A pair of Aidas in mid-production
Inside the Aida's complex cabinet
The Aida's leather wrap is decorative and helps to damp cabinet vibrations.
Sonus Faber's marketing director, Enrico Fiore, holds up the Aida's tweeter and midrange.
The tweeter and midrange are proprietary Sonus Faber designs.
Most of the drivers in the Aida (note shown: the rear tweeter and midrange)
An Olympica front baffle about to be finished with leather
The leather . . .
. . . is pressed into place and secured with glue.
Staples are used in the corners.
The binding-post hole being cut out on the leather-wrapped rear panel
After the holes are cut, the leather is rubbed so that it is perfectly attached to the wood.
The leather used for the top panels on the Olympica I, II, and III
The leather is . . .
. . . cut at the factory . . .
. . . and sewn as well.
The Sonus Faber logo is also stamped in at the factory.
The finished leather top caps
The leather top caps are glued into place and secured with an attractive aluminum ring.
The crossover-building area
All crossover points are hand-populated . . .
. . . and hand-soldered.
Caps for the crossovers
Internal wiring for the Olympica models
Internal wiring for the Aida and Amata Futura models
Stradivari Homage binding-post plates
Enrico Fiore with a finished Olympica II crossover
Finished Olympica-series crossovers
The main portion of the Amati Futura crossover
Amati Futuras during final assembly
The Amati Futura's front baffle
An Amati Futura goes face first into final acoustic testing.
Olympica IIIs during assembly
The Olympica III woofers waiting to be secured into place
The wires from the crossover are soldered to the drivers.
The Olympica III tweeter and midrange minus the mounting screws and faceplate
The Olympica series features a real-wood finish made from walnut, which is typical of Sonus Faber designs, but unique to this series are the thin, white separators made from maple -- earlier speakers had black maple.
Another feature unique to the Olympica line is the slotted, resistive port. The port not only looks attractive, but designer Paolo Tezzon says it performs better than a conventional port.
The interesting view that's directly to the side of the production-area floor