{"id":34741,"date":"2023-05-04T11:40:27","date_gmt":"2023-05-04T09:40:27","guid":{"rendered":"https:\/\/www.hifi-advice.com\/blog\/?p=34741"},"modified":"2024-03-19T09:35:24","modified_gmt":"2024-03-19T07:35:24","slug":"seawave-acoustic-am23-and-aletheia-iii","status":"publish","type":"post","link":"https:\/\/www.hifi-advice.com\/blog\/review\/loudspeaker-reviews\/loudspeakers-passive-reviews\/seawave-acoustic-am23-and-aletheia-iii\/","title":{"rendered":"Seawave Acoustic AM23 and Aletheia III"},"content":{"rendered":"

Review samples supplied by Ohm Audio<\/a><\/h4>\n

Retail prices per pair in the Netherlands, including 21% VAT:
\nAletheia III: \u20ac 15.950
\nAluminum Stands: \u20ac 3.450
\nAM23, including stands: \u20ac 23.950<\/h4>\n

Seawave Acoustic<\/h3>\n

Since its inception in 1983 by CEO Bo San, a practicing Korean Buddhist monk, Seawave Acoustic has sought the ultimate expression of horn loudspeaker technology. They aspire to reintroduce true horn loudspeakers based on original principles yet dramatically re-engineered for the modern era.<\/p>\n

In order to achieve their goal, Seawave Acoustic has invented special innovations including HDMT (High Damping Metal Technology) for vibration control, the elimination of harmful solder from all electrical connections through NST (Non-Soldering Technology), and one-piece enclosures featuring Unicast AC4C Aluminium. In addition, the company has redeveloped key crossover components such as resistors, inductors, and capacitors.<\/p>\n

Sound Philosophy<\/h3>\n

Bo San\u2019s Buddhist philosophy has greatly influenced his approach to sound design, which seeks to remove a speaker\u2019s intrusive identity \u2013 its \u201cself\u201d, you might say \u2013 leaving only the creative musical spirit that is inherent in the electrical signal. As human beings, we can only achieve enlightenment by overcoming the hurdles of self-centered isolation. As Bo points out, musical devices are much the same: the more we remove their unwanted eccentricities from the equation, the more they convey the true beauty of music.<\/p>\n

\"\"<\/p>\n

The advantage of Compression Drivers<\/h3>\n

A compression driver and a regular modern speaker driver basically operate on a similar principle, with an electrical current moving through a coil within a magnetic field. However, unlike modern drivers, the surface area of the compression driver is much smaller and the coil assembly is on the outside of the membrane, rather than in the middle. This translates into a lower moving mass and thus into faster transient speeds with a potentially greater retrieval of detail. Compression drivers are also able to handle greater power, giving lower levels of dynamic compression than their modern equivalents. Besides efficiently coupling the air, horns are very sensitive, so the diaphragm needs to move much less, dramatically decreasing distortion.<\/p>\n

\"\"<\/p>\n

NST (Non-Soldering Technology)<\/h3>\n

To eliminate the influence of solder (which is a relatively bad conductor), Seawave Acoustic feels that solder joints inhibit the current flow and reduce dynamics. As a result, they have\u00a0developed a method to remove all soldered points of connection within their loudspeakers. This is achieved by twisting and crimping cables and then sealing them with a powerful resin to prevent the destructive effects of oxidization.<\/p>\n

Proprietary Crossover Components<\/h3>\n

The solderless NST methodology is taken to its extreme limits, applying it even to the crossover components the company developed, such as resistors, inductors, and capacitors.<\/p>\n

\"\"<\/p>\n

Seawave capacitors are made with OFC and Kapton insulation.<\/p>\n

\"\"<\/p>\n

The resistors are produced to military-grade specification, incorporating the solderless NST methodology internally and employing silver adhesive to bind the connections, to keep the signal path as pure as possible while the components are located within the highest-grade ceramic housing.<\/p>\n

\"\"<\/p>\n

Normal Air Coil inductors can be an obstacle in the signal path because of the length of the conductor used to produce the values required for crossovers. Seeing these limitations, Seawave has developed hand-made inductors from specially-constructed nickel cores and 12AWG 6N copper coil foil, insulated with DuPont PTFE film (as well as Kapton tape for the AM23). The result is a much shorter inductor length (one-third of the length of the best conventional designs) and a dramatic decrease in resistive value. The practical result is deeper bass that is also easier to control by an amplifier.<\/p>\n

