Crossover Sierra

With the success and overwhelmingly positive customer feedback of our Sierra Ribbon Towers, we set our sights on bringing that type of performance to a more mainstream audience by offering it in a bookshelf speaker and bringing the cost down to a point that we felt most could afford. Of course, this was no simple task and in typical Ascend fashion, simply using existing components would just not cut it.
Over the past 3 years, having become RAAL's highest volume customer, through thorough evaluation and experience - we became experts in what makes these tweeters so special. We came to the conclusion that in many ways, the ribbon tweeter we use in the Sierra Tower is a bit overkill for a bookshelf speaker. We felt we could capture the same extraordinary performance in a new custom designed, lower cost unit fully optimized for our application. Together with RAAL’s owner, we set out on a challenging journey.
2 years and dozens of prototypes later, our goal was met and we had our new RAAL ribbon tweeter. Our new tweeter has a total moving mass of less than 1/100th of a gram, significantly less moving mass than nearly all other tweeters. Relieving the radiating diaphragm of excess weight allows for near perfect transient reproduction combined with the lowest levels of stored energy for extremely detailed, airy highs with no edginess or fatigue.
During the tweeter design process we were able to design a specific set of parameters and performance characteristics for our new woofer, with the primary goal being to achieve an ideal synergy with the ribbon tweeter. This was quite the challenge as we were presented with several difficult hurdles.
Our new ribbon would require a higher crossover point than we typically used for our woofers. To maintain good high frequency performance, the woofer cone must be quite stiff. The problem with stiff cones is that they tend to suffer from harsher cone breakup modes that need to be compensated for in the crossover. This goes against our original Sierra philosophy of “less is more” so thus began a search for a cone material that was exceptionally stiff but also extremely well damped. The polypropylene we use in the Sierra-1 woofer, while it has good self-damping, is just not stiff enough to provide the upper midrange response required for a proper crossover to our new ribbon tweeter.
Taking full advantage of our nearly 15 year relationship with SEAS of Norway, we confronted their director with the challenge. After much discussion he recommended we try something new; something he said might be the future of cone woofer materials. Curv™ is a woven polypropylene that takes all the great qualities of pp, but makes significant improvements. Stiffness to mass can be precisely controlled and the material is very lightweight yet extremely stiff, but its best quality is that internal damping is simply stunning. In fact, we did not measure any cone breakup or resonance modes within our needed bandwidth which meant we could cross this woofer at higher frequencies without trapping out breakup modes in the crossover.
The other significant problem we faced was how to at least come close to producing the phenomenal bass response of the Sierra-1 while using a woofer cone that has significantly lower mass, while also maintaining reasonable sensitivity. We simply can’t defy the laws of physics, meaning it would not be possible for the same size cone area.
The solution to this problem presented itself in an interesting manner – a bit of luck combined with some clever tooling. It turns out that this new Curv cone is equivalent to a 6” woofer and provides just a bit over 29% more radiating surface area than the 5 ¼” woofer we use in the Sierra-1. Because of this, we are able to maintain efficiency and bass response, while also using a lower mass cone which reduces inertia and better matches the amazing transient accuracy of the RAAL ribbon. We managed to fit a custom 6” woofer into the 5 ¼” woofer cutout of the Sierra-1 cabinet, with the cone having considerably less mass yet maintaining excellent bass with significant improvements to transient reproduction and midrange performance.
The Sierra-2 woofer features:

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OEM/Competitive Part # Model Sierra Part # Model Information In addition to engine and drive parts that are currently found in our printed Sierra catalog, Search by Model includes information for. Online catalog for all Sierra Marine Parts for outboard and inboard motors. View online or download. Go (800) 209-9624 M-F 9-5 ET (800) 209-9624 M-F 9-5 ET. Importantdevices: Order online, get free downloads. Fast Trackable Insured Shipping. Menu; Boat Engine Parts.

