The Facts:

Mango Electronics has developed a range of high quality, cylindrical loudspeakers that are omnidirectional in operation and exhibit very low sound coloration even at high acoustic levels.

The omnidirectional design actually controls the sound field in which the speaker is placed and the result is that these are the first loudspeakers in the world that sound similar in different rooms and which also work well outdoors! The virtues inherent in their design results in a considerable increase in the perception and enjoyment of live and recorded music whatever the environment.

Several models are available, each suited to a different purpose or environment - domestic indoor Hi-fi, outdoor Hi-fi around the swimming pool or in the garden, club sound systems, musical instrument reproduction, classical orchestra foldback and even acoustical research applications such as high level, wide band noise generation.

Ranging from compact units designed for home and garden use, to monsters using 24" diameter drivers rated at 2,000 watts aimed at the modern music venue, all models have very high power handling and electro-acoustic efficiencies of up to 101 dB/w; even the domestic versions are capable of near club level sound when required!

The common feature of all the designs is the operational principle (the subject of a patent) combined with unique custom design drivers, produced especially for us by the world’s best manufacturers, located right here in the UK.

By very careful design, the stuctural-mode resonances of the cabinet and the air-mode resonances inside the cabinet are both suppressed, preventing the coloration of the reproduced sound that is inevitable with all conventional "box" type loudspeakers - even those using advanced aerospace type materials in their construction aimed at preventing cabinet resonance.

The enclosure provides optimum loading for the drivers and enables exceptionally fast attack and decay thereby enhancing all types of reproduced music. It is this feature that accounts for the uncanny "disappearance" of the loudspeakers from the acoustic sound field during operation and the total lack of listener fatigue.

The design simulates a point source over a wide frequency range covering a full 360 degrees about the vertical axis and +/-150 degrees about the horizontal plane through the simulated source. This eliminates the "armchair effect" that conventional loudspeakers exhibit, where only one listener is able to experience good stereo at the midpoint between the loudspeakers. A stereo sound field exists over a very wide area and some truly amazing stereo imaging in free space results from the use of four units running in "crossed stereo" mode.

Conventional compact loudspeakers generally rely on tuned ports to augment the acoustic output of the bass driver by providing an oscillating "slug" of air. This is very carefully arranged to have a natural oscillation frequency just below that of the driver, thus, as the acoustic output energy from the bass driver is falling, that from the port is rising to compensate. Some recent so called "sub-bass" designs use several band-pass "chambers" and adjustable tube ports to provide additional resonant sections in an attempt to extend the response down even further in frequency and flatten out the steady state acoustic energy. The point about all of these techniques is that, whilst they undoubtedly increase bass energy output, they do so at the expense of detail. In no way can any of these designs be described as Hi-fi with regard to the true reproduction of bass frequencies, and accurate bass reproduction IS important!

A simple analogy that can be used here to illustrate this effect is that of air oscillating in a bottle. As most people know, by blowing across the open end of a bottle a resonant note is generated, this tends to take a short while to actually "build up" and it continues sounding for quite some time even after the energy input, (i.e. the blowing) has ceased. This is what all of these resonant port and chamber devices actually do; how can this be Hi-fi?

In a working loudspeaker this results in lost detail, since the initial transients present in a bass "event", such as a drum beat, are largely lost whilst the resonance is growing and then further obscured because the system carries on chucking out bass energy long after the electrical input to the driver has ceased for the event in question.

We have gone on about the above at some length in order to emphasise our belief that both domestic and professional loudspeaker design has gone down a blind alley of late, resulting in designs that, whilst being compact, are "woolly" sounding at the bottom end and tiresome to listen to for any length of time. With our speakers, when the bass is in the music, you hear it, with all of the correct dynamics, when it's not there, you don't! (Caution! - This can be disturbingly satisfying and may actually result in the over-enjoyment of music).