Ερατώ: (ερώ: αγαπώ), η αξιολάτρευτη.
Η Ερατώ ήταν μία από τις Εννέα Μούσες της ελληνικής μυθολογίας, κόρη του Δία και της Τιτανίδος.
Η Μούσα Ερατώ είναι αυτή που επινόησε τα ερωτικά ποιήματα, το γάμο, την ποίηση, την μουσική και την διαλεκτική.
Το όνομα Ερατώ προέρχεται από το ρήμα έρεσθαι και από τη λέξη έρως και εραστής. Τη ζωγράφιζαν καθιστή, να φορά στεφάνι από τριαντάφυλλα, με τη λύρα και το τόξο του έρωτος στα χέρια και την επιγραφή "Έρατώ Ψάλτριαν". Ο Απολλώνιος ο Ρόδιος ξεκινά το τρίτο κεφάλαιο του τέταρτου μέρους στα Αργοναυτικά με τους στίχους:
...«Και τώρα Μούσα Ερατώ, έλα κοντά μας και πες μας πώς ο Ιάσονας ...έφερε το χρυσόμαλλο Δέρας... από τον ερωτά του στη Μήδεια ... γιατί έχεις τις χάρες της Κύπριδας Αφροδίτης... και φέρνεις τη μαγεία στα ανύπαντρα κορίτσια…».
RESPONSE: 40-20.000Hz
Impedance: 8 Ohm
Sensitivity: near 100db 1w @ 1m
Depth 0,80m, Width 0,40m, Height 1,4 m
Weight of about 75kg
Material construction birch plywood thickness 30mm, veneered walnut
Coating HAND MADE with shellac and camelia oil
LOW range, 12 '' Precision Device, amplified with class D HYPEX DS2.0 amplifier, range of about 35Iz to 100Hz,
Speakers terminals binding posts from WBT,
Internal wiring of single plated copper conductor OFC JAPAN, with silk lining, the crossover is covered with a woolen blanket to protect from vibrations, all screws and ant vibration spikes are from gold plated brass.
The grill cloth of the sub cabin is retro.
Special glue for musical instruments was used in the cabins construction.
No sound-insulating material used.
Some measurements:
SPL diagram of the total speaker.
The two measurment are for sub phase at 5o (blue line) and for 180o (red line).
The sensitivity in not the correct one, because the measurement was done at lower volume , to regulate the phase of the subwoofer.
It's not flat, it has pumps, like a normal horn speaker, put it sound wonderful !!!
HOME
Η Ερατώ ήταν μία από τις Εννέα Μούσες της ελληνικής μυθολογίας, κόρη του Δία και της Τιτανίδος.
Η Μούσα Ερατώ είναι αυτή που επινόησε τα ερωτικά ποιήματα, το γάμο, την ποίηση, την μουσική και την διαλεκτική.
Το όνομα Ερατώ προέρχεται από το ρήμα έρεσθαι και από τη λέξη έρως και εραστής. Τη ζωγράφιζαν καθιστή, να φορά στεφάνι από τριαντάφυλλα, με τη λύρα και το τόξο του έρωτος στα χέρια και την επιγραφή "Έρατώ Ψάλτριαν". Ο Απολλώνιος ο Ρόδιος ξεκινά το τρίτο κεφάλαιο του τέταρτου μέρους στα Αργοναυτικά με τους στίχους:
...«Και τώρα Μούσα Ερατώ, έλα κοντά μας και πες μας πώς ο Ιάσονας ...έφερε το χρυσόμαλλο Δέρας... από τον ερωτά του στη Μήδεια ... γιατί έχεις τις χάρες της Κύπριδας Αφροδίτης... και φέρνεις τη μαγεία στα ανύπαντρα κορίτσια…».
Ήταν η Μούσα της λυρικής ποίησης και των ύμνων. Απεικονίζεται με μία λύρα.
Κατά τον Ησίοδο (Θεογον. 78) είναι κόρη του Διός και της Τιτανίδος Μνημοσύνης[1]. Εθεωρείτο προστάτιδα του γάμου και του έρωτα. Ακόμα θεωρείται εφευρέτης του χορού, των προς τους θεούς ύμνων και γενικότερα προστάτρια της Ποίησης. Κύριο σύμβολό της ήταν η λύρα, αλλά και η κιθάρα, η φόρμιγξ και η βάρβιτος.[2]Απεικονίζεται πάντοτε όρθια και ενίοτε σχεδόν τελείως γυμνή.
