Despite initial skepticism, we played obeisant and good audio citizens and for the small speakers arranged a nicely complementing environment. We chose our downstairs listening facilities. For stands we borrowed two massive concrete pillars from our terrace that would allow the AMT—after reading the spec we no longer could call it just a tweeter— to be at ear height. To comply with the the low sensitivity's very political thirst of power plus its low impedance, we turned to one of our 240wpc@6Ω Devialet D-Premier. That should nail it. Nanotec GS#79 nano3 Limited connected the all-in-one to the loudspeaker's terminals. We started by cueing up a familiar album, performed and recorded well, Bernard L'hoir She's. It is then that we both caught ourselves cursing appreciatively in the opening blast. What was up with this very special loudspeaker? First off had to be the cabinet. Each material has its own resonance characteristics and thus a certain sound. When tapped or otherwise excited, wood sounds woody and contributes a nice colourful sound when used in an instrument whose shape and material combine into tonality. Using that tonality, we can recognize a violin from a guitar with our eyes closed. Wood is easy to work with especially when the wood becomes a composite of sawdust and glue as it does with MDF. Now one can shape or sculpt pretty much any form by CNC machine and the density factor of the composite determines its tonality.


Plastics have their own sound just like artificial stone composites - if the surfaces are large enough. When tapped, our Pnoe horns sound like… well, a Pnoe being tapped. Our Avantgarde horns come close to ringing when we do that. That neither sound plasticky when playing music is due to their horns being evenly excited, not tapped at one point. The CAM used by Mark & Daniel includes the word marble, a material of high density, thus a high resonance frequency, much higher than wood or aluminium. There are companies that use natural stone for speaker enclosures but marble made by nature is capricious. Ask any sculpture whose near-finished carving suddenly crumbles beneath his hands. CAM is more homogenous to exhibit less or no internal stress. Plus, it can be molded.


Drivers are the moving bits which hope to be mounted in a stiff resonance-free enclosure. Most air-motion transformers are open at both sides and can be used in dipole fashion à la Dutch Daudio W1 where a Mundorf AMT suspends from four nylon wires. M&D's MkII-series AMT became their new DM-6b which sits in its own casing. There is no open back. This makes its filter circuit simpler just as it does cabinet construction. Good-bye separate AMT chamber to free it from the influences of its fellow inmate, the woofer. An AMT moves air by driving an ultra-low-mass folded membrane in a semi-perpendicular motion via a powerful magnetic field. This yields an instantaneous response to the audio signal. Because of its large surface area, the pleated structure moves a large air volume with minimal diaphragm motion. Mass issues like internal resonances are absent to result in lightning-fast transients. The large surface area is also what accommodates the low starting frequency whereas the ultra-low mass supports extension up to 35kHz.