Von Schweikert VR-35 Export Deluxe Loudspeakers

ON TEST
Von Schweikert VR-35
‘
‘EXPORT DELUXE’ LOUDSPEAKERS
W
hen you buy a pair of Von
Schweikert speakers, it seems
to me that you’re not so
much buying a pair of speakers as becoming a part of the Von Schweikert
family. If you call or email the company,
you’ll get the personal attention of either the
designer, Albert Von Schweikert, or his son
Damon. And it appears to me that if you buy
a pair of Von Schweikert speakers in the USA,
where they build their speakers by hand, it’s
not unusual for one of the two (or both!) to
call on customers personally, either to install
speakers or sort out room positioning issues.
Here in Australia, although the Von Schweik-
34
erts are only an email or phone call away, the
personal local touch is provided by the genial
Geoff Doherty of Cardoh, who is their official
Australian distributor.
THE EQuiPMEnT
The Von Schweikert VR-35 Export Deluxe
speakers are large. Very large. To be specific,
they’re 1270mm high, 406mm wide and
302mm deep. They’re also heavy. Very heavy.
Again, to be specific, each one weighs 54kg.
The finish is a ‘cloth wrap’ but whereas most
cloth wrap speakers allow owners to remove
the cloth, Von Schweikert has glued its
cloth in place. My samples were finished in
a black cloth, which made them look rather
forbidding. Von Schweikert has other options
available, the standard ones being ‘Platinum’
coloured cloth with brushed aluminium coloured end plates and ‘Mocha’ coloured cloth
with similarly coloured matching end plates.
The company will apparently also mix and
match the cloths and end plates for you.
The cloth wrap made it impossible for me
to dissemble the cabinets, as I usually do with
all the speakers I review, so I cannot give any
information about the drivers other than that
supplied by Von Schweikert itself. According
to Von Schweikert, the front baffle houses
two 150mm bass/midrange drivers, arrayed
Australian
HF May12_034 Test Von.indd 34
9/05/2012 12:27:55 PM
Von Schweikert VR-35 Export Deluxe Loudspeakers
‘
in MTM format around a single 25mm silk
dome tweeter. Von Schweikert says the bass
midrange drivers have cast frames and that
the cones are laminated, using wood pulp,
carbon-fibre powder and a rubber surface
treatment. At the rear of the speaker is a
moderately large vent. Below this vent, but
invisible behind the black cloth, is a woofer
that Von Schweikert says is 150mm in
diameter and is manufactured by Tymphany
(Peerless).
I am not a great fan of cloth wrap, but I
appreciate that it allows manufacturers to
reduce their manufacturing costs, provides
almost fail-safe mechanical protection for the
drivers in the cabinet and ensures customers
have a long-lasting finish. However, it
appears that counterfeiters are great fans of
cloth wrap—for the obvious reason! In fact
the Von Schweikert Audio website carries the
following warning: ‘It has come to our attention
that cloners have been reselling unauthorized and
inferior copies of several of our speaker models
through unscrupulous dealers advertising on the
Internet on various resale sites.’ The lesson is to
buy only from Geoff Doherty at Cardoh!
The crossover used in the VR-35 is
unusual for two reasons. Firstly, the rearfiring bass driver’s high-frequency response
is rolled off by a single large inductor that
has been designed to start rolling off the
bass driver at 80Hz. This means that the
slope would be first-order, or 6dB per octave.
Secondly, the low-frequency response of
the two front-firing bass/midrange drivers is
not filtered at all, so they receive all the low
frequencies as well as all of the midrange
up to 6kHz, after which the tweeter takes
over the high-frequency duties. This means
that conceptually, you could think of the
VR-35 design as a small two-way full-range
loudspeaker (the front-firing drivers) plus, in
the same cabinet, a separate unpowered lowfrequency driver.
This is an extremely unusual—possibly
even unique—design for a loudspeaker
because it means that two completely
different drivers, with different cone sizes,
different resonant frequencies, different
frequency and phase responses and different
distortion spectra will be reproducing exactly
the same musical notes. And these are notes
that are contained within an extremely
important section of the audible range: one
which contains almost all of the most tonally
significant musical information (from C2 at
65.4Hz to around C6 at 1.046kHz).
However, perhaps even more
significantly—and also uniquely—the
different drivers are also located in
completely different positions on the cabinet,
so there will also be a time delay at the
listening position when the same note is
produced simultaneously by both drivers.
