I then opened a small laboratory for speaker repair, I had contacts with some audio services that would ensure a continuous workflow. I collaborated at the same time, with Si Audio of Ing. Chiappetta, with whom we became very friends and I treasured his immense technical knowledge.
I tried every kind of transducer, of the most disparate technologies, I experimented with every existing chord for speakers even with remarkable quality peaks, but the sound I was looking for, I still hadn’t found it, until, one bad autumn afternoon, a person entered the laboratory with a pair of old and huge separators to be restored, it was the six isodynamic panels of the Tympani 1D. Initially I was rather skeptical, constructively speaking they weren’t much, all very spartan and apparently approximate, I gathered information and started the restoration, but nothing could prepare me for what awaited me once finished. The first listening was enlightening, my eyes laughed, finally I had found what I had been looking for years! The contrabass was a contrabass, you could perceive the instrument box and not added to that of the cabinet or the chord, simply because they were not there, the soundstage was correct, not holographic, but exactly as I listened to it at concerts, transparency record, low listening fatigue, you could and follow the bass line perfectly, in short, we were there! Obviously that sound was not without flaws, the dynamics were limited compared to other systems, but I realized that was the way to go.
From then on it’s more recent history, I started my path to optimize and improve an existing technology, which after many years has led to planar speakersTuscanini acoustics