The best way to describe the Arcturus is just fully uninhibited sound. To be fair, the speakers are part of a larger ecosystem that also utilizes a massive subwoofer, room correction hardware (because the room is imperfect), and a very nice quality interface and set of converters, a massive balanced power isolation transformer with its own grounding rod, and a custom computer that I built myself... But the Arcturus do their part, and undeniably are the most important part. You hear everything. The speakers do not flatter, they do not cover anything up, they are just infinitely clear. Anytime I listen to classic songs, I am impressed to hear slight details that I did not notice in years prior. For me, the resolution is critical. I'm not only working on music, but evaluating products. I am sometimes tasked with the duty of trying to hear what difference a type of capacitor or resistor vs another type will do in a circuit, or trying to listen for the differences between populating a product with silicon wire vs silver teflon wire... microscopic things whose differences border on the subconscious... I've spent a lifetime trying to hone in on these types of things, to learn to quantify the subjective experiences of listening... I am the type of person who will change the lamps out three times until I could no longer 'hear' the sound of the lamps sitting in the room (yes, that actually happened), and so for me having the clearest lens possible in order to work from is just absolutely critical. It is the basis on which a lot of manufacturing decisions will be born out of. So, the speakers can't have a sound, even if that sound is great. They have to be as close to invisible (I prefer to say 'uninhibited') as possible, and I can't imagine right now working with anything else than the Ex Machina for these tasks.
About
Chad Kelly
I started out recording punk and metal bands in the early 1990's, owned several small studios at different locations throughout the 90's and 2000's, played keyboard in an early US blackmetal band, later moving to vocals for a newer project in the late 2000's which still continues on as a studio project. As I was constantly repairing, then modifying and upgrading my own gear, making my own cables, snakes, patchbays, etc., I slowly started migrating over more to the manufacturing side of the business (I'd been soldering since 15 and and some older members of my family had been engineers of different sorts) and from there more into product development. In terms of gainful employment, I started out working in live sound in the late 1990's for the sound division of Swaggart Ministries (believe it or not), then moved over in late 1999 to PreSonus where I had a 15 year stint as head of service, QC, dealer support, technicial support, and other functions as well as occasionally helping out with approving copy, proofreading, and various R&D/troubleshooting/product management/support/improvement/etc. I moved to Texas in 2015 to help a startup audio company and was their VP of development and operations for approximately 2 years, working with them to develop a full line of microphones and audio hardware. In 2017, I moved back to Baton Rouge to co-found a new manufacturing company as well as to continue and refine my passion for fully handcrafted tube microphones. I continue to do that to this day as well as trying to still find some time to get into the studio.
Studio & Sessions