This time delay between the front-firing
and rear-firing drivers essentially means
that at the listening position, you will get a
few milliseconds of delay between the three
drivers. So whereas most manufacturers like
to time-align their drivers, it seems to me that
Von Schweikert has deliberately introduced
significant time delays.
If, like me, you were a bit confused about
the name of this speaker, and why it is an
‘Export Deluxe’ model, I was assured by
Albert Von Schweikert himself that this is
the only version of the VR-35 his company
makes. That is, there is no ‘non-deluxe’
version, nor is there a ‘non-export’ version
manufactured solely for sale in the USA…
which then, of course, begs the question as
to why the speakers’ model name is not just
plain ol’ ‘VR-35’.
lisTEninG sEssions
It didn’t take me too long to work
out why Von Schweikert offers a 90day home trial.
ON TEST
VoN SCHWeiKerT Vr-35
EXPORT DELUXE LOUDSPEAKERS
Brand: Von Schweikert
model: VR-35 Export Deluxe
Category: Floorstanding Loudspeakers
rrP: $9,988.00
Warranty: Five Years
Distributor: Cardoh Pty Ltd
address: 11 Day Street Wentworth Falls
NSW 2782
(04) 0838 6977
(02) 4757 1710
[email protected]
www.cardoh.com.au
• Upper midrange
• Spatial delivery
• Cabinet finish
LAB REPORT
Readers interested in a full technical
appraisal of the performance of the
Von Schweikert VR-35 Export Deluxe
Loudspeakers should continue on
and read the LABORATORY REPORT
published on page 50. Readers should
note that the results mentioned in
the report, tabulated in performance
charts and/or displayed using graphs
and/or photographs should
be construed as applying only
to the specific sample tested.
Lab Report on page 50
avhub.com.au
HF May12_034 Test Von.indd 35
35
9/05/2012 12:27:55 PM
ON TEST
Von Schweikert VR-35 Export Deluxe Loudspeakers
First and foremost, of course, is the fact that
Von Schweikert says its speakers do not give
of their best until after you’ve put at least 500
hours on the clock. It also says that you have
to move them around until they have ‘dialled
into your room.’ Von Schweikert then goes
on to say that if the VR-35 speakers sound
‘hard’ in the upper midrange and treble, that
this will be because ‘there are some brands of
electronics which ‘sound hard in the upper midrange and treble’ and that you should ‘avoid
overly-detailed, harsh-sounding transistor amps.’
The company also suggests that if you place
the speakers too close to corners, you may
hear excessive bass power, in which case you
should purchase some Dacron Polyfil stuffing
from a fabric store and completely block the
rear port. V-S also recommends against using
silver cables, which it says ‘may also cause
bright sound.’
According to Geoff Doherty, the samples
he loaned me for this review already had
500 hours on them, by virtue of having been
used as demonstrators in Doherty’s own
home and having been run virtually nonstop during last year’s Melbourne Hi-Fi Show,
where they were the demonstration speakers
in the Von Schweikert room. Positioning the
speakers in my room took an inordinately
long time, not because they were so heavy
(though this was a factor) but because I was
not happy with the sound of the VR-35s in
any of the positions that have proved to work
well for just about every other speaker I have
auditioned. I eventually ended up positioning
the VR-35s around three metres apart, and
precisely three centimetres from the rear wall,
with the backs of the speakers parallel with
the wall (that is, I didn’t toe the speakers
in towards the listening position at all.) I
confess I still was not entirely happy with
the bass of the speakers in this position—
particularly given the cabinet size, the size
and number of the bass drivers and the
price—and, before you ask, yes, I did try the
so-called ‘Klipschorn Solution’ (placing the
speakers in corners to improve the bass) but
when I did I found that the lower mid-bass
became far too prominent and that it really
didn’t increase the deep bass significantly.
