Wednesday, December 22, 2010
It has been a crazy few months, with RMAF, hosting audio get togethers, and opening up a new outlet store for audiophiles, time has been a precious commodity.
Now its time to get ready for CES. Fortunately TweekGeek nor Audiophile Outlet Store is exhibiting, so there is a little more time for things like telling you about the Nuforce Ref 18.
I currently have had them in my system now for 48 hours running continuously, and they are improving. I love the low profile form factor and the fact that they generate no heat. My biggest concern with them in the beginning were the high frequencies, something about them was unsettling. Now things seem to have taken a turn for the better with time and a few tweaks. Let me just say Nuforce amps absolutely need quality AC. Do not think you are going to get away with plugging them straight into a wall, or a budget conditioner. You need something that filters and conditions the AC very well. AC Cables are important too, something that allows the gear to breathe, with instantaneous current delivery, but something that also possesses a warmer sonic signature, the same goes with speaker cables and interconnects. I prefer warmer sounding cables with the Nuforce. The Bybee AC products have always mated well with Nuforce gear. I am currently using the Bybee Power Purifier, and the Bybee Speaker Bullets. The combination is great with any system, but it takes the Nuforce products from competitive in their price range, to stellar. There is a special synergy that makes the Nuforce less electronic sounding, and more musical. They are not inexpensive, but worth every penny if you want to get the most out of the Ref 18's.
I also found the AudioPrism Ground Controls on the loudspeakers to be very beneficial. Again this is something that I have found to work on every speaker, but for whatever reason, they synergize particularly well with Nuforce gear.
What it comes down to is minimizing electronic noise. Switching amps are particularly prone to being noisy. The type of noise I am talking about is not necessarily audible hiss that you hear when you put your ear to a loudspeaker. In that regard these amps are stunningly quiet. The noise I am talking about seems to affect the way upper mids and highs are presented. There can be an "edge" to the sound that may at first appear to be enhanced transient response, but over time becomes fatiguing and is realized as being gritty or grainy. This is the Achilles heel of switching amps in my opinion.
The Ref 18's definitely have much less of a problem with this than the Ref 9V3, but they still benefit greatly from the Bybee AC conditioner, speaker bullets, and ground controls. What I hear when all of those are in place is what mid and high frequencies should sound like, effortless, natural, yet dynamic with excellent transients that don't make me want to turn down the volume after an hour.
In general, one needs to spend time with any component to really assess if it is a fit for one's system and preferences. Audiogon is littered with gear that had great reviews, was purchased site unseen because is was a "good deal", then quickly put back up for sale because the buyer had different preferences, it didn't synergize with their gear, or honestly their system sucked to begin with and they weren't addressing the problem. Is it really a bargain at that point?
So bottom line for today, the Nuforce amps need quality power conditioning, cabling that leans to the warm side, and the amps will also benefit from additional noise reducing devices placed near the end of the signal chain.
Next post, bass.
Friday, September 24, 2010
So the Nuforce Reference 18 mono block amplifiers arrived today, 9/24, in a massive 60 pound crate. Impressive, I thought. I opened the crates to find the two amps wrapped in velvet, and surrounded with a massive amount of form fitting foam. The nice thing about the crates is that they had latches and a locking hinge that held the lid open for you. Much better, and more reusable than screws. I would have liked to see some strapping across the crates in case the latches gave way somehow.
Being Friday, I wasn't really eager to tear apart my system, I was more eager for beer. But curiousity got the best of me and I disassembled my system, removing the Modwright KWA 150 that sat on its WellFloat platform (those platforms are awesome by the way). I had to scrounge up one more platform since I now had 2 amps to deal with. So the Wellfloat under the Bybee conditioner was replaced by a maple platform. There, both amps had nice places to sit and were ready to be connected.
Now, I prefer the sound of the Modwright KWA 150 to the Nuforce Ref 9 V3SE, so I am a little skeptical about the Ref 18. We shall see.