\"\"<\/p>\n

Unicast AC4C Aluminium Cabinet<\/h3>\n

Any extraneous energy generated by the speaker drivers, as well as the acoustic energy created within the cabinet, has to be captured and dissipated in a way that does not add noise or affect the performance of the drivers. To achieve this, Seawave Acoustic loudspeakers employ a Uni-Cast single-piece cabinet made of AC4C aluminum alloy, not your standard aluminum but a combination of aluminum, silica, and magnesium. The unicasting process creates a complex shape with no joints, providing tremendous rigidity, coupled with an inherently high dampening effect of the material itself.<\/p>\n

\"\"<\/p>\n

HDMT couplers and Floor Discs<\/em><\/p>\n

HDMT – High-Damping Metal Technology Insulators<\/h3>\n

To eliminate any vibration from the environment being transferred to the speaker, Seawave Acoustic has designed HDMT insulators constructed from AC4C alloy to be used between the top of the stand and the speaker base. This technology was developed for use in particle accelerators and not only insulates and separates the cabinet from the floor but also eliminates any other acoustic energy discharged into the room.<\/p>\n

Next: Aletheia III description<\/p>\n

<\/p>\n

Aletheia III<\/h3>\n

In the pursuit of perfection, (where cost is not the primary consideration) Seawave Acoustic initially produced the no-holds-barred Reference and Plotinus speakers. To broaden the appeal of the brand, making it more accessible to all, the company set about applying the design principles of these iconic speakers to a more compact and affordable concept. The aim was to produce a stand-mounted speaker of great transparency, capable of expressing for those with limited space and budget the subtlety of its older, more expensive siblings and the result is the Aletheia III.<\/p>\n

\"\"<\/p>\n

Like with all Seawave Acoustic loudspeakers, the Aletheia III cabinet is formed through an AC4C alloy unicasting process which yields a thick and heavy enclosure that is naturally free from resonance. And sure enough, tapping it with your knuckles will give you sore knuckles and nothing else. The Aletheia is a 2-way design made with very fast-responding drive units. The woofer is a modified 170mm Eton Hexacone while the tweeter is a 28mm Esotar. The units are connected to a very special crossover mounted on transparent acrylic, designed and built by Seawave Acoustic.<\/p>\n

Just like its larger sibling, the Aletheias are packed with proprietary component technology \u2013 nickel core inductors, proprietary resistors, Non-Soldering Technology (NST) for literally all connections from Litz-wire to the components in the crossover, and High Dampening Metal Technology (HDMT).<\/p>\n

The Aletheia III has a medium sensitivity of 89dB but combined with an impedance of 8 Ohms, they should be relatively easy to drive by any competent amplifier. Despite their small size, the Aletheias go down to 35Hz (+\/- deviation not specified) which is quite amazing given their small enclosures.<\/p>\n

\"\"<\/p>\n

AM23<\/h3>\n

The AM23 cabinet features a much more complex structure than that of the Aletheia, which created many fresh challenges in the production of its moldings. However, the new cabinet form has further enhanced the vibration-dampening characteristics of the alloy and produced an even more inert structure. The horn, also made of AC4C alloy, has also benefited from this process, since it is now threaded into place to produce a tightly-fitting bond, eliminating any risk of resonance. The woofer is covered by a seamless metal grille which eliminates the need for a fabric one.<\/p>\n

The AM23 can be considered a 2-way design with the addition of a Berrylium super-tweeter that crosses over at 18kHz and continues working up to 35kHz. Combining extreme lightness and very high rigidity, Beryllium provides an ideal material for tweeters. It allows for the extreme acceleration, deceleration, and re-acceleration required of super tweeters. But this tweeter is something extra-special as it is a Seawave Acoustic-proprietary design. Bo San, CEO of Seawave Acoustic, devised this concept many years ago, and he has now realized it by bringing to market a tailormade unit for our horn speaker designs in which it is mounted on top and radiates to the ceiling to provide extra spaciousness. For the Horn, a 50mm Titanium compression driver is used that crosses over at 1.2kHz and thus is responsible for the entire midrange and given that most adult people cannot hear up to 18kHz, practically the entire treble range as well. Of course, a crossover is always a slope and so the tweeter actually starts working at a lower frequency than 18kHz and, depending on the music, you can indeed hear a delightfully airy upper-most treble being emitted by the driver. The woofer, finally, is a modified 200mm Eton Hexacone.<\/p>\n