In Greek mythology, Erato /ˈɛrətoʊ/ (Ancient Greek: Ἐρατώ) is one of the Greek Muses. The name would mean "desired" or "lovely", if derived from the same root as Eros, asApollonius of Rhodes playfully suggested in the invocation to Erato that begins Book III of his Argonautica.[1]
Erato is the Muse of lyric poetry. Anyone named after the muse can often be mistaken for an angel because of their beautiful appearance and loving personality. In the Orphic hymn to the Muses, it is Erato who charms the sight. Since the Renaissance she is often shown with a wreath of myrtle and roses, holding a lyre, or a small kithara, a musical instrument that Apollo or she herself invented[citation needed]. In Simon Vouet's representations, two turtle-doves are eating seeds at her feet. Other representations may show her holding a golden arrow, reminding one of the "eros", the feeling that she inspires in everybody, and at times she is accompanied by the god Eros, holding a torch.
Erato was named with the other muses in Hesiod's Theogony. She was also invoked at the beginning of a lost poem, Rhadine (Ῥαδινή), that was referred to and briefly quoted by Strabo.[2] The love story of Rhadine made her supposed tomb on the island of Samos a pilgrimage site for star-crossed lovers in the time of Pausanias[3] and Erato was linked again with love in Plato's Phaedrus;[4] nevertheless, even in the third century BC, when Apollonius wrote, the Muses were not yet as inextricably linked to specific types of poetry as they became.[5]
Erato is also invoked at the start of book 7 of Virgil's Aeneid, which marks the beginning of the second half or 'Iliadic' section of the poem: Calliope (epic), even Melpomene (tragedy) or Clio (history) might seem more appropriate. This choice may express Virgil's love for his native land, but in any case shows the need for a new creative force at this change in the direction of the poem.
https://en.wikipedia.org/wiki/Erato
In Greek mythology, Erato /ˈɛrətoʊ/ (Ancient Greek: Ἐρατώ) is one of the Greek Muses. The name would mean "desired" or "lovely", if derived from the same root as Eros, asApollonius of Rhodes playfully suggested in the invocation to Erato that begins Book III of his Argonautica.[1]
Erato is the Muse of lyric poetry. Anyone named after the muse can often be mistaken for an angel because of their beautiful appearance and loving personality. In the Orphic hymn to the Muses, it is Erato who charms the sight. Since the Renaissance she is often shown with a wreath of myrtle and roses, holding a lyre, or a small kithara, a musical instrument that Apollo or she herself invented[citation needed]. In Simon Vouet's representations, two turtle-doves are eating seeds at her feet. Other representations may show her holding a golden arrow, reminding one of the "eros", the feeling that she inspires in everybody, and at times she is accompanied by the god Eros, holding a torch.
Erato was named with the other muses in Hesiod's Theogony. She was also invoked at the beginning of a lost poem, Rhadine (Ῥαδινή), that was referred to and briefly quoted by Strabo.[2] The love story of Rhadine made her supposed tomb on the island of Samos a pilgrimage site for star-crossed lovers in the time of Pausanias[3] and Erato was linked again with love in Plato's Phaedrus;[4] nevertheless, even in the third century BC, when Apollonius wrote, the Muses were not yet as inextricably linked to specific types of poetry as they became.[5]
Erato is also invoked at the start of book 7 of Virgil's Aeneid, which marks the beginning of the second half or 'Iliadic' section of the poem: Calliope (epic), even Melpomene (tragedy) or Clio (history) might seem more appropriate. This choice may express Virgil's love for his native land, but in any case shows the need for a new creative force at this change in the direction of the poem.
