Beginning to develop studiomonitors in 1997 KSdigital uses the experience of 10 years producing music in studio as owner with the studies of signal processing on university. That causes the development of the first phase linear digital controlled FIRTEC monitor worldwide. In the next years many loudspeakers were developed to be a part of the solution of many tasks in studio envirement. So we find solutions especially for nearfield situations as well as for the mastering or big recording situations. With our filter technology KSdigital montors can be adjusted to the control room acoustics and enviroment, our monitor controllers give direct control to volume as well as to the internal filters or switches between small and monitors.

Many differente situations need many different solutions: KSdigital monitors are a part of this process.  


...progress in sound

  • NeXt
  • DMC
  • DDD




The operation of FIRTEC™ technology is based on the knowledge, that the human ear does not hear in magnitude and phase but rather only in a continual stream of information. Changes in air pressure arriving at each eardrum make up the entire acoustic ambient information. Included is information regarding volume as well as direction and room information. Our FIRTEC™ technology separates the signal in bass, medium and high tone paths and corrects it to such an extent that at the ear of the listener, the sound waves are combined to become the correct, complex sound event. The impulse response of a system with such a frequency crossover contains no phase distortion components and is accordingly extremely clean without overshoots. 

The ADM 20 actually in the product cylce ADM22, the first ever studio monitor with an FIR filter, revolutionised the studio environment with a never-before-heard spatial propagation of music, a quality reinforced in reviews by magazines and sound engineers. A unique system of implementing the FIR filter was developed, called FIRTEC™, which managed with an ‘analogue’ latency of 5ms – meaning that it works with exactly the same lip-synchronisation and latency as an analogue equalizer speaker. Using the FIRTEC™ technology, the system’s pulse response is mathematically pre-equalized in such a way that the flow of the music signal is correctly played back. This also automatically means a linearisation of the magnitude and phase frequency response.

impuls response wihtout FIRTEC und with FIRTEC

In diagram you can see the impuls response of an speaker, first without FIRTEC™ with rebound and oscillation. The next chart shows the same speaker with FIRTEC™. There is nearly no rebound and failures in mebran movement.

Impulsgang Vor und Nach Firtec
Impulsgang Vor und Nach Firtec
Frequenzgang Vor und Nach Firtec
Frequenzgang Vor und Nach Firtec
Phasengang Vor und Nach Firtec
Phasengang Vor und Nach Firtec

nearfield extrension NeXT™


This development from KSdigital improves sound propagation from the monitor
to the listening position through the use of cylindrical wave propagation. The studio monitor’s near-field is expanded in such a way that the acoustic qualities of the room are almost irrelevant. In the KSdigital Line-Master, the reproduction of mid- and high-tone ranges from 800Hz and upwards is handled by a newly designed element radiating cylindrical waves. In cooperation with the Fraunhofer Institute for Applied Mathematics in Kaiserslautern, Germany, a slit shaped emitter was designed with an extremely powerful driver. With a cylindrical wave, the acoustic energy reduces by 3dB when the distance is doubled; with a normal spherical wave, this reduction is 6dB. This means that with the Line Master, even in larger rooms, your listening area is practically anywhere in front of the speakers. Effectively, this means the intensity of the sound in your ear is due to a much higher proportion of direct waves and the effects of indirect or reflected waves is thereby significantly reduced. The room characteristics therefore have a much lesser influence on the acoustics. The direction of the cylindrical waves also ensures that reflections from the ceiling or floor are further minimized. In this way, a completely different musical experience can be enjoyed with an exactly defined sound. For frequencies up to 800Hz, the linear arrangement of the bass and mid-tone cone speakers also emits a perfectly matched cylindrical wave.


Nearfield Extension: Next
Nearfield Extension: Next

dynamic membran control – DMC™


By virtue of their physical characteristics, all loudspeaker drivers produce errors when reproducing music signals. These errors may include decaying oscillations or delayed build up etc. These can affect, amongst others, the characteristics of amplitude, phase or frequency which is why one tries to minimize their affects with active
filtering. Additional filters in the signal path however, distort the phase characteristic of the speaker and therefore reduce the impulse fidelity of the reproduction. The solution comes from a completely different approach to the problem of correcting the frequency characteristic: DMC ™ Membrane Control.This system controls the movement of the membrane so that it exactly follows the music signal. Technically speaking, a loudspeaker driver is a special linear motor. As with every linear motor, speed, acceleration and distance travelled can be measured. As the speed and direction of movement of the membrane changes to the rhythm of the music, its exact position is being recorded by a sensor in the controlled driver. The values are fed into the analog controller where they are compared to the simultaneously measured values of the music signal. Only any differences to the expected values are transmitted to the output stage for correction. In this way it canbe continuously guaranteed that the membrane only moves exactly in the way that is necessary to reproduce the signal input. In this way, decaying oscillations and other errors can be ruled out. With sound travelling at 330 meters/sec and the corrective electronics working at almost the speed of light, the errors are corrected even during their formation with zero latency. This basic principle however, means the very finest of attention to detail in its implementation and the design of sensors and active components and naturally requires the knowledge of the theoretical context, experience and feel. This effort is rewarded with a neutral, pure musicalreproduction, a linear amplitude and (!) phase frequency characteristics down to the very lowest of frequencies without (!) latency times.



Here you can find papers to topics studio monitors /room acoustic and technology