Of course, the AM23 is packed with proprietary component technology \u2013 nickel core inductors, proprietary resistors, High Dampening Metal Technology (HDMT), and their unique Non-Soldering Technology (NST) for literally all connections from Litz-wire to the components in the crossover.<\/p>\n

The AM23 has a higher sensitivity of 91dB and combined with an impedance of 8 Ohms, they should be very easy to drive. The bass goes down to a surprisingly low 32Hz while staying within a +\/- 1dB deviation!<\/p>\n

\"\"<\/p>\n

Running In<\/h3>\n

Both speakers were given generous use before being delivered to me, but it’s important to note that both proved to need more time than anticipated to arrive at their intended performance. For the running-in process, I set up all 4 speakers side by side, connected a second power amplifier, and looped the music to both to allow me to run both speakers at the same time. While not ideal in terms of linearity or imaging, this actually sounded well above adequate and this allowed me to carry on writing and tending to other business while both speakers were merrily accumulating hours.<\/p>\n

As Luuk of Ohm Audio had also noted, the AM23 sounded a little off initially. But not in the way I would expect from a horn loudspeaker. Perhaps one might expect a loud midrange or maybe even a cupped-hands effect. I certainly hear this frequently with other horn speakers, but not with the AM23s. Rather the inverse! Right from the start, the red beauties sounded more refined, more transparent, and more expansive, as well as more intimate than the Aletheias, with beautifully airy and refined treble and no signs of further running in being required, except that their midrange was shut-in and lacked energy and expression. It sure wasn’t bad but it was much more polite than I would expect from a horn speaker. As I was already warned about this by Luuk I just gave it some time. And sure enough, after about a week of daily music playing, the AM23’s midrange caught up with the rest of the frequency spectrum, evening out the balance perfectly linearly. Remarkably, the midrange remained very well-behaved and never got even remotely edgy, let alone sharp, forward, or bitey, as some horn speakers can be.<\/p>\n

\"\"<\/p>\n

Like the AM23s, the smaller Aletheias also needed more time to settle in but here, the effect was the inverse. Dynamically, and in terms of midrange energy, the Aletheias actually performed very well right from the start. But I found that they sounded spatially restrained with the sound sticking to the enclosures rather than wavering out into the room while the treble was rough and sometimes edgy or even sharp and bitey. This in turn was something that you might expect from a horn speaker but not from a high-quality beryllium tweeter. In any case, perhaps this particular specimen just needs more time, so I just let it play on a daily base while tending to other business. But unlike its larger red siblings, the Aletheias’ presentation did not seem to evolve. When their character remained unchanged even after several weeks of playing, I was about to accept this was just how they sounded.<\/p>\n

\"\"<\/p>\n

Then, after a handful more days of continued use while working on something else in the adjacent room, I suddenly realized that I had not heard any sharpness anymore for the entire afternoon. To double-check, I cued up some tracks that I knew sounded borderline aggressive before, and sure enough, apparently, the speakers had finally settled in. Along with the edge, the spatial restraint had all but dissipated, and to be honest, all in all, the speakers now reminded me a lot of the Magicos.<\/p>\n

Next: Review Context<\/p>\n

<\/p>\n

Review Context<\/h3>\n

The speakers were listened to primarily in the main system<\/a> that consists of the CH Precision C1.2<\/a> DAC, CH Precision L1<\/a> preamplifier, CH Precision A1.5<\/a> power amp, normally flanked by Magico S1 MkII speakers. Digital sources include the Grimm MU1<\/a>, Antipodes K50<\/a>, and Antipodes K41+K22<\/a> Music Servers (all running Roon).<\/p>\n

\"\"<\/p>\n

Additional amplifiers used for testing are the NuPrime AMG-STA<\/a> and the Accuphase E-280<\/a>. Speaker cables used are FoilFlex<\/a> and Driade Flow Reference 808<\/a>, the latter for critical listening.<\/p>\n

\"\"<\/p>\n

Listening – Aletheia III<\/h3>\n

These blue beauties may be modest in size but at 28 kg, they are deceptively heavy! When installing them onto the matching aluminum stands, the speaker’s recessed spikes fit in HDMT couplers that in turn fit into recesses in the stand. While the speakers can be carried by a single person, the initial positioning is best performed by two persons, so that the spikes and cups can be precisely aligned by one person while the other person does the lifting. Once positioned, the speakers sit very firmly and the large floor discs underneath the stands make it easy to slide them over a laminate floor.<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