https://en.wikipedia.org/wiki/Erato
 |
| Ερατώ. Πίνακας του Σιμόν Βουέ (Simon Vouet) |
TECHNICAL SPECIFICATIONS OF SPEAKER:
RESPONSE: 40-20.000Hz
Impedance: 8 Ohm
Sensitivity: near 100db 1w @ 1m
GENERAL DIMENSIONS:
Depth 0,80m, Width 0,40m, Height 1,4 m
Weight of about 75kg
Material construction birch plywood thickness 30mm, veneered walnut
Coating HAND MADE with shellac and camelia oil
Loudspeakers Driving Units:
LOW range, 12 '' Precision Device, amplified with class D HYPEX DS2.0 amplifier, range of about 35Iz to 100Hz,
cabin with front and rear loaded horn
FULL RANGE, 8 '' Fostex 206 modified, without crossover, with a range about 100 Hz, up to 15.000Hz, front and dual rear loaded horn
TWEETER, Beyma 1 '' modified using a crossover 3rd class, silver capacitor, range 16.000-20.000Hz chamber of wood and front loaded small horn.
FULL RANGE, 8 '' Fostex 206 modified, without crossover, with a range about 100 Hz, up to 15.000Hz, front and dual rear loaded horn
TWEETER, Beyma 1 '' modified using a crossover 3rd class, silver capacitor, range 16.000-20.000Hz chamber of wood and front loaded small horn.
MISCELLANEOUS:
Speakers terminals binding posts from WBT,
Internal wiring of single plated copper conductor OFC JAPAN, with silk lining, the crossover is covered with a woolen blanket to protect from vibrations, all screws and ant vibration spikes are from gold plated brass.
The grill cloth of the sub cabin is retro.
Special glue for musical instruments was used in the cabins construction.
No sound-insulating material used.
From ATHENS SOUND VISION SHOW 2015
paired with TSAKIRIDIS DEVICES monoblock 300B amplifiers
review article:
"
Horns everywhere!
Five years, "hug" the three horns of Klipsch’s La Scala was enough to make sure that, no matter how much I love the speed and their low distortion, the design of the three ways was beyond my strength. And it makes sense. The horns do not hide anything, rather than an entire circuit behind the loudspeakers! I made numerous comparisons with my one-way’s and always concluded that each coil and capacitor, which is there in order to maintain the low distortion and high power handling and dispersion, reduces the sharpness and alter the timing and timpro music. Yes, the game of compromises is for strong players and, yes, speakers such as the excellent new SHL5Plus unexpectedly show incompatibilities when on their binding posts find a quality push-pull amplifier of some tens of watt. But what do you do when you worship single-ended or other strange small amps up to, at most, 25W; Clearly you need a very high number of sensitivity but, equally, need simplicity which excludes the conventional multidrive designs. Such a amplifier will spend valuable effect in the filter and if it is very clean and phasic right (in small powered amplifiers these come relatively easily), it will immediately complain for the filters and the "games" that they make in timing and phase. But there are not only the filters. Just little conventional sound absorbing material is enough for destroying the perfection of rhythm, contrasts and immediacy in the flow of energy , as cabin that stores energy or impose timbre , as well as a excessive " reflex charging are enough for altering the timbre. But the list of "no" does not end here, as the loudspeakers connected out of phase to achieve a more smooth frequency response is a technique also detest such exotic "amps" such as SET.
I watch all these years several manufacturers who choose horns, having in mind such amplifiers, and I always see the same obsession in multipath plans while the few who insist on simplex and 1,5drive plans do not offer the deep low that music need, unless we are talking about very expensive superstructures immense size, that they always leave me wondering if they can "disappear" with success as a mini-monitor. In a few words, the existing proposals with very high sensitivity, with at list reasonable money, are imperfect, so it is no coincidence that the hybrid implementations of Avantgarde have won important part of this market, as the best possible compromise. Well, I have a new and very good.
These new come from Greece, the usual suspect ... in innovative horns (see Arcadian Audio and Sonus Aeterna) and the horn speakers Armonia (http://armonia-speakers.blogspot.gr), who avoid all the obstacles mentioned and follow a more " pragmatic" approach in comparison to the above, only in terms of materials and cost and not in the design field. The model I checked and I present here is the Erato, the smallest and convenient speaker of the Greek designer Michael Myrsilidis, as it includes an active subwoofer 12in, in horn loaded design, in order to perfectly match with the rest of the frequency range. The speaker is not yet in regular production, is currently a very clarified DIY case, however, the estimated price when it goes in production will certainly be below the ten grand. The cost comes from the mostly from the cabins as the loudspeakers drivers are affordable, but have been modified and perform much better than the factory versions and blend seamlessly together.
