The Quad ESL is fundamentally different from
conventional loudspeakers and even other
electrostatic designs. Whilst most conventional
speakers use cone type drive units and a coil moving
in a magnetic field, Quad uses the full-range
electrostatic principle. The sound is not created by a
cone but by a microscopically thin diaphragm, less
than one tenth the thickness of a human hair. This
ultra-low mass diaphragm is coated with a conductive
material and is stretched between two fixed electrode
plates. The electrodes both carry a high positive
charge and the diaphragm carries a negative charge.
The size of the charge on each of the electrodes rises
and falls to track the waveform of the musical signal;
so attracting and repelling the diaphragm closer to
and further from one or the other electrode plates. It
is the movement of the almost mass-less diaphragm
that creates the sound we hear.
Quad's unique ESL system takes the performance of
electrostatic loudspeakers a step further. Acousticians
have long recognised that the ideal loudspeaker
should be a point source from which the waves of
sound radiate in a fashion rather like the ripples
resulting from a pebble dropped into a lake. It is
obvious that large cones and even larger
electrostatic diaphragms cannot be point sources, so
how can they be made to behave more like the perfect
loudspeaker?
Quad have solved the problem with an elegant
engineering solution that has subsequently been
awarded a patent. Instead of a large single electrode,
Quad designed a number of electrodes arranged as a
series of concentric rings. Each electrode is fed with
a calibrated delay line so the sound first leaves the
centre of the speaker then, after a short delay, the
sound leaves the next ring and so on. The delayed
sounds build up into a spherical waveform identical to
that produced by a theoretical point source. This
innovative step has brought closer the achievement of
the perfect loudspeaker.
The Quad ESL is a premiére music reproduction
loudspeaker constructed from the finest materials
with meticulous attention to detail. It reaches the
pinnacle of high-fidelity performance with an
unparalleled ability to sonically 'disappear', and
create convincing three-dimensional sound stages.
Instruments and vocals occupy precise, accurately
sized locations in space, giving an uncanny realism to
reproduced sound.
‘When I return the 988s it will be in a package
much too small for the speakers, but just large
enough to carry a check for their remittance.’
The Absolute Sound (July 2001)