Once connected and positioned in the same locations as I use for the Magicos, all it took was a few seconds of music to take me across the threshold of tentative critical listening into enjoying the music. Everyone who visited commented on the same thing, how these speakers sound so beautifully uncolored and so convincingly realistic. They simply get out of the way and let the music do the talking, or rather, the singing! Clearly, Bo San\u2019s Buddhist philosophy is paying off.<\/p>\n

I already mentioned that the Aletheias reminded me a lot of the Magico S1 MkIIs I normally use. They are no sonic identical twins, but the Aletheias do perform very similarly in many areas.<\/p>\n

\"\"<\/p>\n

There is a remarkable solidity to the Aletheia’s presentation. Their overall stance is rather the inverse of feathery, dreamy, or floaty. It’s well-rooted, earthy, sonorous, and decidedly unwavering. To some extent, this is also expressed in the soundstaging. The speakers focus very precisely and image very widely. But they do not project quite as deeply back into the stage, nor do they breathe quite as freely outside of the cabinets as the Magicos. That said, they certainly do not have the cardboard-like flatness of imaging that some dipole foil speakers can have. Singers and instruments have real body and a convincing physicality to them.<\/p>\n

Again just like the S1s, the Aletheias have a deeply saturated tonality and a broad tonal palette, yet there is no added warmth or thickness, no added “subjectively pleasant” harmonics, and no rose-tinting. While my emphasis on “no added warmth” might suggest the speakers could sound barebones, clinical, or devoid of musicality, just as with the S1 MkII, this is most definitely not the case with the Aletheia III. Oh, and they sound just as fabulously coherent as the Magicos. And importantly, the crossover frequencies are absolutely inaudible, with the two drivers behaving much like a single unit.<\/p>\n

\"\"<\/p>\n

Contrasting with the S1 MkIIs, however, the Aletheias’ upper midrange\/lower treble can sometimes be a little forward. Please note that it will only ever border<\/em> on being hard, never actually becoming hard or edgy. It’s just the right amount to add some bite, excitement, and expression. Indeed, the Magicos are not any crisper or any more dynamic or expressive. Rather the opposite. Rimshots and woodblock hits actually sound just a little bit softened with the S1s and more incisive and impactful with the Aletheias.<\/p>\n

I double-checked this aspect with my neighbor Jessyca who is 10 years younger, has great hearing, and basically all the makings of an audiophile without actually being one. She’s highly perceptive, very sensitive to high-frequency noise, and not spoiled by prejudice. So, whenever I want an unbiased second opinion, I invite her, tell her nothing, and just let her do the listening. Long story short, Jessyca confirmed the Aletheias are spicy but they never cross the line.<\/p>\n

That said, if the recording is so-so, if there is hardness in the amplifier, or if there’s anything else not quite right in the system, these speakers will let you know in no uncertain terms. Just like a truly truthful speaker should. In that respect, they are less forgiving than the Magicos S1 MkIIs which sound quite silky in the treble.<\/p>\n

Given their revealing quality and my side experiment with Jessyca, it’s important to reiterate that when all is well, the Aletheias sound utterly fabulous, and very consistently so. If required by the music, they can swing either way, from cool and incisive to lush, rich, and creamy, and everything in between. In the best sense of the word, these speakers are self-effacing and honest. But unlike some speakers that are very neutral and even-handed at the cost of expression and excitement, the Aletheias have plenty of spirit and are never dull or matter-of-fact.<\/p>\n

\"\"<\/p>\n

The Aletheias sound not only full-blooded and musically engaging, but they also sound pretty much full-range and that last aspect really is quite amazing. They manage bass that is very nearly as accurate and easily as deep as that of the S1 MkIIs, while sounding even fuller and more powerful at the lowest octaves! As I mentioned, they are not sonic twins and the Magicos do sound purer and texturally more natural, more linear, more refined, and more transparent. But contrast this with all that the Aletheias do so very well and consider that they achieve this at roughly half the price.<\/p>\n

\"\"<\/p>\n

Next: Listening to the AM23<\/p>\n

<\/p>\n

Listening – AM23<\/h3>\n

At 35 kg, the AM23s are even heavier than the Aletheias but not so much so that they can no longer be carried by a single individual. And once they are positioned on top of the matching stands, the large floor discs make that they can be moved around on laminate (vinyl planking) floors quite easily.<\/p>\n