Finally, with the amps connected, I had to flip the power switches on the back, then sloooowly swipe a finger across the touchpanel on the front to power the amps on. I say it that way because the first few tries at swiping my finger were of the velocity used on my smartphone. In this case, that was much too fast.
Okay we got past that, and even though the Nuforce manual says not to critically listen to the Ref 18's for 75 hours, I had to hear the break in process, because customers will want to know.
Initially, the sound is damn good. I am surprised. It seems a little lighter on the bottom than the Modwright, and perhaps a tad cooler, but this is with 10 minutes on them. The point is, with the Ref 9 V3SE I would have run out of the room screaming by now, and I'm here. Listening. Not bad. Tone seems to be more analog sounding, less harsh than I expected, and soundstaging is very good. Right now, I would say my only negative finding is that the Modwright, with 1000 hours on it, is better at dynamic contrast. Mind you this is less than an hour into listening. Now where is my beer?
Tuesday, September 21, 2010
Computer audio does not have to be scary. The benefits of storing all of your music a computer are, ease of access, portability, and yes in some cases better sound. The number of high resolution recordings is growing every day. The sheer amount of data on these recordings is greater than what can be stored on a CD, making the potential for better sound quality a reality. Even if the quality is "only" CD or (gulp) even less, storing music on your PC for the sheer portability of doing so allows the possibility of transporting your music to every room of your house without carrying stacks of CDs with you. Imagine, your entire music collection available to you on the patio, at the pool, in your bedroom, home office or garage. The benefits are huge, and the opportunities to enjoy your music outside of your listening room are here. Heck it might even provide an opportunity for you to share your passion in ways you never thought. We love our music, and the good it does for our soul, why not explore PC audio? You might find yourself enjoying music a lot more often....Now, on to my top resources.
- Benchmark Media Audio Wiki - You will find tons of information on how to set up a PC or Mac for computer audio. If you are new to PC audio, this is a great place to start.
- HD Tracks - HD tracks is at the forefront of providing a downloadable, high resolution music. If you like classical, blues and jazz, you will be very happy. Rock? you might find a few gems like the Pixies or Interpol.
- Pandora Streaming Radio - Let me warn you, Pandora is NOT about hi rez sound quality, its about discovery. You simply tell Pandora who your favorite artists are, and it will create a "radio station" around that (or those) artists, sprinkling in some new and/or similar artists that you may never have heard of. Prepare to listen for hours and discover some great music. One of the best things to happen on the internet besides TweekGeek ;) .
- DBPowerAmp - It has a strange name, but this software application allows you to rip your CD collection to a hard disk, complete with artwork, all bit-perfect thanks to AccurateRip.
- iTunes - You can actually download lossless music from iTunes as well. Explore better sound quality, and they have a pretty kick-ass software application for playback too. Not that it is the best sounding, but it probably has the best user interface.\
- Foobar2000.org - for the more adventurous Windows user, Foobar 2000 offers some sonic advantages over many other playback applications. Playback of ultra high rez files being one
- What are some of your favorite Computer audio resources? Tell us and you automatically enter for a chance to win an M2Tech hiFace USB to digital audio interface.
Wednesday, June 23, 2010
A good customer of mine who is quite savvy when it comes to Mac computers (something I am not) provided me with some great advice I thought I would share.
Mac Tweeks for better PC Audio Performance
- The HiFace is NOT hot Swapable on the Mac! Always shut down the computer first before inserting or removing the device.
- Use a mac laptop that has an aluminum shell or a Mac mini. The current macbook Pro and Mac mini are both fine to use. I highly suggest you dedicate the computer to your Audio System to use as a transport and do nothing else.
- For your Mac Operating System, the Snow Leopard system is the best with Leopard coming in second. The Mac OS X does not use a Kernel mixer like windows XP.
- Do NOT keep your music on the internal hard drive. All computers make noise and the mac mini makes the least amount of noise. Since you are using a Mac, get yourself a portable, Bus powered Firewire interface drive. I have tremendous success using an Oyen Digital enclosure with a Western Digital Blue Scorpio drive. I use the included, shielded 1394B cable.
