Peppe Maietta

Giuseppe Maietta was born between the fire of a volcano and Megaride’s ancient waters at the end of the fifties, in the beautiful setting of Naples, where, during his university studies in engineering, he began working as a research and experimentation in acoustics. After he “chose” as his master a Luthier, Giuseppe, known professionally as Soundpusher, at the end of the seventies he began to produce handmade speakers in wood or terracotta coated in synthetic polymer.

He is then engulfed in the outburst of the Neapolitan artistic movement which had its leader in Lucio Amelio and his Modern Art Agency and the following encounters with such artists as Keith Haring, Andy Warhol, Mario Merz, Robert Rauschenberg. The exhibit-collection Terrae-Motus, that Lucio Amelio promotes in November 1980 after the earthquake, including among others Andy Wharhol, Robert Mapplethorpe, Mimmo Paladino, Richard Long, Miquel Barceló and Giulio Paolini, is to Soundpusher the occasion for a definite choice: essence has its shape.

Contrasting the Neapolitan baroque, he creates objects more and more basic, reducing shape to pure essence: the Sound. Since then he’s been working by interchanging sheer art exhibit and handcrafted “no compromise” audio design, keeping at the center of the project the quality of the sound. More recently his desire to escape the project commitments imposed by big figures companies, has completely changed his production both in shapes and materials, thus creating the design that distinguish the style and the sound of novaudio.

Design Philosophy

In recent years small artisan companies not being linked to the strategies of ” large numbers ” have greatly raised the average quality of products often with very competitive cost. “I produce loudspeakers, often considered responsible for the final result of the entire chain of listening, but I am convinced that a Hi -End must have a unique design philosophy that embraces the Source, Amplifier and Loudspeakers”.

Speakers in parallel surfaces along with corners and edges, creating standing waves inside the cabinet adversely affect the functioning of the speaker. Practically everything that happens inside the speaker is heard outside . Externally, it also creates diffractions to be taken into account in the design of the crossover. Certainly a parallelepiped or even a cube is transported (in particular through the ocean) , and stores it in a much lower cost but speaking of HIGH FIDELITY ‘ this aspect should not adversely affect the quality.

Choice of speaker crossover

Choice of speaker crossover

The entire range of frequencies,”the fateful” 20-20,000 Hz, it is very difficult to achieve with only one speaker. With rare exceptions it becomes necessary, therefore, a crossover that separates the frequencies to be sent to each speaker. But the sound is too complex a thing to think about splintered and then paste it again without loss of information. An irrefutable assumption is that a music signal through any component, active or passive as it is, you change it. “I prefer to projects or single speaker to the limit, with crossover filters that employ minimum components necessary but of the highest quality.” A artisan company is more free to adopt either of design methodologies is different speakers, supporting the goal to be achieved even on a single pair of speakers.