Once finally positioned in my room
where I felt they sounded the best, I found
the sound of the Von Schweikert VR-35s was
not only very distinctive but also completely
different from any other speakers I can
remember hearing. It was so different that I
completely gave up on comparing the VR35s with other loudspeakers in the standard
time-honoured A–B fashion, because the
sound was so completely different that
there didn’t seem to be any point. This in
itself proved to be interesting because (and
I have to get somewhat ahead of myself to
explain this), it was only when I stopped
making A–B comparisons that I discovered
another reason why it might be that Von
Schweikert wants you to hang on to the
speakers for three months before making a
final decision to purchase them. That reason
is that, quite simply, the longer I listened
solely and exclusively to the VR-35s, the
more I became accustomed to the way they
sounded. In hindsight, this is a fairly obvious
conclusion, but it had not occurred to me
that it was a technique that could be used to
help sell loudspeakers. When I mentioned
this to a friend who’s a psychiatrist, she
confirmed this and said there’s also a wellknown psychological factor at work in
requiring owners move the speakers around
and carefully select their electronics, because
apparently behavioural psychologists say
that people have a strong internalised notion
that effort equals quality. ‘People believe that if
effort is put in, the result is higher quality,’ she
said. And indeed once I became accustomed
to the sound of the VR-35s my overarching
impression was of a large and majestic
sound field that delivered impressively
room-filling sound, a bit like Phil Spector’s
‘wall of sound’ approach. I could not hear
any inconsistencies in the midrange sound,
which seemed to me to be tonally accurate.
However, the extreme high frequencies
were to my ears a little soft at my listening
position. Angling the speakers in slightly
mostly corrected this, but this in turn upset
the bass. In the end I moved the speakers
closer towards each other, which redressed
both issues.
Conclusion
When I checked out Von Schweikert’s
website, I discovered that with one exception, every other Von Schweikert speaker is
‘conventionally’ designed, by which I mean
all their drivers are mounted on the front baffle and the cabinets are not swathed in cloth
but have the usual high-quality wood veneer
finishes found on most other speakers.
Puzzled about the ‘odd man out’ nature
of the VR-35, I delved deeper and found that
the VR-35 looks a lot like the ‘Vortex Screen’
speakers that put Von Schweikert’s first company (Vortex Acoustics) on the map back in
the 1980s.
Who was it who said that speaker designers don’t have sentimental favourites?
greg borrowman
Home Trial Sales
In the USA, the Von Schweikerts use an unusual business model to sell their speakers.
The company sells mostly direct via a ‘90-day Home Trial’ system, but there is another
sales model that involves the Von Schweikerts offering potential customers an allexpenses-paid weekend in California. This works as follows, according to the website:
‘Bring a loved one with you for a weekend to visit our factory showroom in sunny
Southern California. Spend one or two days listening to any of the Von Schweikert
audio components in our spacious sound room. If you’ve never been to southern
California before, take the second day to see the sights and fully enjoy your get-away
weekend. The cost of your travel, food and accommodation for two fun-filled days will
be deducted from your purchase price.’ Unfortunately for Australians, this particular
offer applies only to Von Schweikert customers in the US and Canada and then also
only for certain (non-specified) models! And if you don’t end up purchasing the
speakers, you have to pay for your weekend get-away. Here in Australia, the offer is
more modest: Cardoh offers no-obligation auditions in the distributor’s own home in
the beautiful Blue Mountains of NSW, some three hours west of Sydney, using a Jolida
JD1000RC valve amp and Killer DAC. Cardoh’s Geoff Doherty told us that he will pick
up customers who fly in to Sydney’s Mascot airport and drive them back after their
audition at no charge and with no obligation to purchase the speakers… but says
that this offer is subject to his availability at the time of your arrival at the airport.
As for the 90-day Home Trial approval system that is available to Australian
customers, Cardoh says: ‘This trial is not a “loaner” program, so if you’re not really in
the market to purchase new speakers, this offer will not apply.’ Indeed to qualify for
the 90-day Home Trial you have to pay the full purchase price of the speakers upfront before the speakers will be shipped to you. After your speakers have arrived,
you have to keep them for the full 90 days, and also play them at moderate (but
unspecified) volume levels for at least 500 hours. Then if you don’t like them for any
reason, you have to call Von Schweikert before returning the speakers to discuss
your ancillary equipment, your room, and other factors Von Schweikert feels might
adversely affect the performance of their speakers. If, after all this, you still decide
to return the speakers, Cardoh will deduct the full cost of shipping the speakers to
and from your home, plus the cost of repairs should any damage have occurred
during the 90-day trial or during shipping. Australia being the size it is, return shipping
costs will vary from a minimum of around $450 for Sydney/Melbourne/Brisbane
metropolitan regions to up to $1,400 if you live in Darwin or a remote country location.