- FYI, the smaller 2.5 inch drives sound better than the 3.5 inch drives. Also, the 5400 RPM drives sound better than 7200 RPM drives. With this already stated, an external, aluminum enclosure (keeps the noise down) and a good drive like the WD Scorpio Blue, you are on your way. There is some difference of opinion on this matter. I think we all can agree that Solid State hard disks sound the best (if you can afford them). Some in the recording industry do say that the 7200 rmp drives sound better, and that is what is used in the industry as well
- For macs, the fire wire interface will sound better than USB as it uses lower CPU usage!
- For your front end application, do NOT use Itunes. That included app does not sound good, it is geared for Ipod usage. It has way too high of a CPU usage and it does not support many of the lossless codecs.
- One of the best sounding front ends on the Mac is a application called Play. This freeware app works with Core Audio and sounds so superior. For paid apps, try Amarra, or Pure Music.
- As always, use a Hi-Face and BNC is better. The Stereovox cables are supreme and you should consider them. allow them to Break In as they do require some time.
- Since your computer is dedicated to running your stereo, do not run an Anti Virus client and do not surf the when when listening to music.
- As Always, try these tweaks at your own risk, benign as they are. I am not responsible for you screwing up your computer.
Wednesday, June 9, 2010
It's no secret that M2Tech has set the computer audio geek related crowd abuzz with the introduction of their hiFace USB to digital interface earlier this year. This $150 gadget that looks like a USB Pen drive can output a 24 bit 192 kHz stream to your DAC with only 2 picoseconds of jitter distortion. Which puts it in the top 2% of CD transport performance. When playing lossless FLAC files with a music streaming program Like Foobar, Jriver, or MediaMonkey, you have a powerful high dollar sounding transport and the convenience of having your entire music collection a click away. All for a fraction of the cost of a high end audio CD transport. Smart phones like the iPhone and Droid are also offering applications that will make your phone act as a remote control for your music streaming software, upping the convenience factor another notch. You don't need to be a rocket scientist to get started, but some computer knowledge (or the help of a tech savvy colleague) is necessary.
M2Tech is now upping the anty with three new products soon to be released.
The first product is the Evo. This is basically a hot-rodded hiFace. One major difference is that the Evo has an input for an external power supply, and is no longer chained to the PC's noisy power. There is also an input for a master clock, 1 RCA, 1 BNC, and 1 AES/EBU output that is adjustable for consumer or pro audio output via an internal jumper. There is also a Toslink out and a direct I2S output with a 3.3 volt interface. All of the outputs except the I2S are transformer decoupled to avoid ground loop noise.
The next new product is the Young DAC. The Young DAC supports up to 32 bit 384 kHz formats via its USB input. It also sports S/PDIF RCA, BNC, Toslink and AES/EBU Inputs, and for outputs, you have a pair of RCA's. The power supply is an external 9 to 24 volt DC. This DAC is not only ready for the bleeding edge 24/192 files that are available, but will be able to handle future higher resolution formats as well.
M2Tech's Vaughan Reference DAC adds a built-in digital volume control to the 32/384 DAC section plus the following:
- Input sampling frequencies (kHz): 44.1, 48, 88.2, 96, 176.4, 192, 352.8, 384
- Resolution: up to 32 bits (USB), up to 24 bits (other inputs)
- Inputs: USB (B-type female), S/PDIF (2 x RCA and 2 x 75 Ohms BNC, dual AES for 384kHz), AES/EBU (2 x XLR dual AES for 384kHz), Toslink (2 x for dual AES), ST (2 x for dual AES), straight I2S, external master clock
- Outputs: single-ended on RCA and balanced XLR, plus a headphone ouput on 6.35mm jack socket
- Power supply: 115-230VAC, optional high current lythium battery with battery changer available
- Controls and display: standby and select buttons, encoder, dual large matrix display to show locked frequency and selected input.
