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Designed to impress – Experience music like never before with the Credo Cinema LTM Speakers! Get ready to be immersed in an incredible audio experience with crystal clear sound, deep and powerful bass, and a wide soundstage that will make you feel like you’re in the recording studio. Hand-crafted in Switzerland by renowned designer Michael Kraske and crafted with the help of state-of-the-art machines and a lot of manual work, these sleek and modern speakers are perfect for any living space where great design meets architecture – a place to enjoy life and music. Don’t miss out – get in touch with us now to experience the power of the Credo Cinema LTM Speakers! Let the music take you away with this incredible listening experience!
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.
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.
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.
This system provides as clear-eyed a view onto the sonic proceedings as I’ve ever heard. I’m talking about the clearest crystal clear clarity, completely effortless and unrestrained startling dynamics, fully formed and completely controlled bass response, with each and every last ounce of sonic minutiae, something Dalt seems to adore, presented with 3 dimensional voice. This system puts Dalt’s vocals solidly out in front and center stage, with as clear cut a form as I’ve heard from any system. In some ways, this kind of sound sculpting in space reminds me of the best aspects of a single driver speaker, which can excel at presence. Which is kind of funny since the Cinema LTM are as far from a single driver as you can get.
I was awed by the midrange beauty of Sarah Barreles’s voice on a 24/88.2 file of “Goodbye Yellow Brick Road.” The recorded sound of this live performance seemed uncannily real, and the soundstage was awesome.