The new world standard in sound reinforcement
PRODUCTION PARTNER 9/2020
"Everything was just right, down to the smallest detail. Neutrality, imaging, precision and everything else was exactly on point, as one would expect from a very good studio monitor. The difference, however, is that the CPD18 can do it all at PA volume."
▶︎ VALTEC™ Automated variable vertical HF spread of the wavefront between 0° and 30°
▶︎ VALTEC™ Automated variable vertical HF beam-steering of the wavefront between 0° and 15° upwards and downwards
▶︎ MF and LF Automated time allignment vertical beam-steering
▶︎ Integrated 7-way amplification with FIRTEC™ digital processing
▶︎ LF 4x 10" / MF 8x 5" / HF 1.75" Cylindrical Linedriver with VALTEC™
▶︎ 127 dB continous (133 dB peak) 1.600 Wrms (3kW peak)
▶︎ Particularly narrow silhouette for unobtrusive positioning, Available in all RAL colors and customization is possible
|Specifications||CPD 18 VALTEC™ powered|
|Frequency range||38Hz-20.000Hz ±3dB|
|Power capacity||1000Wrms + 500Wrms + 100Wrms / 3000Wpeak|
|Sound pressure level||127dBcont / 133dBpeak|
|Dispersion||H: 90° / V: VALTEC™ 0°-30° variable with beam-steering, configurable via software menu.|
Max. up- and downangle: 30°
|Crossover frequency||150Hz and 1800Hz FIRTEC™ Phase linear|
|Drivers||LF: 4x 10" ND cone |
MF: 8x 5" ND cone
HF: 1.75" diaphragm Line driver with VALTEC™
|Amplifier||Integrated: 6x Class-D for LF and MF. 1x Mosfet for HF|
|Processing||Integrated: 7 channels FIRTEC™ DSP controlling|
XLR-3 M+F Analog input or aes/ebu - auto detection
Ethernet In+Thru for Remote control and DANTE™ audio protocol (Optional)
|Options||DANTE™ Network Card|
Unique CPD 18 VALTEC™ Variable dispersion
With VALTEC™ it is possible to adjust the vertical dispersion of the CPD 18 both in spread of the beam and also the angle of the beam.
With spread you determine the total vertical dispersion of the CPD 18 between 0° and 30° as seen in figure 1.
Figure 2 shows an example of the use of beam-steering.
Here we see a typical arrangement in which the upper CPD 18 accurately projects a lot of direct energy onto the balcony (far-field).
The lower CPD 18 takes care of the audience on the floor. Because they are usually closer and the vertical opening angle of the VALTEC™ unit is larger, there is a more even distribution of energy across the venue.
If there is no room for a line array or this is not an option due to financial reasons the CPD 18 is the tool to get the job done.
unnecessarily mentioning that the CPD 18 is always the better choice compared to any other conventional loudspeaker.
The CPD 18 is a true point source system without compromise.
Purely on the basis of its unmatchable sound, you would want to use the CPD 18 everywhere where 134dB/peak is a sufficient sound pressure level.
However, it has to be said that the CPD 18's considerable weight of 51 kg makes it less suitable for mobile use. We see the CPD 18 as a loudspeaker for fixed installations, and so we have chosen a sophisticated slim silhouette that makes it particularly inconspicuous in interiors.
With the KS CPD 18 and its smaller sister the CPD 14, KS AUDIO has created two tools that belong in every important venue as a main loudspeaker system. They are not just very good average all-rounders, KS proves that you can get maximum musicality, perfect impulse behaviour and a more than excellent speech transmission (STI) out of one single system.
At least after reading the review in Production Partner 9/2020, where none other than Anselm Goertz takes a very critical look at the CPD 18, you should understand that KS AUDIO has developed a masterpiece with the CPD 18 that is unparalleled. He put his conclusion very well in two sentences “Everything was just right, down to the smallest detail. Neutrality, imaging, precision and everything else was exactly on point, as one would expect from a very good studio monitor. The difference, however, is that the CPD18 can do it all at PA volume.”
Anyone familiar with loudspeakers knows that this cannot be achieved by using only the best loudspeakers in combination with a perfect system configuration. KS AUDIO does not only focus on a 7 channel active amplifier with the best audio quality (3kWpeak) but especially the unrivalled 7 channel FIRTEC™ controller gives the CPD 18 its perfect linearity.
