Cube Audio Nenuphar Single Driver Speaker (10 inch) TQWT Enclosure


Cube Audio (Poland) designs single drivers and single driver speakers. 

Principals are Grzegorz Rulka and Marek Kostrzyński.

Link to the Cube Audio Nenuphar (with F10 Neo driver) speaker page: 

https://www.cubeaudio.eu/cube-audio-nenuphar

Link to 6Moons review by Srajan Ebaen (August 2018):

https://6moons.com/audioreview_articles/cubeaudio2/

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Parameters (from Cube Audio):

Power: 40 W

Efficiency: 92 dB

Frequency response: 30Hz - 18kHz ( 6db)*

Dimensions: 30 x 50 x 105 cm

Weight: 40 Kg


* Frequency response may vary and depends on room size and accompanying electronic equipment.
david_ten

Steve,

Your comments concerning  the Shindo is in a sense surprising in regard to the level of perceived coloration/editorializing it imparted to your system. I do believe the Nenuphars unapologetically reveal all the is placed before them in the signal chain. So I feel that you heard the innate character of the Shindo Giscours as combined with your components and speakers.


I believe you would like the Coincident Statement Linestage (CSL) very much.  It utilizes a pair of the 101d DHT tubes and has transformer volume controls rather than one that is resistor based. Of its many attributes what stands out most IMO is the purity and transparency of its presentation. The natural tone/timbre/harmonics are rendered without gratuitous warmth or tint. Yet it’s the antithesis of clinical/threadbare/dry/analytical. The sense of flesh on the bone and living breathing performers is present.It has excellent dynamic capability and is very adept in revealing the nuances and subtleties of music reproduction.

You are very pleased with your Pass SP-22 and I can understand why. There’s no way I could say you’d be even happier with the CSL but I genuinely feel that you’d be pleased with it as well given your desire/preference of purity versus imposed sonic colorations. I suspect that the Vinnie Rossi DHT and the Trafomatic 10y DHT preamplifiers are excellent.

Charles

Charles,

Thanks for the insight into the CSL.  I do think it might be a great match for my system but I have one reservation: I have been spoiled by using a remote volume control.  I understand there was a version of the CSL made with a remote but that they had trouble with it.  Also, I've heard the MkII version has significant improvements over it's predecessor--I assume it was the MKII that came out briefly with a volume remote.  Any insights would be helpful. 

Steve,

There was a remote version of the CSL a few years ago. Israel Blume did subsequently discontinued this version. The latest MK II CSL is further evolution and refinement of my original model and I'm sure even better. Given the level of satisfaction you have with the Pass SP 22 I'd imagine that you have very little incentive to replace it. It seems an ideal match with your S.I.T.-1.

Charles

@stephendunn Steven, thanks for the response / answer.

I’m of two minds on this.

First, from your posts regarding what Max shared with your friend...it seems coupling the entire speaker bottom / surface to the Townshend Platforms is recommended. It makes sense (intellectually to me) for a traditional speaker with a fully enclosed bottom. In other words, the greater the coupling, the better.

When I connected with Grzegorz about Height and Tilt for the Nenuphar, my takeaway was that both Angle and Height differentials from a solid floor would lead to differences in low frequency performance. And that the ’stock’ setup was what Cube found best based on the configurations they tried out. He also said that playing with both to meet the owner’s specific needs / preferences was fine.

Of significant concern to me is that solid wood strips (both front and rear) mean that the Nenuphar would then only port via the gap on the left and right sides of each speaker.

Given that (1) the Nenuphar is already raised beyond what Cube "ideally" chose (due to sitting higher on the Townshend platforms) and (2) porting is over an ’uneven’ double surface... I am concerned about further additional deviations and their likely impact on sound quality.

Can you comment more on your experimentation in the area as well as the results from your friend (assuming he/she also have the Nenuphars)?

I’d also love to hear from others active in the thread regarding your thoughts on the pros and cons of doing this?

Thanks!
David,

You make good points regarding the placement of the Nenuphars on the Townshend Seismic Platforms.

1.  When I first placed the Nenuphars on the Platforms I noticed a distinct improvement in bass response, as well as other other SQ issues that have been well documented in this thread.  The speakers were on their original spikes and rubber feet.  I mention this because I too was worried about the Platform negatively impacting bass response because of the having the double surface you mentioned.

2.  The strips of wood do not interfere with the port of the Nenuphar.  The front 1x2 is underneath the solid portion of the speaker bottom between the spikes and the front plane of the speaker.  The rear strip has less bottom surface to work with but rests underneath the maybe 3/8" between the port and the back plane of the speaker.

3.  I have been careful to maintain the angle of backward slant that the original spikes and rubber feet created.

So even though I have not coupled very much of the speaker's bottom surface area to the platform, it is obviously significantly greater than the surface area touched by the spikes and rubber feet.  

I have to emphasize that this way of coupling the speaker to the Platform created an immediate change in sound--not subtle as they say.  I thought the change improved virtually all aspects of the speakers performance, including bass.  It would be great for some Nenuphar/Townshend Platform owner to corroborate this: obviously a change in sound this strong could be interpreted negatively by other people. 

My friend who passed this info on from Max does not have Nenuphars, so didn't have to deal with the port issue.  He had a special bottom plate built for his Spatial Audio Lumina's by Clayton Shaw, the designer, who was also impressed by the benefits.