![]() Refined through finite element analysis (FEA), the large dust cap raises the breakup frequency. ![]() On the new side is the 4″, long-throw, C100L-alloy mid/bass driver, which uses Vivid’s patented, exponentially tapered, tube-loaded reflex design, first introduced on its much larger sibling, the Giya G1. The two transducers combine the new with the familiar. Cabinet tuning is just above 40Hz with a slow roll-off. The material is well suited to smaller volumes and is very stiff. Founder/designer Laurence Dickie pointed out that the cabinet or “shell” is fabricated of a RIMcast polyurethane resin similar to that in the KEF Blade. There are no parallel surfaces or edges, at least not in the sense of the crisp, sharp corners found on many box enclosures. (The larger floorstanding models, the Kaya 25, 45, and 90, follow that same pattern.) The S12’s seemingly playful shape is not arbitrary, however it’s designed to minimize diffraction. The numerical designation of Kaya 12 correlates to its 12-liter internal volume. The shape is pure Vivid-complex, organic, almost free-form, and just a little like something that fell to earth from a passing comet. ![]() From its radical outward façade to the sophistication of its engineering the S12 was never short on surprises. Yet, throughout the lengthy review period the Kaya constantly upended my expectations. ![]() At a mere 15 inches tall, this two-way, ported stand-mount was supposed to know its limitations. Specifically, Kaya S12, Vivid Audio’s smallest loudspeaker in its four-model Kaya range. W hat’s a four-letter word for musicality? Answer: K-a-y-a. ![]()
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