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.