The Erato use as base the active part and as "satellite" have one of the most beautiful horns constructions I've ever seen. This is based on 8in wide range FE 206 of Fostex, modified with custom phase plug made of solid wood and other interventions, covering unfiltered area 100Hz-15KHz with front loaded and dual rear loaded horn, which expands symmetrically above and below the front loaded. This double charging, according to the manufacturer, is balancing the pressures in front of and behind the speaker and allows a very high sensitivity to 100+ dB with a small cabin and near zero cabin colorations. The woodwork of birch plywood thickness 30 mm is masterful, with curved paths for the back wave, damping special techniques and highly crafted "horn" in front of the loudspeaker.
The "air" after 15KHz is assigned to a super tweeter Beyma CP12, also modified with brass shell phase plug and silver voice coils, the back wave of it is absorbed in a shell made of solid wood. Here naturally there is a filter, 3rd order, but the driver is connected with the same polarity and is time-aligned with the wide range. Finally, the subwoofer carries the 12intso Precision Device PD.122 and amplifier module Hypex DS2.0 power 100W, fully adjustable. The surprise is here also the driver loading, with a novel dual horn, front and rear, with the second to be expanded in the front of the first! The speaker covers the whole range from 35Hz to 20KHz, has impedance 8 Ohm (with minor variations) and can be driven by a single digits number watt amplifier. It does not contain any trace of absorbent material and construction details include brass screws and brass support spikes and the internal wiring of single wire gold plated of Japanese Amtrans. With dimensions of 140x80x40 cm. you do not say it small, but by no means is excessive for the typical Greek living room.
The first thing one receives from Erato is a clear stage with huge height and width, natural image sizes, superior focus and excellent consistency, just because almost all the music plays through the wide range and the three horn of it. The beaming of the front hopper treble is quite limited due to phase plug and the dispersion is very good from 5 to 10KHz. This is the only (expected) compromise, but no one could support that the speaker produces a tone melo- that is too soft or dark treble - that have remote detail or that it can not easily stimulate the space. On the contrary, the speed and the resolution is extroverted blistering and any "box" is essentially invisible to the lower limit of its operation. Timpro is the familiar of the Fostex, organic, saturated but not too warm timbres and thanks to varnishes that the 8in has received, the well known co-ordination in mid high frequencies is not present. The super tweeter closely follows the main speaker and it doesn’t stands out from the set, adding air and upper harmonics without ever surprise or attack as if it is the natural continuation of Fostex. Phasic, Erato no way different from my DIY open baffle, the sound is free and "out" from the speaker, which means that the cabin is virtually invisible! Not interfere with the complexions, it doesn’t reduces the duration and the ending off the note or intensify the cue, in other words, the horn was never "shouting" and was never hurry. But the presence and dynamic range offered makes you jump from your chair, coordinate your whole being with the music, something that can not make any direct radiator. And here, indeed, we have no trace of direct sound but horns back and front, up and down, horns everywhere!
All this will probably have no value if the "satellite" and the active subwoofer would not match so well. The first octave is by no means absent and dramatically compresses the space, without of course fully attributed, but what counts is that the middle and upper lows share the same character with the midrange and treble, thanks obviously to the double horn loading also the woofer. There is not present the known discontinuity in colleges, tonality and speed of hybrid proposals but a continuous, dense timbre with great presence and rich textures in almost all the bass. Thus, the Erato's active sub is not acoustically detected except only in the deepest notes where you realize, very discretely, that your small triode amplifier is no longer playing. But even these " carried away " from the momentum and speed of the rest of the spectrum. If anything, this is a subwoofer that would interest a lot of people, holders of sensitive speakers with limited scope and dynamic range bass.
