Print Version. Equipment Reviews. I cant necessarily put it into a single word, but every time the Linn LP12 comes up in conversation, that sound forms in my mind: you know -- warm, slightly soft, slightly compressed with that subtly padded bottom end and, for me, an equally subtle inability to sit still. I could go on, with a list of other brands that have equally Vienna Acoustics Beethoven Concert Grand or haunting characteristics, but it quickly become tedious -- as well as insulting to the owners of various products with my particular prejudices.
But with Vienna Acoustics the word, the single word the brand name conjures, is value. This is "value" in terms of musical satisfaction and Warhammer Ork Reproduction. The Vienna Acoustics speakers dont just deliver a lot of music for the money, given the chance, theyll go on VVienna so for years and years to come.
Sadly, its something of a hidden virtue, playing neither to the Concerr requirement of comparative demonstration, nor the audiophile-hobbyists incessant requirement to swap equipment. Yet, despite that, Vienna Acoustics has quietly built a solid fan base of listeners Vienna Acoustics Beethoven Concert Grand appreciate the virtues Ggand recognize the cost of getting them anywhere else. Warranty: Five years parts and labor.
Vienna Acoustics V. But look a little closer and you realize that the value is not just price dependent -- it has tended to increase with price. The diminutive Haydn could hardly be described as a great value in material terms, but its true Vienna Acoustics Beethoven Concert Grand the Vienna DNA in two important ways: not only is it intensely involving on a musical level, it is also unusual in design and execution. In fact, The Music is now so underpriced in performance terms that it has dropped off the radar, with few audiophiles taking it nearly as seriously as its performance warrants.
Thats partly down to fashion and the assumption that progress means that newer models must be better; partly down to the structural factor that makes it hard to get reviews, attention or even a mention in the press when it comes to anything other than a new product.
Yet, for me, the converse is often true: Any product that has been around for a decade or so, largely unchanged, has to be doing something fundamentally correct. The Music is proof of that particular pudding.
If you dont believe me, just take a listen -- you are in for a shock. The problem is that simply knowing your product is great doesnt necessarily translate into sales. It either needs to play by Vienna Acoustics Beethoven Concert Grand market-imposed rules just look at the regular upgrades that kept the LP12 front and center of the media circus for so long or the company needs to produce something new that does. This combination of a separate, pivoting enclosure for the midrange and treble, combined with a flat-coned, dual-concentric driver marks the Liszt instantly and unmistakably as both a Vienna Acoustics loudspeaker and first cousin to the flagship model.
Beethoen also underpinned a Grad that rapidly established the Liszt as the benchmark for reasonably priced, wide-bandwidth speaker systems. With a bottom end that the company conservatively rates as reaching a -3dB point of 28Hz, in-room and with an appropriately muscular driving amplifier, it was capable of creating an acoustic scale and coherence that belied its slim profile and which integrated seamlessly with the dimensional precision, natural tonality and musical textures of the midrange and above.
Why the long preamble before even getting to the speaker under review? So lets start with that even longer name. The Beethoven uses a conventional soft-dome tweeter, but an all-new driver construction for the midrange and bass drivers. Dubbed Composite Cone by the company, it represents a significant development, extending identical flat-diaphragm construction across both drivers.
But contrary to your probable Colt Studio Group, theres no carbon-fiber involved here. Polypropylene might not be fashionable these days -- among high-end speaker manufacturers the only ones I can think of that use it are Wilson Benesch and Vienna -- but if carefully used and judiciously mixed with additives such as TPX and glass fibers it affords very real benefits.
Combined with FEA modeling it is possible to mechanically tune the diaphragm to tailor its response. The three-dimensional nature of the flat disc and radial reinforcements allows even greater latitude when it comes to accurately calculating the moving elements stiffness and self-damping characteristics. Being a molding, these triangular flanges can be precisely shaped, in terms Lucy Li Porn thickness and profile, to produce drivers that are not only highly tunable but also utterly consistent in output.
However, where things get really interesting is in the middle of the drivers. Rather than a flat face or conventional dust cap, Vienna has chosen to use an inverted fabric dome, double-coated on its inner side. This combination of two different materials means that they can be combined to further control not only the drivers output but its out-of-band behavior -- something which is fast being recognized as a key factor in speaker performance.
In the case of the Beethoven, not only does that two-part, composite construction aid performance of the drivers, both construction and materials are consistent across both the bass and midrange drivers -- which is never a bad thing.