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long-throw design for high power handling and extended bass
radially reinforced surround reduces surround resonances at higher excursions and provides for better overall damping
SEAS’s exclusive SpiderRing® technology improves suspension alignment for higher long term reliability, improved power handling and improved mechanical linearity
custom cast magnesium frame for a stiffer and lighter basket frame allowing for less material behind the woofer cone reducing back-wave reflections for enhanced detail, better airflow and less cavity resonance
vented pole-piece and open spider for enhanced air-flow and cooling, minimizing compression artifacts

We then optimized and tooled all of these new components so that they would drop right into our renowned Sierra-1 layered bamboo cabinets for the ultimate in resonance control and stiffness. This also allows all Sierra-1 speakers to be user upgradeable to Sierra-2.
The result of this true engineering feat? A bookshelf speaker that simply might be the very best at any price point, offering performance that is truly shocking.
Hand assembled, tested and packaged in the USA, we are so confident of the component and build quality of the Sierra-2 that we are backing it by a comprehensive 7 year parts & labor warranty. Left / right pairs are matched by hand to within ± 1dB and we are including a printout of the actual production line response measurements of each speaker. We dare say it, but you simply can not find this type of quality control, care and pride from products that are fully assembled and tested in overseas manufacturing facilities.
Unique to our Sierra-2, follow the development from beginning to end: Sierra-2.
We thank you for your interest!

BIOGRAPHY

In her first 25 years alone, singer/songwriter/multi-instrumentalist Sierra Hull hit more milestones than many musicians accomplish in a lifetime. After making her Grand Ole Opry debut at the age of 10, the Tennessee-bred virtuoso mandolinist played Carnegie Hall at age 12, then landed a deal with Rounder Records just a year later. Now 28-years-old, Hull is set to deliver her fourth full- length for Rounder: an elegantly inventive and endlessly captivating album called 25 Trips.

Revealing her profound warmth as a storyteller, 25 Trips finds Hull shedding light on the beauty and chaos and sometimes sorrow of growing up and getting older. To that end, the album’s title nods to a particularly momentous year of her life, including her marriage to fellow bluegrass musician Justin Moses and the release of her widely acclaimed album Weighted Mind—a Béla Fleck- produced effort nominated for Best Folk Album at the 2017 Grammy Awards.

“There’s a lot of push-and-pull on this record, where in some moments I feel like everything’s happening so fast and I wish I could slow it all down so I can really enjoy it,” Hull points out. “But then there are also times where I’m looking forward to the day when the craziness has died down a bit, and life’s a little calmer.”

Made with producer/engineer Shani Gandhi (Kelsea Ballerini, Dierks Bentley, Sarah Jarosz, Alison Krauss), 25 Trips continues the musical journey begun on Weighted Mind, a body of work that built off Hull’s bluegrass roots and ventured into entirely new terrain. But while its predecessor assumed a sparse and stripped-back palette, 25 Trips embodies a far more intricately arranged sound—an effect achieved with the help of peers like guitarist Mike Seal, bassist Ethan Jodziewicz, violinist Alex Hargreaves, and fiddler Christian Sedelmyer, as well as several musicians that Hull has long admired (including bassist Viktor Krauss, guitarist Bryan Sutton, and multi-instrumentalist Stuart Duncan). Along with integrating electric instrumentation and percussion into her material for the first time, Hull dreamed up the album’s eclectic textures by embracing a free-flowing process that often gave way to lightning-in-a-bottle improvisation.

“There were some songs that we created from the ground up, where I’d go in and play by myself, and from there we’d bring in other musicians to add more and more layers,” Hull says. “It was really wonderful to work that way, where we started from a place of mystery and then just let the song show us what it wanted or needed to become.”

Immediately proving the power of that approach, 25 Trips lures the listener into its unpredictable sonic world on the beguiling opening track “Beautifully Out of Place.” With its shifting tempos and gently tempestuous mood, the song was sparked from words of encouragement spoken by Hull’s husband at a time of self-doubt and confusion. “I remember Justin saying to me, ‘I believe in you, so you’re just going to have to learn to believe in yourself,’” she recalls. “That inspired the first line for me, and the song just wrote itself from there.”

