This is the Cinema LTM

A fully passive, modular line-source, engineered from the ground up to behave as one single, phase-coherent acoustic wavefront.

Surprised? Sixty-four tweeters—and yet it sounds effortlessly clean? The answer is simple:

We don’t just install drivers. We control them.

Using Legendre shading and delay-curved geometry, every single driver in this array contributes with surgical precision. There are no lobes, no comb filtering, no vertical interference. What you hear is one coherent front, tight, directional, and locked to the listening area.

And unlike planar foil or ribbon speakers, which radiate like a loose bedsheet in the wind – the Cinema LTM projects a structured wavefront.
Foil membranes move unpredictably, producing wide but uncontrolled dispersion. Yes, it sounds “airy”, but that’s not resolution. That’s a lack of substance, no pressure, no phase alignment. Just overspray.

In contrast, we build with ultra-linear wideband midrange drivers, extended treble response, and exceptional transient fidelity. Paired with compact Neodymium tweeters, rear-mounted into a cast polymer front plate and clamped with precision-milled aluminum. The cabinet? Pressed hardwood. Ninety-three layers. 800 kilograms per cubic meter. No vibration. No coloration. Just pure mechanical silence. So all you hear is the music.

Now let’s talk scale. Big room? Giant point-source speakers? Why not?

Because oversized point sources fall apart when you move off-axis. Their vertical dispersion collapses, their crossover regions smear. They throw mass at the problem, but not intelligence. Bigger isn’t better. But Coherence beats size.

We chose a line-source, but why?

Unlike point sources, a line-source maintains constant SPL with distance, and vertical directivity that suppresses floor and ceiling reflections. Perfect for real rooms, where spatial control matters as much as frequency response. But not all line-sources are equal.

We didn’t choose a classic two-way stack. And we didn’t aim for the CBT-style curved arrays either. CBTs are clever, great for pros, but they often come with trade-offs and heavy reliance on digital correction. The Cinema LTM is different:

It’s a straight, passive array, optimized through physics,not processing. No DSP, no illusion. Just one unified, acoustic reality, designed to behave like a reference monitor, but at scale.

And if it reminds you of a world-class headphone but in a room? That’s no coincidence, that’s the physics.

• Three way floor-standing speakers
• Line Array Enclosures: Sealed, mid-woofer & tweeter separated (optimized for low-compression)
• Subwoofer: Sealed (optimized for low-compression)
• Vibration-decoupled to the ground
• Tweeter: 32 x 22 mm coated textile dome, neodymium magnet
• Midwoofer: 14 x 4″ fiber-glass cone (coated), neodymium magnet, low-loss suspension & drive
• Subwoofer: 4 x 12 “aluminum cone, double ferrite magnet, 60 mm stroke
• Crossover: Passive proprietary 3-way filters, coils: Mundorf CFC air-core, capacitors: Mundorf MCap Supreme EVO
• Crossovers are mounted vibration-decoupled
• Handmade by Credo Audio Switzerland
• Tuning: Closed (optimized for low-compression)
• Frequency response: 16 Hz – 20 kHz, +/- 2.5dB
• Bassroll-off:20Hz@0dB/15Hz@-2.5dB/14Hz@-10dB
• Efficiency: 85 dB @ 2.83V @ 1kHz @ 1m
• Impedance: nominal 8 ohms, minimum 3.8 ohms at 10 kHz, max 9.1 ohms @ 200 Hz •
• Recommended amplifier power: For 95 dB at 1 m distance: 18 W
• Recommended amplifier power: For 95 dB at 4 m distance: 100 – 300 W RMS
• Weight: 155 kg (342 lb.) p.p. without packing
• Size:(HxDxW): 187 cm x 70 cm x 27 cm(73.6 x 27.5 x 10.6″) incl. feet