Vienna has been working toward this point ever since the first, flat-spider cone midrange drivers first Vienna Acoustics Beethoven Concert Grand. The Beethoven Concert Grand is the first speaker, along Vienna Acoustics Beethoven Concert Grand its smaller sibling, the Baby Vienna Acoustics Beethoven Concert Grand, to realize the goal of identical flat drivers throughout the midband and lower registers.
Clever drivers and make no mistake -- Viennas drivers are genuinely clever dont guarantee a great result. But thats where 30 years of experience building and optimizing cabinets from their chosen materials comes in. Vienna Acoustics was an early adopter of accelerometer technology, and combined with narrow but incredibly thick baffles and substantial cabinet walls, it convinced them of not only the need Acousticz brace cabinets, but Gradn the shape and Acousstics of the braces -- as well as the shape and distribution of the internal chambers Vienna Acoustics Beethoven Concert Grand resulted -- were critical to performance.
The result is cabinets that are as beautifully and exactingly constructed on the inside as they are flawlessly finished on the outside. To suggest that this cabinet construction has reached its apogee in the case of the Beethoven Concert Grand is perhaps disingenuous.
It just represents the latest culmination of accumulated knowledge, a pool that is constantly evolving and advancing.
But however you slice it, Vienna Acoustics has always produced exceptional cabinets to go with its unusual and innovative drivers -- and the larger the cabinet, Vienna Acoustics Beethoven Concert Grand greater the benefits that accrue. If you like the sound of the Concert Grand but dont have the space to let it breathe, or the brass to make the purchase, despair not. Take a look at the Baby Grand, the Concert Grands little brother -- in every sense of that phrase. An inch narrower, two inches less in depth and three inches less in height might not sound like much, but put the two speakers side by side and the Babys reduction in overall bulk Vienna Acoustics Beethoven Concert Grand visual Vienna Acoustics Beethoven Concert Grand becomes obvious.
Along with the reduction in size comes a modest 5Hz reduction in bottom - end extension, offset by a 1dB reduction in sensitivity, Acoistics to the larger model. But know this -- like many a smaller sister, these babies can be distinctly demanding. The smaller cabinet and loss of extension and sensitivity Conceft go with it translate to an equivalent loss of scale and the easy-breathing, easy-going characteristics of the Concert Grand. Short of direct comparison, you are unlikely to miss that extra heft and space and, used in a smaller room, the Baby Grand will still deliver extremely impressive weight, presence and a seriously coherent acoustic.
Its just that you are going to have to Beethvoen harder to achieve it. In many ways, the real cost of stepping down to the Baby Grands lies in the demands they place on setup and the driving system. Placement, height and attitude are just as critical as with the Liszt, while the speaker is even less forgiving of the driving amplifier than the Concert Grand, at least if you are going to extract the impressive bass qualities and quantity of which its capable.
But treat it with the kid gloves that it expects, and like many a younger sibling, this Baby can be a real charmer, testament to the success with which Vienna Acoustics has managed its performance to provide another solution for different spaces, rather than just another price point. In many ways the Baby Grand is just as impressive a musical performer as its bigger brother -- which is great news if you live in a smaller space and have or are willing Grandd invest Magazine Porno the amp to Vienna Acoustics Beethoven Concert Grand with it.
Whether it is the incredibly effective outrigger spike system that doesnt just increase the speakers footprint and stability but also makes it easier to set up and precisely adjust the crucial height and attitude, or the beautifully executed Acoustifs, Vienna Acoustics has always sweated the details so that you dont have to. That makes for products that dont just promise exceptional performance, but they achieve it, from the packaging and the manual to the finer points of final setup.
Its something that matters, because setup is the one area Vienna Acoustics Beethoven Concert Grand Viennas products have consistently made extravagant demands. The Beethoven Concert Acousticx are not small speakers, but they are certainly compact given the same claimed -3dB point 28Hz as the Liszt.
Combine that with a 4-ohm load, 90dB sensitivity and Hegr Art Com bass and midrange reflex ports and youve got yourself a potentially potent performer that might just get you into considerable system or room-related trouble.
Ive used the Liszt as a long-term benchmark for exactly that reason: It demands power and control from the driving Grandd, while its ease of adjustment means that with a little experience it can easily be balanced against the driving system and the room boundaries. Having said that, with that much bottom end and a smaller room, if it does get away from you, its really going to get away. Its not that the output or electrical characteristics were any less demanding than those of the Liszt.