Although much of the album bears a rich complexity, 25 Trips also includes moments of stark simplicity that perfectly showcase Hull’s stunning vocal range. On “Everybody’s Talking,” for instance, her luminous vocals quietly capture the frustration of finding clarity in the midst of constant chatter from the outside world. And on “Ceiling to the Floor”—co-written with Kai Welch, a songwriter/musician known for his work with Glen Campbell and Abigail Washburn—Hull spins a tender metaphor from her longtime fear of heights. “I was telling Kai about how when I was little my dad used to try to get me over that fear by holding me up to the ceiling and saying, ‘Just touch it—I’m not gonna let you fall,’” she explains. Featuring a performance from legendary steel-guitar player Paul Franklin, “Ceiling to the Floor” drifts from memory to real-time reflection, slowly unfolding as a nuanced meditation on courage and love.

One of the most unexpected turns on 25 Trips, “Escape” emerges as a delicate collage of hypnotic percussion, otherworldly electric-mandolin tones, and poetic yet plainspoken lyrics (e.g., “I want to escape to a world that’s not closing in”). “I didn’t even have that song on my list for the album, but I played Shani a voice memo and right away she said, ‘I wanna record that,’” remembers Hull, who penned “Escape” with singer/songwriter Angel Snow. “I was a little hesitant since it’s so unlike anything else I’ve done, but in the end it was really exciting to play electric and come up with something in a completely different vein.”

In closing out 25 Trips, Hull shares an especially poignant track titled “Father Time.” “I wrote that song with Mindy Smith after spending a week with my husband and his grandma, after his grandpa had a stroke on Christmas morning,” she says. “His grandma had suffered with Alzheimer’s for years and couldn’t really stay by herself, and through that experience I decided to write about watching my husband take such good care of her, and how that made me love him even more.” With its heavy-hearted melody and choir-like harmonies, “Father Time” shows Hull’s effortless finesse in embedding her music with so many subtle details (including an instrumental reference to “Jingle Bells” tucked into the second verse). “We had our instruments with us at Christmas, so at some point we played ‘Jingle Bells’ for my husband’s grandma,” says Hull. “She can’t remember my name or Justin’s name now, but for some reason ‘Jingle Bells’ stuck, and she still asks for it year- round—it’s the most amazing thing.”

Even as its songs continually shift in genre, encompassing everything from bluegrass to folk-pop to ethereal alt-rock, 25 Trips remains rooted in the sophisticated musicianship that Hull has cultivated almost her entire life. Hailing from the tiny Tennessee hamlet of Byrdstown, she learned to sing from her mother as toddler, took up mandolin just a few years later, and began joining in local bluegrass jams by the young age of eight. With her childhood triumphs including joining her hero and mentor Alison Krauss onstage at the Grand Ole Opry at age 11, she made her Rounder debut with the 2008 album Secrets and promptly garnered the first of many nominations for Mandolin Player of the Year at the International Bluegrass Music Association Awards. In 2016, after a near- decade of consecutive nominations, Hull became the first-ever woman to win the award—then claimed that prize again at the 2017 and 2018 IBMAs. Over the years, Hull has also maintained a rigorous touring schedule, and has made occasional guest appearances with such icons as the Indigo Girls, Garth Brooks, and Gillian Welch.

Crossover Series Alexander Kwame

Marking a bold new era in Hull’s artistic evolution, 25 Trips wholly channels the pure and palpable joy she discovered in the album’s creation—and ultimately illuminates certain truths about the indelible connection between risk-taking and reward. “One of the things I most enjoyed about making this record was getting to show the wide variety of music I love,” says Hull. “I don’t really know what category the album falls in, but I also think that matters less and less. What really matters to me is trusting myself to be who I am, and just putting my voice and my heart out there in the most sincere way that I possibly can.”

PRESS

'Left Speechless by Sierra Hull at The Heath' - No Depression

'Hull's musical path recalls the artistic trajectory of crossover star Krauss, another child prodigy who branched out beyond bluegrass to great acclaim.' - Chicago Tribune

Wall Street Journal features Sierra Hull's new album 'Weighted Mind'

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Rolling Stone premieres music video, 'Black River'

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Huffington Post reviews Sierra Hull's new album 'Weighted Mind'

Sierra Hull's New Album 'Weighted Mind' on NPR's First Listen