the   audio pro  "difference"


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Since 1978, audio pro have built loudspeakers and subwoofers with one ambition: to give you top sound at the best price. We want as many people as possible to be able to enjoy high sound quality at home.

audio pro has always been committed to providing you with the most authentic reproduction of the live sound experience, in the comfort of your own home, by utilizing an award-winning mixture of cutting edge technology, patents and stunning Scandinavian design. We try to keep things as simple and practical as possible and, in short, we simply apply our motto: Sound, Science and Style.

We are also proud to point out that audio pro, unlike other "noble" brands, have contributed many technical milestones to the hi-fi history and the most important ones are the patented ACE-bass and ACE-plus technologies.

You may be interested to know that there are huge problems in getting deep bass out of small boxes and, so far, many attempts have been made to solve this issue. Leaving aside plain active sub-woofers, that do not deserve to be taken into consideration at all (regardless of price and/or brand), serious designers of these devices have realised that without the help of electronic means, there is no hope of obtaining a decent infra-bass. Among the electronic methods that have been used, are equalised systems, boosted systems and different types of servo or feedback systems. However, most of these methods are limited to closed box systems and many increase distortion, instead of reducing it.

audio pro have solved these problems comprehensively with the ACE-bass technology. This revolutionary electronic method provides the driver(s) with tailor-made mechanical parameters in real time, so as to obtain a flat frequency response. What is more, since the new synthesized parameters are more linear than the original, distortion drops automatically. The result is a frequency response between ± 0.5dB (in anechoic chamber), and distortion at around a tenth of the usual rate: the “treated” driver becomes very close to an “ideal” one!

ACE-bass is an acronym for “Amplifier Controlled Euphonic bass”.  It was invented by Karl Erik Ståhl and presented at the 61st Audio Engineering Society Convention in New York, in November 1978 and acclaimed as a milestone in the hi-fi history. This technique of creating the ACE-bass amplifier by feedback loops is unique and patented by audio pro, and we would like to point out that ACE-bass has nothing to do with (and must not be confused with) any other electronic method.

Putting to good account its ACE-bass technology, in 1978 audio pro produced the first active (featuring ACE-bass technology) sub-woofer in the world - the legendary B2-50 - which, after 38 years of service, is still delighting the ears of thousands of audiophiles around the world. Amazingly, in spite of its longevity, the B2-50, thanks to its ACE-bass technology, has set standards that other sub-woofer manufacturers try in vain to match, even nowadays!

Then, in 1979, audio pro developed the A4-14, the very first speakers with built in subwoofers (ACE-bass patented). The active A4-14 were the first genuinely full-range speakers in the world and, like the B2-50, after 37 years is still a very difficult match for the best modern speakers!

audio pro's peculiarity is to make speakers that sound very good in your living room, as well as scoring highly in audio tests. You may think this sounds silly, but what’s really silly is that many speaker makers construct their speakers to deliver ideal frequency curves when tested in echo-free (anechoic) chambers. Who lives in an echo-free testing chamber? No one we know.
Why this standard, you might ask. Many years ago, some sound engineers decided to apply what was, to say the least, a peculiar standard principle: namely, that if a speaker had a flat frequency response in an anechoic test chamber, then the speaker's frequency curve would also be flat in a room at home. However, it's not that simple - the acoustics in a padded test chamber and those in your living room have nothing in common. If you've never been in an anechoic chamber, then you should know that the acoustics there resemble those of a small closet, filled with winter overcoats.
In an ordinary room at home, on the other hand, all sorts of sounds are reflected as they bounce off walls, floors, ceilings, furniture, windows etc. If you put a conventional speaker in a room at home and measure the frequency response, it will be anything but flat. This is the reason why we try to make speakers with a quite flat response in average domestic conditions and not in an anechoic chamber. This is the reason why, differently to other speakers, they sound incredibly natural and clean! Furthermore, we take into serious consideration an essential (but usually neglected) parameter of the sound of an instrument: the speed. The sound of many instruments is characterized by very fast transients, attack and speed (percussions, guitar, harpsichord, piano, harp, piccolo etc.), so we try to make speakers with a very fast response, in order to respect the original speed of the instrument, which is an essential parameter of its sound. Please note that the speed of an instrument is not its dynamic range: don't be confused! For example, a harpsichord has got a very low dynamic range, but an incredible speed and attack.

Today, you will find audio pro in over thirty countries on four continents and if you ask the owner of an audio pro system what sets us apart from other speaker manufacturers, you will probably get a range of answers. Many speak of the magically pure bass, many of the ethereal mid-high or what incredible sound quality they got for their investment, or in more ephemeral terms: “it just sounds so good... you can feel it!”

It’s hard to describe a listening experience in words: there are only 26 letters in the English alphabet, but each of the marvellously complex mechanisms that are your ears contains 20,000-30,000 sensors that transmit the nuances of the sound image to your brain. So, to judge the sound, use them, not your eyes or, even worse, the ears of some reviewer from a hi-fi magazines who probably never attended a concert!