LAB REPORT ON PAGE 50
36
Australian
HF May12_034 Test Von.indd 36
9/05/2012 12:27:56 PM
LAB REPORT
Von Schweikert VR-35 Export Deluxe Loudspeakers
CONTINUED FROM PAGE 34
TEST RESULTS
Because it appears loading is important to
the low-frequency performance of the VR35, Newport Test Labs was asked to test
the low-frequency performance not in its
standard anechoic test environment, but in
a room, with the speaker placed diagonally
across a corner, then with its back three centimetres from a wall, then with the speaker
two metres from a rear wall. The results of
these tests are shown in Graph 1. You can
see that in the corner position (red trace),
there’s a significant (7.5dB) lift in the region
40–250Hz, whereas with the speaker two
metres from a rear wall (green trace), the bass
response rolls off very rapidly, and begins
doing so right up at 1kHz. The black trace
(where the speaker was 3cm from a rear wall)
110
Overall, the frequency response of the VR-35, as
measured by Newport Test Labs, extends from 26Hz
to 30kHz ±4dB, which is a very good result indeed.
has a ‘suck-out’ between 60Hz and 200Hz,
but is the flattest overall, so that the trace
shown extends from 35Hz to 10kHz ±3dB. (In
this case, 10kHz is the upper graphing limit.
The high-frequency response of the VR-35 is
shown in Graph 2 and Graph 6).
The trace showing the high-frequency
response of the VR-35 that’s shown in Graph
2 extends from 500Hz (the lower graphing
limit) to 30kHz±5dB. As you can see there
dBSPL
Newpor
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Test
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105
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95
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90
90
85
85
80
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75
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70
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65
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60
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55
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50
50
20 Hz
50
100
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2K
5K
dBSPL
110
105
Newpor
wport T
wpor
Test
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20 Hz
50
100
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500
1K
2K
5K
Graph 4. Low frequency response of upper (blue trace) and lower (green trace) front-firing
bass/midrange drivers. Nearfield acquisition. [V
[Von Schweikert VR-35 Loudspeaker]
Graph 1. Frequency response for three different room positions. In a corner (red trace);
3cm from a rear wall (black trace); and two metres from a rear wall (green trace). Signal
source band-limited pink noise. Upper graph limit 10kHz. [V
[Von Schweikert VR-35]
110
are peaks at 1kHz (+4dB), 3.8–5.5kHz (+4dB),
12.5kHz ((+4.5dB) and dips at 2.5kHz
(–2.5dB), 8.5kHz (–5dB) and 16kHz (–3dB).
I suspect these may be partially caused by
reflections from the beading that keeps the
cloth raised away from the tweeter and bass/
midrange drivers, but further examination
was prohibited by the difficulty of accurately
locating microphone with relation to the
drivers because of the fixed grille cloth.
dBSPL
Newpor
wport T
Test
est Labs
Ohm
20
Deg
Newpor
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Test
est Labs
105
150
100
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30
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8
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6
60
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-30
-60
-90
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5
-150
55
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500 Hz
1K
2K
5K
10K
20K
30K
4
10 Hz
20
50
100
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2K
5K
10K
20K
-180
30K
Graph 5. Impedance modulus of left (red trace) and right (yellow trace) speakers plus
phase (blue trace). Black trace under is reference 4-ohm precision resistor. [VR-35]
Graph 2. High-frequency response, expanded view.
w. T
Test stimulus gated sine. Microphone
placed at three metres on-axis with tweeter. Lower measurement limit 500Hz. [VR-35]
110
180
dBSPL
Newpor
Ne
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Test
est Labs
110
105
105
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95
95
dBSPL
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Test
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90
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75
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50
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10 Hz
20
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Graph 3. Low frequency response of rear-firing bass reflex port (red trace) and rear-firing
woofer (black trace). Nearfield acquisition. Port/woofer levels not compensated for
differences in radiating areas. [V
[Von Schweikert VR-35 Loudspeaker]
50
1K
20 Hz
50
100
200
500
1K
2K
5K
10K
20K
30K
Graph 6. Composite response plot. Yello
Y w trace is output of bass reflex port. Pink trace is
anechoic response of rear-facing bass driver. Green trace is anechoic response of frontfiring woofer. Light blue trace is anechoic response of midrange driver. Red trace is gated
(simulated anechoic) response above 600Hz. Black trace is averaged in-room pink noise
response. [V
[Von Schweikert VR-35 Loudspeaker]
Australian
HF May12_034 Test Von.indd 50
9/05/2012 12:28:48 PM
you’d expect from the design. The classic
‘bass reflex’ tuning is reflected in the peaks
at 16Hz and 44Hz and the dip at 26Hz, but
the severe extra dip at 70Hz to almost 4Ω
is anything but classic. Also, the relatively
high impedance below 50Hz will place
considerable demands on the amplifier for
voltage. Between 200Hz and 550Hz, the
speaker will demand current, with the impedance dipping below 5Ω to reach nearly
4Ω at 300Hz. Actually, other than below
100Hz, the impedance rises above 8Ω only
between 1.2kHz and 3kHz. The phase angle
is well-controlled to within ±30° except at
60Hz, where it briefly strays to –60°. The
pair matching is very good, but not perfect.
