Bedienungsanleitung JBL Project Everest DD65000 (Seite 6 von 26) (Englisch)

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Dolby® Digital, DTS®, DVD-Audio and Super Audio CD (SACD™).

Frequency responses to 50kHz, as well as three-digit dynamic

range and signal-to-noise ratio specications have now become

commonplace. To faithfully reproduce such robust sonic properties,

the loudspeaker needed to undergo drastic improvements to its

transducer, network and enclosure technologies.

The K2 S9800 employed a three-way design, incorporating

an ultrahigh-frequency (UHF) compression driver and horn

to reproduce high frequencies up to 50kHz. With the UHF

driver handling the higher frequencies, the high-frequency (HF)

transducer could then be upgraded to a new design using a

3-inch (75mm) diaphragm, which improved reproduction of

lower frequencies and blended better with the woofer than the

older generations’ 2-inch (50mm) diaphragm did. Both of these

new compression drivers utilized newly developed beryllium

diaphragms to provide the lowest distortion and attest frequency

response possible.

To recreate the extremely high dynamic range provided by

today’s audio sources, a brand-new low-frequency transducer

was developed from the ground up, utilizing an Alnico magnet, a

4-inch (100mm) edge-wound voice coil, and a 15-inch (380mm)

cone. Extensive computer-aided engineering and design effort

was necessary to develop the optimized port tuning employed

in Project K2 S9800, and resulted in a signicant advance in the

concept of state-of-the-art acoustic reproduction. As a result of

these efforts, a loudspeaker system with higher sensitivity and a

wider dynamic range became a reality without power compression

or distortion, even at extremely high drive levels.

JBL-Ranger Paragon

JBL Everest DD55000

He went on to describe the process behind the creation of the

Hartseld: “Most people who own and appreciate ne sound

reproduction equipment look forward to the day when they will

be able to assemble a system without limitation in just exactly

the way they think it should be done. Periodically a manufacturer

gets this same feeling. The science of acoustics has provided

us with the basic principles available to all for achieving precision

reproduction. It is only a matter of incorporating these methods into

a system design, and then taking every bit of trouble necessary to

build a system precisely to the design.”

He added, “It isn’t easy, but that’s the way it is done.”

The Ranger-Paragon, JBL’s second Project system, was the rst

serious attempt at a reecting speaker system, and broke ground

in what was at the time, the new concept of stereo imaging.

Basically two independent full-range speaker systems installed in

a handsome, curved cabinet nearly 9 feet (2.7 meters) wide, the

Paragon’s enclosure was treated as an extension of its transducers.

In essence, the system had its own “built-in acoustics.” In many

respects, the Paragon anticipated loudspeaker developments

that would occur years and even decades later. This “built-in

acoustics” concept was present in the Project Everest DD66000

and has now been further rened in the DD65000 and DD67000.

For nearly 30 years, the Paragon remained one of the world’s

most highly-regarded home loudspeaker systems. Today, along

with the Hartseld, the Paragon is still the most sought-after

speaker in the world.

In 1986, JBL introduced a new Project system that retained the

Paragon’s overall sense of musicality while upgrading its character

by incorporating three decades’ worth of continuous development

in every facet of its design. Its name – Project Everest – reected

the pinnacle of achievement it represented. This was the original

Project Everest DD55000.

For the rst time, the rest of the sound reproduction chain – and

not the loudspeaker or its transducers – would impose limits on

overall system performance. Like the Paragon and Hartseld,

Project Everest was built around compression driver technology

and addressed a more rened stereo image than was previously

considered technically feasible.

Since the original Project Everest was introduced, sound recording

and playback technology has undergone a revolution of its own.

With the advent of the CD, extremely demanding recorded signals

became the rule rather than the exception – the typical source

material used by the average audio enthusiast became superior

to the best demonstration material of even just a few years

prior. In overall dynamics and transient response, transducers

became once again a potentially weak link in the high-end audio

reproduction chain.

It was in this environment that JBL set out to create its fourth and

fth Project loudspeakers, K2 S9500 and K2 S5500. As with

Hartseld, the simplicity of a two-way system was considered the

most promising design track. Advances in transducer design and

low-frequency alignment would make possible the construction of

a two-way system of unprecedented physical and acoustical scale.

Our engineers took the core components – the low-frequency and

high-frequency transducers – and optimized them by redesigning

their magnetic structures, diaphragms and framework for greater

linearity, dynamic capability and transient response.

In the years following the introduction of the K2 S9500 and K2

S5500, sound reproduction technology underwent another series

of revolutionary changes, with the introduction of DVD-Video,

JBL Project Everest DD65000 Seite 6

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