In principle, the FIRTEC™ controller works very simply. By creating a little space "in time", result a latency of 9 ms, it becomes possible to correct various problems occurring in the time domain. These are not only running time differences between the components themselves, but relate to the entire frequency band of the loudspeaker including all electronic components and the enclosure. Each CPD 18 is individually measured so that it is a perfect match. Even if they are purchased at a later time. The system is thus seen as a whole and can even be measured on site using the same technique so that CPD 18 is seen as a whole with the room. This is the only correct way to install a loudspeaker system and KS AUDIO is at the forefront of this.
Based on all of the above, the CPD 18 is already the only right tool, but KS AUDIO didn't finish developing it, and we're taking it one step further.
By using two sets of acoustic lenses between the driver and the cylindrical waveguide, KS AUDIO has made it possible to align the vertical dispersion in both opening angle and tilt angle. The opening angle is variable between 0° and 30° while the tilt angle can vary between 15° up- and 15° down-angle. Incidentally, the angle of all other drivers is electronically adjusted to match the angle of the mechanical adjustment of the HF unit.
By using two sets of acoustic lenses between the driver and the cylindrical waveguide, KS AUDIO has made it possible to align
the vertical dispersion in both opening angle and tilt angle. The opening angle is variable between 0° and 30° while the tilt angle can vary between 15° up- and 15° down-angle. Incidentally, the angle of all other drivers is electronically adjusted to match the angle of the mechanical adjustment of the HF unit.
The construction of the sound displacement in the VALTEC™ lenses and the wave-guide of the high frequency emitter and its electromechanical vertical alignment is unique. The result is an even dispersion angle, continuing over the entire frequency bandwidth even down to the crossover point, where no dips can be observed. The great advantage of VALTEC™ is that the high frequency range unit can be precisely aimed at the audience. This causes fewer reflections and thus more direct energy. As the VALTEC™ angle is set by a menu setting on the back of the CPD 18, the angle can easily be adjusted if the room layout is different, for example if only the front part of the room is used.
Another advantage is that you can use several CPD 18s without adverse overlap in the vertical domain. If you have experience with multiple loudspeakers in a room, even with line arrays, you know how deadly the comb-filter effect is on the quality of your sound; with VALTEC™ this is a thing of the past.
The reason KS AUDIO does not opt for an electronic adjustment in the high frequency range are the unwanted sidelobs that arise. The control of vertical radiation by multiple elements, like line arrays, always leads to harmful interference due to the overlap between elements. Both options do not come close to meeting the strict requirements set by KS AUDIO when developing the CPD 18.
As already mentioned, the radiation of the LF and MF ranges automatically adjusts to the setting selected via the menu. In this case electronic beam-steering is used. With the sinewave length within which these loudspeakers work, you do not have the problem of creating sidelobes.
If you are looking for a speaker system for a small club, a conference room, theatres, houses of worship - in short, anywhere where audio quality is most important - the CPD 18 is the only logical choice. But also as a studio monitor, the CPD 18 is a correct choice. Due to the design and variable beam-steering, the point source character is astonishingly high, despite the 13 different reproducers. This makes the CPD 18 not only an extremely good mastering monitor but also beats many near-field monitors in terms of imaging and precision.
13 speakers, 7 amplifiers, 7 DSP channels, FIRTEC™ controlled and VALTEC™ beam-steering all housed in a compact cabinet with a slim silhouette, it is almost impossible but you will be positively amazed how affordable CPD 18 is and what it can do for you!
The power module consists of a switched-mode power supply with Power- Factor-Correction, six Class D amplifiers for low and midrange drivers and a high- end Mosfet amplifier for the high frequency driver. The 7 channel DSP is fully digital and equipped with FIR filters that are precisely tuned and measured on the 13 components of the CPD 18. The filter controls crossover, EQ, limiter and time allignment. The CPD 18 can easily be adjusted to the room via the digital operating menu on the back or remotely via KS own remote software.
With the presence of a low-cut switch, the CPD 18 can be switched as a pure speech system or as a full-range system in combination with a subwoofer. The analog electronically balanced input is designed as an XLR F + M socket. When connecting a digital audio signal according to AES / EBU or DANTE standard, there is an automatic switch to fully digital operation with SRC up to 192kHz.