\"\"<\/p>\n

One might assume the AM23s’ main treat would be their horn and that is indeed the case but with a surprising twist. Not only does the AM23 with its Titanium compression driver have the least-colored midrange that I ever heard from a horn speaker, but it is also beautifully integrated with the bass and the rest of the sonic spectrum.<\/p>\n

Surprisingly, the AM23s sounds even more linear and in that respect is actually very close to the Magicos. When listening without comparing, it is impossible to tell right off the bat that you are listening to a horn speaker. I tried this with many visitors with the Aletheias and AM23s set up side by side and no one was able to tell which of the speakers were playing until I switched between them. The real beauty of this horn implementation is that it offers horn-typical advantages such as higher sensitivity, truly excellent precision and resolution, and a higher degree of intimacy, but without sounding shouty, nasal, or otherwise typically horn-like. Only when you switch back and forth between the AM23s and Aleitheias you do hear characteristics that give away when you’re listening to a horn design, such as the heightened degree of intimacy that is not unlike what SET amplifiers do so well.<\/p>\n

The horn’s success story continues with the treble which is produced by the same Titanium driver up to 18kHz where it tapers off and crosses over to the Berrylium tweeter mounted on top. I found it quite flabbergasting to note that the AM23s sounded significantly<\/em> more fluid, nuanced, refined, and airy than the Aleitheias. And in addition, they also sound more highly resolving, more hi-res, but much in a “Retina” manner, disappearing the mere notion of resolution by making the sound appear seamless and continuous\u00a0with zero hard edges. This horn design is truly something unique.<\/p>\n

\"\"<\/p>\n

Another typical benefit of a horn is an increase in efficiency of 2dB in this case, and this correlates perfectly with my volume settings when changing between the AM23 and the Aletheia. This is not only good news for less powerful amplifiers but it also means the driver is more efficient at focusing the upper midrange and treble energy which results in a lower loss over longer distances and finally culminates in that special feeling of intimacy.<\/p>\n

Like the Aletheias, the AM23s offer a very realistic textural rendition with spot-on natural timbres. They have a similarly solid and well-rooted performance but in this case, the soundstage behaves differently. Like the Aletheias, the AM23’s image less deeply than some other designs, but in turn, their soundstage is wider than that of the Aletheias and the speakers also sound physically larger, while painting on a grander canvas. In addition, the AM23s create a more enveloping 3D bubble by projecting the sonic image much more freely toward the listener. This is not just a static forward imaging, rather, it is a living-and-breathing representation of what’s captured in the recordings and this makes for a more intimate performance that conveys more realism and “being there” than with the Aletheias or indeed the Magicos. Now go figure that the AM23s still cost significantly less than a pair of S1 MkIIs. It’s nice to have options, isn’t it?<\/p>\n

\"\"<\/p>\n

With their larger woofer, the AM23s go even deeper than the Aletheias while also sounding slightly fuller and slightly rounder, and they seem bottomless in terms of power. The speakers sound fully “on” and expressive at low volumes and they don’t need<\/em> to play loud to communicate but they sure can!<\/p>\n

One downside of the AM23’s horn, or any horn, for that matter, is that the sound is more directional than with typical dome drivers. To obtain the same sharpness of focus and to avoid the treble rolling off, the AM23s need to be toe’d in much more than most other speakers. While the Aletheias did sound ideal when in the same positions as the Magicos, the AM23s should instead be pointing to my shoulders or even directly to my ears and they may be positioned more widely if desired. Interestingly, they still sound highly spacious when set up that way. A side-effect of their beaminess is that they really only sound 100% optimal when sitting in the sweet spot. It’s not like with some flat dipoles where the imaging collapses entirely or the treble becomes very noticeably dark, but you do lose some sparkle and some upper midrange expression when listening off to the sides.<\/p>\n

\"\"<\/p>\n

Part of the reason why the AM23’s still sound airy when listening to them standing up is the proprietary-made Berrylium tweeter on top! It crosses over at 18kHz to project the uppermost treble toward the ceiling. When standing beside the speaker you indeed can hear the tweeter produce super-airy and refined whispers but since it is angled ever so slightly to the rear I wondered how you would ever hear the influence in the listening position. With the help of my two assistants Bart and Jessyca, we arranged a coordinated listening test with the tweeters radiating freely versus the tweeters covered. I have to say the difference was very small, so small in fact that at first, I could not tell the difference at all. That is until I started listening for other effects than treble openness and I noticed that the ambiance in the soundstage did indeed feel more illuminated when the tweeters on top were radiating freely. It’s a rather innocuous effect but once it’s heard, listening to the speakers with the tweeters covered sounds less magical. Jessyca’s younger ears heard it exactly the same way while noticing zero downsides meaning there should be no fears of the tweeters “secretly” outputting crazy ultrasonic signals that I simply can no longer hear.<\/p>\n

