At the time of its design, we believed the G3 would be the smallest package into which we could squeeze the Giya concept. G3 has the narrowest enclosure conceivable in which it is possible to mount the C125S low mid-range while maintaining the familiar lines of the Giya shape. However, the pressure persisted to deliver another fourway design in something no more than one metre in height. The only way to reduce the cabinet size still further was to create a smaller low-mid driver; the C100S. Shaving a full 25mm off the diameter of the low-mid permitted a proportional reduction in the overall enclosure width and brought the height down to the target.
Reducing the size of a driver inevitably means losing efficiency for a given size of motor so in C100S the motor system had to be upgraded to recapture most of that
efficiency, this time using a single layer edge-wound aluminium voice coil to halve the moving mass while retaining the motor strength, suspended in an improved
focussed-field radial magnet. As with G3, the rear-loading of the C100 is accomplished with an exponential absorber which meets the bass-chamber absorber end to end completing the visually arresting top loop of the enclosure.
While the Giya range from G1 to G3 have all used bass units with a common magnet structure, finally, with Giya G4, that rule had to be broken; it was simply no longer possible to fit the 76mm motor and magnet system behind the 125mm cone required to match into the box. The regular 50mm coil standard used in our oval series would have been a simple solution but in order to deliver the force factor required of the Giya design, some significant improvements were necessary. Firstly the adoption of radially polarised neodymium magnet immediately adjacent to the coil which is the topology adopted in all the Giya bass units to improve the magnetic efficiency of the circuit, permitting higher flux along an extended gap, and secondly a voice coil featuring a single layer edgewound copper conductor packed with over 50% more conductor volume. Taking these two factors together yielded the C125L; a driver with a significantly improved force factor, power-handling and linear excursion.
Being dedicated to bass reproduction and thus optimised for moving large amounts of air, the C125L driver benefits from a larger deeper surround attached in a unique way to the outside of the chassis. This novel approach gains significant extra diameter to give the greatest mechanical throw with a given diameter of cone and chassis while also inflicting the minimum visual impact on the flowing curves of the shell-like enclosure.
Two new bass units and a new low-mid range required that the crossover be completely redesigned and optimised. On top of that, the reduced envelope available
inside the small enclosure placed difficult demands on the crossover design task but despite these, we remain faithful to our philosophy of using air-cored inductors and polypropylene capacitors all hard-wired together for a superior listening experience.
Coming in at just over one metre overall height places the D26 high frequency unit at a rather lower level than usual and, although that may suit the more laid-back listener, it isn’t to everyone’s taste! So, to bring the tweeter height up to a more conventional 97cm, Giya G4 is available with an optional 100mm plinth, built up from bonded layers of sustainably forested South African kiaat and finished in natural wood oils. Six brass inserts protect the wood and provide an ideal bearing material for the stainless steel spikes while a further set of four spikes are provided to stabilise the plinth on soft carpet.