- The Vaughan features 8 D/A IC's (4 per channel in mono mode). A digital dithered volume control will allow for using the Vaughan as a preamplifier. The headphone output is made with a discrete components amplifier.
- Brushed aluminum case and grilled front panel
- Dimensions: 440 x 80 x 440 mm.
Monday, May 10, 2010
Is better sound quality in music's future? Is it finally time for a renaissance in hi-fi? Share your thoughts...
Friday, April 9, 2010
Such stores are the ideal buying sources for serious audiophiles who don't happen to live near a nest of high-end dealers. In fact, mail-ordering components will often result in greater satisfaction with your purchases than buying them from a local store, because you have the opportunity to live with a component before making a decision to buy.
Substitute the word "internet dealer" with "mail order" and you can pretty much get the same meaning for today. If only everyone would see it that way.
The sad truth however is that today many manufacturers shun any business they consider an "internet dealer" out of fear that their brand will be destroyed by deep discounts that (in their mind) every "internet dealer" offers. Never mind the fact that 90% of "brick and mortar" dealers have web sites with contact information listed, and the fact that it is just as easy for a customer to call the "brick and mortar" as it is the "internet dealer". In fact it happens quite a lot. Nobody buys expensive audio gear online without talking to someone representing that business offering the gear first. Nobody.
In fact, one of the most offensive, egregious deep discounters in audio is a brick and mortar shop that does not have an e-commerce enabled web site. They have a standard site that allows buyers to contact them via email or phone. They openly solicit dealers to sell their excess inventory to them with the promise to protect the offending dealer from scrutiny by the manufacturer. Yep, most manufacturers would classify this dealer as brick and mortar with a web site, and that would be just dandy.
The criteria for selecting a dealer for your product should be the integrity of the people you are doing business with, not whether or not they pay a lease on retail space. /rant.
Wednesday, March 24, 2010
I just thought I would throw up a comparison of some AC cables I have been listening to recently. Clean power and quality AC cables can make or break an audio system. Cables are not the last six feet of wire coming from your AC outlet, rather I believe they are the first six feet of wire your audio equipment sees, and therefore are critically important to the overall performance of your audio system.
- Modwright KWA 150 Power amplifier
- Modwright 36.5 preamp with 6H30 DR Tubes
- Slim Devices Transporter with 6H30 DR Equipped tube output stage (and lots of other goodies)
- Bybee AC conditioner
- Vivid Audio B-1 Loudspeakers
Kaplan H.E. - The Kaplan H.E. Retails for $479. Tonally I would say it leans to the warm side, but it is very agreeable with solid state and digital gear. It seems to eliminate glare, and the highs are oh so slightly laid back. The presentation is relaxed, and you are able to listen to music for long periods of time without the fatiguing effects of brighter cords, which impress one initially, but then end up hurting your ears after long periods of listening. Initially, the H.E. sounds rolled off, but keep listening. What you will soon realize is many other cords have grainy or exxagerated highs, which many listeners mistake for "air".
Compared to similar cords, the Kaplan excels in tonal balance, and long term listenability. A great value
Kaplan G.S. - The G.S. improves upon the H.E. mostly in the midrange and bass. The warm tonal balance and long term listenability are there in spades, but all of the sudden there is much more transparency in the midrange. The increased low level detail resolution adds to soundstage width and depth. I love the GS with copper termination, and so does my Modwright gear. There is just such a rightness to the sound, like a live performance. The GS is not a cable that immediately grabs you. Its only when you start listening at length do you realize just how great this cable is, and how much longer you have been able to listen to your system without getting tired. If your system is on the cool side, or you just love great midrange, this is a terrifict cable.
Silent Source Music Reference - The Music Reference from Silent source has received much critical acclaim, and it deserves it. It is super transparent and dynamic with extension at both extremes. In my opinion, it works best with tube gear, or when blended with a Kaplan G.S. The warmth of the kaplan with its transparency blends very well with the speed, transparency, and yes a little bit of coolness from the Silent Source. The soundstage and low level resolution of this cable is excellent. If you love a wide and deep stage, this is a good cable for you.
