CONSTELLATION SERIES

PHOENIX MK2

3 way Center Channel




The redesigned center speaker of the Constellation line introduces enhanced acoustic depth, seamlessly integrating with every product in the range. The new Phoenix model, versatile and eclectic, is finely tuned to emphasize dialogue, delivering a richer and more immersive audio experience.

Constellation Phoenix MK2

  • Technical Data

    Low Frequency Load 

    Vented NRS 


    Configuration 

    3-ways 


    Drivers

    1 tweeter 38mm T38Waveguide

    1 woofer 130mm Paper Compound


    Sensitivity 

    90 dB SPL normalized to 1 m / 2.83 Vrms / decorrelated L/R

    pink noise ITU-R BS 1116-1 I compliant listening room


    Low Frequency

    45 Hz @ -3dB referred to C4 WETS


    Rated Impedance 

    Modulus 4 Ω (min 3.9) Argument ± 36°

  • Cabinet & Dimension

    Cabinet

    Solid walnut and HDF.


    Size & Weight

    210 x 530 x 390 mm (H x W x D) / 8 Kg

  • Acoustic Environment & Amplification


    Listening Distance 

    Optimum speaker-listener distance > 2 m


    Listening Layout 

    A carpeted floor in front of the speakers is recommended


    Side and Back Walls 

    Should be at least 1m away from the speaker front baffle


    Suggested Amplifier

    120W/4Ω 8minimum 3.9)

    Argument +/- 36°

The back of a black speaker on a white background.
A wooden speaker is sitting on a white surface.

Our Choice of Frequency

Constellation Phoenix

The choice to specify a low-frequency cutoff at 48 Hz for a dialogue channel in a Dolby 5.1 system, although seemingly oversized with respect to the canonical requirements of the human voice, represents a deliberate and technically sound design decision.


As correctly noted, the lowest fundamental of the male voice in the spoken register typically lies around 85 Hz, below which vocal information is generally not encoded in the center channels of a Dolby mix. However, it is essential to consider that the perception of vocal intelligibility does not depend solely on the fundamentals, but also — and in some cases primarily — on how the lower harmonics and transient components are handled by the playback system.