Like the Aletheia, the AM23 sounds very coherent with inaudible crossovers between the drivers. I also listened carefully for a transition at the uppermost frequencies where the Berrylium tweeter on top takes over but if there was any roll-off, I could not hear it. However, in comparing with the Aleitheias and the Magicos, you can<\/em> hear a subtle difference in expression between the bass and treble units. The two drivers use different techniques, and this can be heard. While the bass is well-integrated and truly really great, it does not have the “close-up”, direct, and intimate character that the horn driver has. Naturally, this is only to be expected and it is why full-range horn speakers exist. But not everyone likes the prospect of having a multiple-cubic-meter bass horn in their living room…<\/p>\n

\"\"<\/p>\n

Amplifiers<\/h3>\n

Lastly, I’d like to comment on how easy both of these speakers are to drive. As can be expected, the CH A1.5 drives them splendidly, but so does the NuPrime AMG-STA<\/a> (pictured above), as well as the Accuphase E-280<\/a>.<\/p>\n

\"\"<\/p>\n

I also tried the Aletheias in the secondary room where they sounded fantastic and I was able to play as loudly as I liked without the speakers or the amp ever flinching. I watched the Accuphase’s power meters move past the mid-way point but I could not get the needles to move much beyond two-thirds as the sound was simply getting too loud for me.<\/p>\n

\"\"<\/p>\n

But even at these levels, there was no compression whatsoever, and I’m sure both the speakers and amp would have gladly moved further if I wanted them to. Clearly, the E-280’s 90 Watts are plenty for the Aletheia.<\/p>\n

\"\"<\/p>\n

With the matter of power addressed, what matters most is the quality<\/em> of the amplifier. Both the Aletheias and the AM23s are very revealing, and given the rather large discrepancy between the A1.5 and the AMG-STA, this should not be underestimated. By the way, the E-280 did wonderfully well, sounding beautifully refined and highly resolving while never hard or edgy, not even when being pushed.<\/p>\n

Conclusion<\/h2>\n

The Company Tagline is “Power, Purity, Precision”, and if you ask me, that is precisely on the nose. Both Seawave Acoustic speakers convinced me from the very first instant I listened to them. They have a purity, transparency, and natural uncolored neutrality that is rare among cabinet loudspeakers, combined with a fabulously deep, well-controlled, and very powerful bass. In all these aspects, they perform much like the Magico S1 MkIIs. Where they deviate, they do so in an interesting manner. The Aletheias by sounding even more robust, impactful, and expressive, and the AM23s by sounding more emotional, up-close, and intimate, and more like “being there” and listening to “live” music.<\/p>\n

Designer Bo San beautifully summarizes the importance of neutrality as follows. “As human beings, we can only achieve enlightenment by overcoming the hurdles of self-centered isolation. Musical devices are much the same: the more we remove their unwanted eccentricities from the equation, the more they convey the true beauty of music.”<\/p>\n

Now consider that the Aletheias and AM23s cost respectively about half, and significantly less, than a pair of S1 MkIIs. It’s nice to have options, isn’t it?<\/p>\n

Needless to say, both models are highly recommended.<\/p>\n

\"\"<\/p>\n

External Links<\/h3>\n

Distributor for the Netherlands, Belgium, and Luxembourg: Ohm Audio<\/a>
\nManufacturer: seawaveacoustic.com<\/a><\/p>\n

Team Ohm-Audio bv:<\/div>\n
<\/div>\n
Derk Broos<\/div>\n
Luuk Broos<\/div>\n
Gerbren Noordhuis<\/div>\n

Ohm Audio<\/a><\/h4>\n

Open by appointment
\nTuesday to Saturday 10:00 – 18:00<\/h4>\n

Zernikepark 21
\n9747 AP Groningen<\/h4>\n

Phone line 1 : +31 (0)6-38027736
\nPhone line 2 : +31 (0)6-38027745
\nEmail : i n f o @ o h m – a u d i o . n l<\/h4>\n
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