These speakers really overwhelmed me and deserves to be known to a wider audience. Here are the logical route of things despite the adversity that comes with it and, thanks to the talent of the designer, achieve a set of irresistible to the data of extreme simplicity and very high sensitivity. The unique aesthetic would be enough to watch one, but it is the performance which makes them even more alluring. Horns with such uniformity, lack of cabin colors without "strange" material and so comprehensive frequency range are a rarity at any price, let alone the carefuly cost and size of Erato. In what concerns me, and although I remain in love with the open baffle my collection, this is a horn which happily I coult get,to fascinates me without depriving my tranquility which so I need when I hear music.
PS. As I learned a short while ago, the Erato will be present at the upcoming Show Audio Video in Nexus Acoustics room, so you will have the opportunity to enjoy them up close.
Paris Kotsis
pariskotsis@gmail.com
"
from the internet NEWSPAPER HIEND NEWS
Horns everywhere!
Five years, "hug" the three horns of Klipsch’s La Scala was enough to make sure that, no matter how much I love the speed and their low distortion, the design of the three ways was beyond my strength. And it makes sense. The horns do not hide anything, rather than an entire circuit behind the loudspeakers! I made numerous comparisons with my one-way’s and always concluded that each coil and capacitor, which is there in order to maintain the low distortion and high power handling and dispersion, reduces the sharpness and alter the timing and timpro music. Yes, the game of compromises is for strong players and, yes, speakers such as the excellent new SHL5Plus unexpectedly show incompatibilities when on their binding posts find a quality push-pull amplifier of some tens of watt. But what do you do when you worship single-ended or other strange small amps up to, at most, 25W; Clearly you need a very high number of sensitivity but, equally, need simplicity which excludes the conventional multidrive designs. Such a amplifier will spend valuable effect in the filter and if it is very clean and phasic right (in small powered amplifiers these come relatively easily), it will immediately complain for the filters and the "games" that they make in timing and phase. But there are not only the filters. Just little conventional sound absorbing material is enough for destroying the perfection of rhythm, contrasts and immediacy in the flow of energy , as cabin that stores energy or impose timbre , as well as a excessive " reflex charging are enough for altering the timbre. But the list of "no" does not end here, as the loudspeakers connected out of phase to achieve a more smooth frequency response is a technique also detest such exotic "amps" such as SET.
I watch all these years several manufacturers who choose horns, having in mind such amplifiers, and I always see the same obsession in multipath plans while the few who insist on simplex and 1,5drive plans do not offer the deep low that music need, unless we are talking about very expensive superstructures immense size, that they always leave me wondering if they can "disappear" with success as a mini-monitor. In a few words, the existing proposals with very high sensitivity, with at list reasonable money, are imperfect, so it is no coincidence that the hybrid implementations of Avantgarde have won important part of this market, as the best possible compromise. Well, I have a new and very good.
These new come from Greece, the usual suspect ... in innovative horns (see Arcadian Audio and Sonus Aeterna) and the horn speakers Armonia (http://armonia-speakers.blogspot.gr), who avoid all the obstacles mentioned and follow a more " pragmatic" approach in comparison to the above, only in terms of materials and cost and not in the design field. The model I checked and I present here is the Erato, the smallest and convenient speaker of the Greek designer Michael Myrsilidis, as it includes an active subwoofer 12in, in horn loaded design, in order to perfectly match with the rest of the frequency range. The speaker is not yet in regular production, is currently a very clarified DIY case, however, the estimated price when it goes in production will certainly be below the ten grand. The cost comes from the mostly from the cabins as the loudspeakers drivers are affordable, but have been modified and perform much better than the factory versions and blend seamlessly together.
The Erato use as base the active part and as "satellite" have one of the most beautiful horns constructions I've ever seen. This is based on 8in wide range FE 206 of Fostex, modified with custom phase plug made of solid wood and other interventions, covering unfiltered area 100Hz-15KHz with front loaded and dual rear loaded horn, which expands symmetrically above and below the front loaded. This double charging, according to the manufacturer, is balancing the pressures in front of and behind the speaker and allows a very high sensitivity to 100+ dB with a small cabin and near zero cabin colorations. The woodwork of birch plywood thickness 30 mm is masterful, with curved paths for the back wave, damping special techniques and highly crafted "horn" in front of the loudspeaker.
