World class loudspeaker performance for real-world systems:

Introducing Rockport’s new Cygnus loudspeaker.

In an industry where hyperbole reigns supreme, and additional money spent often has little correlation to improved performance, the Cygnus is truly an uncommon loudspeaker.

Maintaining the iconic Rockport form, the Cygnus embodies all of the attributes that the Avior II and Atria II are known for, yet brings each of these elements to an even higher performance level. The result is a loudspeaker which, like its siblings, transcends the boundaries of technical excellence and enters the realm of actually making music.

The Cygnus’ beryllium tweeter is mounted into a custom, machined aluminum waveguide which improves the acoustic impedance match of the tweeter at the low end of its range, allowing for lower distortion and greater dynamic expression from the tweeter itself, and improved dispersion characteristics at the midrange/tweeter crossover point. Numerous prototype waveguides were modeled and manufactured using the stereolithography process until the optimum waveguide profile was achieved. The waveguide is precision diamond-machined and then anodized, rendering a beautiful 3-D luster, and providing an ideal mounting surface for the tweeter.

The Cygnus loudspeaker benefits from our latest generation midrange, and uses Rockport’s state-of-the-art, variable section thickness, carbon fiber sandwich composite cone matched to our enormously powerful, ultra-low distortion motor system. With a usable bandwidth of nearly 6 octaves, distortion figures lower than some amplifiers (-60 dB!), as well as linear excursion that rivals many midbass drivers, the midrange reproduction of the Cygnus is groundbreaking. When matched to our new waveguide mounted beryllium tweeter, the Cygnus midrange is extraordinarily resolved, textured, and dynamically engaging, and presents music with a coherency so natural it’s uncanny.

Genuine, first octave extension is delivered via two, all new, custom designed and built 10″ carbon fiber/sandwich composite woofers per channel. The woofer’s massive 3″ diameter motor system provides enormous thermal and mechanical headroom and also exhibits the same vanishingly low distortion figures as our midrange driver (-60 dB!). With 50% greater surface area than the Avior’s twin woofers, the extension, ease, and resolution of the Cygnus’ bass registers is world class by any standard, especially given the enclosure’s modest proportions.


Woofers (2) 10″ carbon fiber sandwich composite
Midrange 6″ carbon fiber sandwich composite
Tweeter Waveguide mounted 1″ beryllium dome
Height 50.50″
Width 13.50″
Depth 27.50″
Weight 285 lbs. each
Frequency Response 20 Hz – 30 KHz, -3dB
Nominal impedance 4 ohms
Sensitivity 90 dB SPL/2.83 v
Min. amplifier power 30 watts


Andy Payor’s Rockport Technologies was showing two speakers at Munich High End. The first was a debut: the $170k Lyra, a five-driver, three-and-a-halfway floorstander (two 10” woofers, two 6” midranges, one 1” beryllium tweeter in a heroic two-piece aluminum enclosure), driven by Absolare electronics and sourced by a Kronosturntable. The sound was mostly superb on my Johnny Hartman LP without any of the excessive sibilance and chestiness I heard so often in other rooms on Hartman’s voice and with excellent reproduction of sax and standup bass (despite a little room boom). However, it was Rockport’s $60k Cygnus, a four-driver, three-way loudspeaker (two 10” woofers, one 6” midrange, one 1” beryllium tweeter in a composite aluminum enclosure) —driven (alternately and jointly) by Soulution 3, 5, and 7 Series electronics, sourced by a De Baer turntable, wired with Vovox cables, and mounted on Joe Lavrencik’s new Critical Mass Systems Olympus stands—that won my heart. The Cygnus/Soulution sound was fantastic right off the bat, with superb dynamics, color, transients, and three-dimensional body on “Mood Indigo” from my Ellington LP. On a second visit, my Taj Mahal disc proved to be just as terrific, with wonderful resolution of detail, no shoutiness on the Pointer Sisters’ backup vocals, and real ease on fortes. Johnny Hartman provided the hat trick, with superb body and color on the vocals and the best reproduction of standup bass (a Soulution specialty) I heard at the show.