(If it were perfect, the red and yellow traces
would lie on top of each other, rather than
diverging.) Loudspeaker efficiency was very
slightly above average with Newport Test
Labs measuring 87.5dBSPL at one metre for
an input of 2.83Veq.
Graph 6 is a composite. The various
measurements have been overlaid via postprocessing to show a picture of how each
contributes to the overall response of the
speakers, and they show that overall, the
frequency response of the VR-35, as measured by Newport Test Labs, extends from
26Hz to 30kHz ±4dB, which is a very good
Steve Holding
result indeed.
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Graph 3 shows the nearfield response
of the rear-facing driver and the rear-facing
port. You can see that the low-frequency
response of the driver rolls off below 50Hz
at around 12dB/octave. The upper frequency
response starts rolling off above 140Hz, but
it’s very slowly rolled off, so the response is
only 10dB down at 550Hz. The output of the
port is lower than I would have expected,
but it should assist bass between 20Hz and
70Hz.
The low-frequency nearfield response
of the two front-firing drivers is shown in
Graph 4. Interestingly, the drivers do not
seem to be operating in parallel (or series).
Instead, the uppermost of the two drivers
has a more extended low-frequency response
than the lower of the two drivers. It’s almost
as if the topmost driver was a ‘bass’ driver
and the bottom-most a ‘midrange’ driver.
I can’t see why the drivers appear to have
been ‘swapped’ vertically. As you can see, the
‘bass’ driver’s response rolls off very steeply
below 80Hz and extends out to 2kHz before
being rolled off by the crossover network.
The ‘midrange’ driver’s response is really
only truly ‘flat’ between 270Hz and 350Hz,
being rolled off both above and below these
frequencies.
The impedance modulus shown in Graph
5 is of the total system. It’s fairly unusual, as
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TRANSMISSION LINE
• Atohm GT 1.0 Loudspeakers
Although the instruction manual that comes with the VR-35 says it is a ‘Triple Chamber
Transmission Line’ enclosure, it appeared to me from what little I could determine
from examining the exterior of the enclosure and the rear port that Von Schweikert’s
concept of a transmission line enclosure is different to mine. Von Schweikert says
a transmission line is ‘a non-resonant tuned box’, whereas my understanding of a
transmission line enclosure is that the whole point is to slow down the sound waves
issuing from the rear of the cone relative to their velocity in free air (i.e. the sound at
the front of the cone) and that the primary reason for doing this is to shift the phase
of the driver’s rear output by around 90° in order to reinforce frequencies near the
driver’s Fs. It’s true that many manufacturers who use transmission line loading ‘stuff’
the line so full of absorbent material that there’s very little output from the line, which
is why they’re often called ‘non-resonant’ but the essential idea, at least as proposed
by the inventor of the transmission line, Dr A.R. Bailey, is that there is output at the end
of the transmission line, and that it enhances only the low bass.
When I emailed him to clarify this, Albert Von Schweikert emailed me back that the
VR-35 was actually a ‘quasi’-transmission line. ‘You might not visually recognize our
woofer cabinets as being a transmission line design, since we don’t use the labyrinth
design, but […] the line tunnel (labyrinth) length is not as important as the stuffing
density of the ‘fibrous tangle,’ which can be fibreglass, porous foam, long hair wool, or
crimped Dacron,’ he wrote. ‘Our quasi-transmission line is non-resonant due to the 100
per cent stuffing density of crimped Dacron and has an impedance curve that shows
the impedance peaks highly pushed down to nearly a flat line, which is indicative
of a properly tuned transmission line. Our design behaves just like ‘labyrinth’ designs
which use a long tunnel behind the woofer, although we do not use the labyrinth
style since it requires a box size about twice the size of our cabinet. Our various
models use several tuned chambers, each with a differing stuffing density, so that
the woofer is tuned to a low frequency by the combined air masses of the various
chambers.’
Despite Von Schweikert’s emailed clarification, I retain the view that in order to
be called a ‘transmission line’ design—quasi or otherwise—a loudspeaker should
incorporate a ‘folded line’ or ‘acoustic labyrinth’ at least 2.7-metres in length. gb
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9/05/2012 12:29:04 PM