral radiation, the system reduces early sidewall reflections and limits how strongly the room adds its own signature to the recording.
This does not make the speaker artificially narrow or clinical. It preserves a more stable balance between direct sound and room sound, so the listener hears more of the recording and less of the room's uncontrolled contribution.
Low-frequency control
3×
less bass energy into the room
Controlling directivity at low frequencies is one of the hardest problems in loudspeaker design. Bass wavelengths are long, and traditional ways of directing them — large horns, large arrays, or heavy room treatment — can be costly, physically large, and difficult to integrate into real homes.
Silent Pound uses a gradient-type low-frequency system to reduce unnecessary bass radiation into the room. Compared with conventional closed-box loudspeakers that radiate low frequencies much more broadly, this approach can reduce low-frequency acoustic power radiated into the room by roughly three times, approaching the theoretical dipole directivity index of about 4.8 dB.
The result is not the elimination of room acoustics — that would be impossible. Instead, the loudspeaker creates better starting conditions: cleaner bass behaviour, less boom, and lower dependence on heavy acoustic treatment.
Mathematical modelling, including finite-element analysis, was used to refine the geometry, baffle construction, and crossover behaviour.
Patent-pending
Voices stay focused before the room can smear them.
The midrange carries the most recognisable part of music: voices, instruments, articulation, and spatial cues. It is also the range where early reflections from walls, floor, and ceiling can quickly reduce image focus and localisation accuracy.
Silent Pound treats the midrange driver and its enclosure as one acoustic system, not as a conventional driver placed in a box. The enclosure is designed to preserve controlled radiation through the critical band, so the speaker maintains its directional behaviour as the sound transitions from the low-frequency dipole section to the high-frequency horn.
This continuity is central to Silent Pound’s full-band directivity concept. Instead of allowing the midrange to become the uncontrolled part of the system, the enclosure keeps this region aligned with the same acoustic goal: more useful energy toward the listener, less unnecessary excitation of the room.
The audible result is a midrange that remains focused, stable, and dynamically clear in real listening spaces — not only in ideal acoustic conditions.
01
The enclosure redirects part of the rear wave through front-facing openings, so it contributes in the same general direction as the driver's front wave. The result is stronger forward radiation and reduced energy toward reflective room surfaces.
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By managing the phase relationship between the front and rear wave components, the design creates useful acoustic summation through the midrange. This can increase both directivity and sensitivity.
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The openings help balance pressure inside and outside the enclosure, reducing unnecessary acoustic load on the cone compared with a conventional sealed chamber.
04
The chamber geometry is tuned to make the rear-wave contribution useful across the critical midrange, especially around 300–1700 Hz, where conventional waveguides or horns become physically difficult to implement.
Upper range
Controlled dispersion without the typical horn character.
Silent Pound uses high-frequency systems designed to continue the same directivity strategy established by the low-frequency and midrange sections. The goal is not simply to extend treble response, but to keep dispersion controlled and smoothly integrated through the upper frequency range.
In Bloom, the high-frequency compression driver is integrated into an 8-inch coaxial architecture. Because the midrange and high-frequency sections radiate from the same acoustic centre, phase alignment through the crossover region remains more precise, supporting stable imaging, coherent timing, and a continuous radiation pattern.
In Challenger II, a mathematically modelled compact horn is used for the high frequencies. Its geometry is optimised to match the midrange directivity, helping the speaker maintain controlled dispersion while reducing unnecessary room interaction.
In both models, the high-frequency section uses a compression driver for high efficiency, fast transient response, and wide dynamic range. The horn or coaxial geometry is used as a precision acoustic tool — not to create a typical “horn sound”, but to control dispersion, preserve clarity, and keep the sound dynamic without harshness.
Integration network
More than frequency division.
The crossover is not used only to divide the signal between drivers. In Silent Pound systems, it is part of the acoustic design, shaping how the low-frequency, midrange, and high-frequency sections integrate into one continuous radiation pattern.
The network uses an asymmetric third- and fourth-order crossover strategy, combining electrical filter slopes with the natural acoustic roll-off of each driver and enclosure section. This allows the final acoustic slopes to be shaped more precisely than with a purely electrical filter.
This approach is especially important through the transition regions, where many loudspeakers lose directivity consistency. By matching the electrical and acoustic behaviour of each section, Silent Pound can maintain a smoother radiation pattern as the sound moves from bass to midrange and from midrange to treble.
Steeper slopes are used where needed to keep drivers away from breakup modes and unwanted operating ranges. This improves separation between sections, reduces unwanted overlap, and helps preserve clarity and control at higher listening levels.
The result is a loudspeaker that behaves less like a collection of separate drivers and more like one controlled acoustic source.
Patent reference
EP4465657A1
Patent-pending enclosure architecture for shaping acoustic behaviour at the source.
