The CVEN4CN is the bigger brother of our 3″ concentric, and it’s built on the same idea: the highs and the mids should leave from the same place, not two.
So the tweeter sits in the middle of the cone, on the same axis the midrange radiates from — which is why there’s no dust cap listed, because the tweeter is what lives there instead. You get a proper two-way from a single mounting hole, and the sound images to one spot rather than smearing between a separate tweeter and mid.
What the extra inch buys you is body. The 4″ cone moves more air than the 3″ and reaches a little lower — down to around 120 Hz — so it carries more of the midrange weight before it hands off to a midbass beneath it. If the 3″ is for the tightest spaces, this is the one to reach for when you’ve got room for a fuller sound.
£179.99
Everything arrives from one place
A concentric layout gives you a two-way that behaves like a single point source.
Because the tweeter sits at the acoustic centre of the cone, the highs and mids stay on one axis and the stereo image locks to a single location. It’s tidier to fit, too — one hole, one component, no separate tweeter to house or crossover to hide away.
Two spiders keep it honest under load
We gave this one a dual spider, so the cone travels straight even when you push it.
A single spider holds the cone in place; a second one, set apart from the first, stops it rocking or tipping as excursion rises. The result is a cone that moves cleanly in and out rather than wobbling off-axis when it’s working hard — which you hear as tighter, less confused output at volume. It’s the sort of thing you don’t notice until you compare it against a driver that doesn’t have it.
A bit more body than the three-inch
The 4″ cone and a 119 Hz resonance let it carry more of the midrange.
More cone area means more air moved for the same effort, and a lower free-air resonance means it stays composed further down the band. That extra reach is what lets it blend more naturally into a midbass below it, rather than leaving a gap that the rest of the system has to paper over.
A neodymium motor, kept shallow
We used neodymium so the motor stays strong without adding depth.
Behind the cone is an N42 neodymium magnet driving a 3.449 T·m motor. Neodymium packs the magnetic energy into a fraction of the size and weight of ferrite, which is how we keep a 4″ driver down to 45 mm of mounting depth. In a door or a shallow pod, that saved depth is often the difference between fitting and not.
Consistent output when it’s working
We wound the coil on an aluminium former so heat has an exit.
It’s the same approach we use across the range. Paper and plastic formers trap heat in the windings until the coil compresses and the sound flattens; aluminium carries it straight out into the motor structure the moment it’s made. Over a long, loud listen, that’s what keeps the output where it started instead of quietly fading.
The numbers, and the build
60 watts RMS. 85.6 dB sensitivity. 120 Hz to 20 kHz.
It sits as the mid-and-high of an active multi-way front stage and hands off to a midbass beneath it. Gold-plated terminals on a fibreglass board keep the connection solid over the years, and an EVA gasket seals it properly to the mounting surface. Nothing showy — just the parts that decide whether it still sounds right well down the line, done properly.
