The Dynamic Waveguide was born from countless hours of listening, testing, and rethinking what a high-frequency system should be—not just on paper, but in the real world, in real rooms, where music is actually lived with. Its biradial form, inspired by the elegant horns of Yuichi Arai, was optimised through modern simulation and crafted with large roundovers to minimise diffraction and preserve the integrity of the soundstage.

In what might be an industry first, we combined two historically opposed acoustic theories: traditional horn theory, which dates back over a century and excels at coupling air for unmatched dynamics, and modern waveguide theory, as introduced by Dr Earl Geddes, which prioritises constant directivity and suppresses coloration caused by higher-order modes. We applied a vertical hypex horn curve for dynamic energy, and a horizontal oblate spheroid waveguide for smooth, even dispersion—delivering the power and presence of a horn, with the clarity and openness of a waveguide.

The result is a listening experience that feels immersive and natural, with clear imaging, no sign of the typical ‘horn honk’ colouration of pure horns, and consistent tone throughout the room—even in acoustically challenging spaces. Music doesn’t beam or shout. It simply fills the space with ease, making the speakers disappear into the room and into the moment.

For the compression driver, we chose an oversized ketone polymer diaphragm chosen for how it feels to live with. This material delivered the perfect balance: smooth, detailed, and effortless, even at high volume. Its high efficiency and minimal excursion mean it can produce vivid, lifelike sound with virtually no distortion or strain—well beyond the reach of conventional dome tweeters.

The Celata subwoofer system was developed through extensive listening tests of various bass drivers and alignments. We found that slot-loaded woofers outperformed direct-radiating designs; dual woofers in a shared slot sounded better than one; and a push-pull configuration—with woofers mounted front to back—sounded best. Uniquely, we mounted both woofers front-facing to fit within a narrow cabinet. The front driver fires into an internal channel that loops back into the main enclosure.

This layout also adds structural stiffness, eliminating the need for extra bracing—especially when combined with the front-mounted bass reflex ports. Sonically, push-pull alignments cancels even-order harmonic distortion, but we believe another benefit is the mutual cone control, which reduces overshoot and ringing—resulting in tight, clean bass that integrates naturally with the mid-bass.

The subwoofers operate as a 6th order bandpass system, common in pro audio but rare in HiFi. These designs offer a few dB of extra gain but can suffer from group delay at higher tuning frequencies. We avoid that by crossing over well below the resonant frequency, with a steep filter starting two octaves down. We also apply a notch filter at the chamber’s resonance to eliminate any interference, maintaining a seamless transition to the midrange