4360 High Resolution Studio Monitor

Four cabinets. All Alnico. Built for scale.

The 4360 grew from a lifelong fascination with the great studio monitors of the 1970s and 80s. Not as a copy of what came before, but as an attempt to carry the idea forward.

Twin 15-inch woofers, a dedicated low-mid driver, compression driver and supertweeter form a system built for effortless dynamics, resolution and scale.

Large studio monitors fascinated me from an early age. A neighbour’s JBL L300 was one of the first loudspeakers to show me what reproduced music could really do. Its studio counterpart, the JBL 4333, is still part of my system today.

Years later, a large twin-15-inch Westlake monitor left an even deeper impression. Scale, dynamics, attack and resolution suddenly seemed to belong together. That experience stayed with me.

Two 15-inch woofers were decided on early. For the combination of weight, speed and effortless dynamics, I preferred them to a single 18-inch driver.

The split enclosure followed from the same thinking: one bass cabinet below, one low-mid/high-frequency cabinet above.

The drawings became large objects quickly. The bass cabinets were substantial enough that a hoist became part of the assembly process.

The construction was conceived as a rigid structure rather than simply a large wooden box.

Four cabinets, built as one system. Heavily braced plywood underneath, walnut on the outside. The cabinet had to stay quiet and let the drivers do the work

Four JBL 1500AL drivers form the bass section — two per side. The Alnico motors were a deliberate choice

The low-midrange is handled by a JBL 2202A from Kenrick Sound. It sits in its own enclosure inside the upper cabinet, mechanically isolated from the outer structure except where it meets the front baffle.

A cabinet within the cabinet.

The high-frequency section uses a TAD TD-2002 compression driver. Like the 1500AL and 2202A, it is an Alnico design.

It stayed.

The top octave is handled by a Fostex T500A Mk III supertweeter. It began with its own amplifier channel, but tests showed that it did not need one. In the final system it is coupled passively.

Four amplifiers became three.

Different supertweeters were compared during development, including the legendary TAD ET-703.

In the end, the Fostex stayed — by ear and by measurement.

Horns and low-mid drivers went through the same process.

The 4360 is an active system. Bass, low-mid and high-frequency sections are driven independently; only the Fostex is coupled passively.

The bass cabinets use ports at both front and rear. Each can be closed, allowing the loading to be adapted to the room and placement.

Separate connections for low-mid, high-frequency and supertweeter sections. The Fostex is coupled passively to the high-frequency channel.

Scale, dynamics, resolution and presence were the point from the beginning. The 4360 was built to bring them together.

That is still the point.

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