Designed by ear. Verified by data.

Conventional loudspeaker cabinets are rectangular because MDF comes in flat sheets. That shape has nothing to do with acoustics. Flat parallel walls create standing waves inside the cabinet that colour the sound. Right-angle joints concentrate stress and resonate. Cylindrical ports create turbulent airflow that produces audible chuffing at high volumes.

3D printing lets us design the enclosure around the physics rather than around the manufacturing process. We can create curved internal cavities, optimised port geometries with flared profiles, and complex shapes that would be impossible to machine from wood or mould from plastic.

The Freeform One's enclosure contains curved cylindrical ports with triangular openings — a geometry optimised through research into port resonance and turbulence. The internal cavity is shaped to minimise volume while maintaining the correct tuning frequency. None of this is achievable with conventional manufacturing.

The Freeform LX takes this further with a spherical sealed enclosure — the ideal acoustic shape — combined with an open-baffle dipole midrange and cascading dispersion spheres. The entire form is acoustically motivated and structurally continuous.

Our speakers are printed on a Prusa XL with 5 tool heads, which allows us to combine multiple materials in a single print. The structural shell is recycled PETg — rigid, durable, and dimensionally stable. Inside, two layers of flexible TPU create constrained-layer damping.

Constrained-layer damping works by sandwiching a soft, lossy material between rigid layers. When the enclosure vibrates, the TPU layers absorb that energy through shear deformation. The result is a cabinet that is both structurally strong and acoustically dead — without the added mass of traditional bituminous damping pads or sand filling.

This technique is well-established in aerospace and automotive engineering but has never been applied to loudspeaker manufacturing — because until multi-material 3D printing, there was no way to build it into an enclosure during production.

The same 5-head system also enables multi-colour printing. With up to four visible PETg colours plus the internal TPU layer, every speaker can be produced in custom colourways — from professional black to bold multi-colour designs — with no painting, no finishing, and no additional cost beyond the filament itself.

We do not design to published driver specifications. Every driver that goes into a Freeform speaker is individually measured using calibrated equipment. The Thiele-Small parameters we use for enclosure design are derived from our own measurements, not data sheets.

This matters because published parameters are nominal values — the actual driver you receive may differ significantly. Our measured values for the Freeform One's B&C 8CX21XLF show meaningful differences from the published specifications. Designing to those published values would have produced an incorrectly tuned enclosure.

The DSP tuning is equally precise. The Freeform One uses a QB5 Group I alignment — a mathematically derived bass reflex tuning that optimises the relationship between enclosure volume, port tuning, and a corrective high-pass filter. The filter frequency and Q are calculated from the measured driver parameters and implemented digitally in the Dash Audio DSP.

Final frequency response, distortion, and impedance measurements confirm that each speaker meets our design targets before it ships.