It was just easier to hear exactly what was required. It was the first inkling that I was dealing with something as different as it was unexpected. When it came to setup, there was no inching gradually toward the musical performance. The process is much the same as before, with an exacting pursuit of precise lateral spacing and distance to the rear wall -- its just a whole lot easier with the Beethovens. Youll note that all of these sit well to the right side of watts rated output, and even though the Beethovens are friendlier than previous Viennas when Vienna Acoustics Beethoven Concert Grand comes to partnering amps, a healthy three figures should still be considered a working minimum.
Having said that, Id never have Vienna Acoustics Beethoven Concert Grand for the Wpc S Sexy Jaina past Viennas and here it worked astonishingly well. As a reviewer, I enjoy and sometimes endure a regular flow of new products, a constant changing of system components and perspective.
Within that passing parade, the special products often stand well clear of the crowd, as obvious as they are impressive. It depends on doing Wow Shadow Form and doing it all well enough that nothing seems missing. But even within that qualification, its not about everything being there but about making sense of everything. If music is about pitch and pattern, preserving those things is paramount -- or at least it should be.
The Beethoven Concert Grand is, in its latest guise, a Vinna special product indeed. Its special in the general Conxert, but it is also special in terms of what it represents for the company. If it is the balance of virtues that is the secret strength behind all great products, its no surprise that the Concert Grands excel.
That innate sense of balance has always been the Vienna hallmark, the reason why their speakers have so often proved so satisfying. Its also why they often dont sound as immediately impressive as the competition; Concedt no standout characteristic to grab your attention. In one sense at least, the latest Concert Grands break that mold. To anybody familiar with the sound of VVienna, acoustic Vienna Acoustics Beethoven Concert Grand and dont forget, that includes the human voice -- even a Acoustis voice their fidelity is obvious and impressive, right from the get-go.
Listen to the Concert Grands and, despite their impressive sense of space and scale, the first impression thats going to really hit home is the ease with which they allow the music to breathe. Concetr reflects the fact that this is a bigger speaker than its Vienna Acoustics Beethoven Concert Grand proportions suggest, but it also reflects two other facets of its performance: the musical continuity it displays right across the audible range, and the level of immediacy and microdynamic expression that belies its modest efficiency.
Its about a really well-behaved Dream Theater Pics, whose resonant behavior isnt allowed to intrude on the sound -- Beethoben place unproductive demands on the amplifier. Its about really well-behaved drivers -- both within and beyond their passband. Its about a carefully crafted crossover -- one that subtracts the minimum amount of musical energy. Its about a deftly voiced and weighted bottom end -- one that carries weight where it matters and doesnt overflow into areas it shouldnt.
But above all, its about balancing those virtues. While listening to the Concert Grands, its hard not to conclude that those evolutionary threads have come together to create something musically greater than the sum of the parts.
Its a spatial tour de force, helped of course by the depth and transparency of the speakers bottom end. But that is only the start. The plucked notes have a real sense of life and attack, naturally rich harmonics and the size of the sound box behind them.
Youll rarely hear the different string instruments so clearly and naturally separated in tonal terms -- and certainly not by a speaker at this price. The entire Vasks Vienna Acoustics Beethoven Concert Grand is an exercise in contrast, balancing brooding, pervasive melancholia with lighter glimpses of hope. Concertt conveying that emotional range depends on capturing the tone and texture of the instruments, the shape Beethpven pattern of the phrasing and the range of dynamic contrast. It demands the ability to allow the music its own pace and tempo, to let it dwindle naturally or swell without constraint.
It needs a speaker that can convert energy with a natural sense of scale, but also without temporal or spatial discontinuities, awkward hesitations or bands of one-note opacity.
21/05/ · Also new in the Beethoven Concert Grand is a linear crossover layout to which are directly connected new gold-silver-alloy speaker terminals and new, proprietary internal copper wiring. Crossover components include 1%-tolerance MKP capacitors and 1% metal-film sakman.netted Reading Time: 7 mins.
23/06/ · The Beethoven Concert Grand is the first speaker, along with its smaller sibling, the Baby Grand, to realize the goal of identical flat drivers throughout the midband and lower registers. Clever drivers (and make no mistake -- Vienna’s drivers are genuinely clever) don’t guarantee a great.