Wireworld Gold Electra - The Wireworld Gold Electra falls in the dead neutral category tonally. This cable is quiet, balanced and very easy on the ears. Top to bottom, the balance and dynamics are spot on. I use this cable on my Bybee Power Conditioner, it seems to synergize very well with it. The soundstage is slightly smaller than the Music Reference and G.S., image placement is superb, and bass performance and dynamics are outstanding. This is another one of those cords that allows you to relax and enjoy the music for hours on end.
Acoustic Revive Power Reference In all fairness, this cable was not completely broken in when I first auditioned it, I will report back later if any major changes in tonality or other performance factors have changed. this cord lies somewhere between the Kaplan GS and the Silent source. It does well on solid state or tube gear. Tonally, it is slightly more forward in the upper frequencies than the Kaplan, and has an amazing relaxed musicality to it. This would also be a great cable to blend with the others, providing a little more extension in the treble, and placing the midrange a little more forward in the stage than the Kaplan, but not as much as the Silent source.
As a general rule, the source component will reveal the most differences between AC cables, but in my case, the KWA 150 was also able to resolve subtle differences in tonality and performance as well.
Before you run out and buy new AC cords
Before you go spending your hard earned money on power cables, I would recommend investing in a dedicated circuit for your system, then a good power conditioner. Good, clean AC is the foundation of your system. The AC signal that feeds your components is turned into music by them. If your AC is dirty, noisy and has distortion in it, that all gets passed through your audio equipment, and rides along with the musical signal that is played through your loudspeakers. Garbage in, Garbage out.
Wednesday, January 20, 2010
My first encounter with Vivid Audio Loudspeakers was at the 2008 Rocky Mountain Audio Fest. Philip O' Hanlon of On a Higher Note borrowed a set of B-1's to me from October through January. That 4 months really allowed me to get to know the performance of the Vivid, and little did I know that experience would stick with me for nearly a year. I was very impressed with the speakers to say the least, but with the economy in a shambles I was hesitant to jump in with both feet and become a dealer. Still for the next 8 months, every loudspeaker that entered my showroom I was mentally comparing to the Vivids. Nothing quite measured up in terms of musicality, and long term listenability. As one customer put it after a long audition of the B1's, "everything else sounds like cones in a box". This was after auditioning Wilson Sophia's, and Revel's Ultima Salon 2. Indeed, after falling in love with the sound of the Vivid's other dynamic loudspeakers definitely had a boxy quality you could pick out immediately.
Flash forward to today. With the economy turning around somewhat, and many of my customers looking for speakers that weren't of the giant wooden box genre, the Vivids have made their way back into the TweekGeek showroom.
Vivid Audio's products are designed with a no-compromise engineering approach. I know it sounds cliche, but it is entirely true. Laurence Dickie has rethought everything about the loudspeaker, down to the finest detail. As a result, nearly everything that goes into a Vivid Audio loudspeaker is built using custom components made entirely in-house. With aesthetics as striking as the sound quality is pure, Vivid Audio strives for aural and visual perfection throughout their product range.
Vivid Audio loudspeakers deliver a 360 degree acoustic performance while remaining sonically invisible. The soundstage they exude is extraordinarily wide, deep and holographic, but never exaggerated. Instrumental timbres are strikingly realistic, dynamic and delicate when they need to be. They are perhaps the most transparent, resolving yet unfatiguing loudspeakers on the market today. They refine sonic reproduction to a new level which encourages the listener to want more, rather than tire and need a break.
The fit and finish are exquisite. With a sculpturesque shape that is rock solid, they sound every bit as good as they look. The surface quality of Vivid Audio loudspeaker cabinets is like that of a fine automobile finish, with a deep lustre and shine which can only be achieved through painstaking hand-finishing. Choose one of the standard colours to match the majority of listening environments, or contact us to order a custom pair of speakers in a color of your choice.