The "air" after 15KHz is assigned to a super tweeter Beyma CP12, also modified with brass shell phase plug and silver voice coils, the back wave of it is absorbed in a shell made of solid wood. Here naturally there is a filter, 3rd order, but the driver is connected with the same polarity and is time-aligned with the wide range. Finally, the subwoofer carries the 12intso Precision Device PD.122 and amplifier module Hypex DS2.0 power 100W, fully adjustable. The surprise is here also the driver loading, with a novel dual horn, front and rear, with the second to be expanded in the front of the first! The speaker covers the whole range from 35Hz to 20KHz, has impedance 8 Ohm (with minor variations) and can be driven by a single digits number watt amplifier. It does not contain any trace of absorbent material and construction details include brass screws and brass support spikes and the internal wiring of single wire gold plated of Japanese Amtrans. With dimensions of 140x80x40 cm. you do not say it small, but by no means is excessive for the typical Greek living room.
The first thing one receives from Erato is a clear stage with huge height and width, natural image sizes, superior focus and excellent consistency, just because almost all the music plays through the wide range and the three horn of it. The beaming of the front hopper treble is quite limited due to phase plug and the dispersion is very good from 5 to 10KHz. This is the only (expected) compromise, but no one could support that the speaker produces a tone melo- that is too soft or dark treble - that have remote detail or that it can not easily stimulate the space. On the contrary, the speed and the resolution is extroverted blistering and any "box" is essentially invisible to the lower limit of its operation. Timpro is the familiar of the Fostex, organic, saturated but not too warm timbres and thanks to varnishes that the 8in has received, the well known co-ordination in mid high frequencies is not present. The super tweeter closely follows the main speaker and it doesn’t stands out from the set, adding air and upper harmonics without ever surprise or attack as if it is the natural continuation of Fostex. Phasic, Erato no way different from my DIY open baffle, the sound is free and "out" from the speaker, which means that the cabin is virtually invisible! Not interfere with the complexions, it doesn’t reduces the duration and the ending off the note or intensify the cue, in other words, the horn was never "shouting" and was never hurry. But the presence and dynamic range offered makes you jump from your chair, coordinate your whole being with the music, something that can not make any direct radiator. And here, indeed, we have no trace of direct sound but horns back and front, up and down, horns everywhere!
All this will probably have no value if the "satellite" and the active subwoofer would not match so well. The first octave is by no means absent and dramatically compresses the space, without of course fully attributed, but what counts is that the middle and upper lows share the same character with the midrange and treble, thanks obviously to the double horn loading also the woofer. There is not present the known discontinuity in colleges, tonality and speed of hybrid proposals but a continuous, dense timbre with great presence and rich textures in almost all the bass. Thus, the Erato's active sub is not acoustically detected except only in the deepest notes where you realize, very discretely, that your small triode amplifier is no longer playing. But even these " carried away " from the momentum and speed of the rest of the spectrum. If anything, this is a subwoofer that would interest a lot of people, holders of sensitive speakers with limited scope and dynamic range bass.
These speakers really overwhelmed me and deserves to be known to a wider audience. Here are the logical route of things despite the adversity that comes with it and, thanks to the talent of the designer, achieve a set of irresistible to the data of extreme simplicity and very high sensitivity. The unique aesthetic would be enough to watch one, but it is the performance which makes them even more alluring. Horns with such uniformity, lack of cabin colors without "strange" material and so comprehensive frequency range are a rarity at any price, let alone the carefuly cost and size of Erato. In what concerns me, and although I remain in love with the open baffle my collection, this is a horn which happily I coult get,to fascinates me without depriving my tranquility which so I need when I hear music.
PS. As I learned a short while ago, the Erato will be present at the upcoming Show Audio Video in Nexus Acoustics room, so you will have the opportunity to enjoy them up close.
Paris Kotsis
pariskotsis@gmail.com
"
from the internet NEWSPAPER HIEND NEWS
Some measurements:
SPL diagram of the total speaker.
The two measurment are for sub phase at 5o (blue line) and for 180o (red line).
The sensitivity in not the correct one, because the measurement was done at lower volume , to regulate the phase of the subwoofer.
It's not flat, it has pumps, like a normal horn speaker, put it sound wonderful !!!
before varnish
from the 3D computer model
 |
| DARK RED R40 |
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