Vivid Audio's Pedigree
Vivid Audio's roots can be traced back to B&W. Robert Trunz, a partial owner of B&W, and Laurence Dickie, the designer of the original Nautilus series loudspeakers. Robert and Laurence ended up joining forces to work together on Vivid Audio Loudspeakers in South Africa.
When Laurence joined Vivid, they used a Nautilus to voice the original active B-1 Loudspeaker so that could compare & contrast against the Nautilus. What was immediately apparent was that the new Vivid drivers that he had recently designed were substantially less coloured than those he had used in the Nautilus.
Laurence set out much of his agenda as when he did that original Nautilus, and a number of the basic principles used then may be seen again here in the B1. For example, he believes in creating pistonic drive units -i.e. drive units that are able to operate in a substantially linear manner throughout their intended operational bandwidth, with mechanical breakup modes kept more than two octaves beyond the cross-over roll off frequency.
There are no standard parts to be found in any Vivid Audio loudspeakers. Every component is made to their own exacting specification. Most of the innovation is hidden away, quietly delivering a listening experience not soon to be forgotten. To this end Vivid B1's (the same goes for the other models as well) incorporate anodized aluminium alloy diaphragm drivers throughout, in a ‘three-and-a-half-way’ configuration, with tightly defined, fourth-order crossover filtering, so that each driver is restricted to its appropriate operating band. Laurence continues: "The two identical 7" bass/mid drivers with 5" alloy cones are mounted back-to-back here. They're mechanically coupled so that reaction forces cancel out, and the one facing backwards just provides additional bass - it's fed via a first-order roll-off operating above 100Hz. These drive units have a very open and unobstructive frame, so there are no cavity resonances. The short-coil/long-gap motor section has some unusual features too, building on the work I've done with pro audio drivers to improve cooling and reliability and avoid power compression .
Vivid also uses special radial magnets, with the field running from inside-to-outside rather than between the flat surfaces of the ring. This helps focus the magnetic field and reduces stray flux, so that additional shielding isn't needed. The air beneath the central dome (within the voice coil) is ventilated through the motor, and the tendency for this to create a Helmholtz resonator is avoided by using a heavily perforated former for the 2" voice coil."
"Besides mechanically coupling the two cone drivers to cancel out reaction forces, they also use O-rings to decouple them from the enclosure above 50KHz, to avoid exciting any panel modes. The enclosure itself is moulded from a polyester resin loaded with carbon fibres, and its curved shape has acoustic benefits inside and out.
The 7" bass drivers are loaded by twin reflex points, situated on the front and the rear (so you can look right through), again to balance out reaction forces."
"The front-facing bass/mid driver hands over to a 2" dome midrange driver at 900Hz, primary in order to ensure that even and wide dispersion is achieved throughout the critical presence band.
We actually use the same cylindrical magnet elements for this driver as we use in the bass/mid drivers, which makes life a little simpler. Inside the enclosure, a tapering tube transmission line is fitted behind this mid dome to absorb rearward radiation without creating reflections. An internal tapering tube is also used behind the 1" alloy dome tweeter, and here we've used finite element analysis to the magnetic flux. With careful magnet shaping we've managed to achieve an extremely high flux of 2.4 Tesla."
UK HiFi writer Paul Messenger queried the need for such high magnetic power (most hi-fi tweeters settling for around 1.6 Tesla), and Laurence pointed to two advantages:
"The poles will always stay saturated, which reduces the effect of the steel while the high efficiency also improves headroom and hence reduces power compression. And the use of a large padding resistor also improves the stability and consistency of the effective driver load on the crossover network with different power levels", he explained.
Vivid's Aluminium Tweeter versus Diamond Tweeter
While the Vivid D26 tweeter (42 kHz break-up) is outperformed in the extreme high frequency response compared to other manufacture's Diamond tweeter (typically 60 kHz break-up); incidentally both tweeters perform well beyond human hearing. The Diamond tweeter is physically, considerably heavier than the aluminum D26, due to the thicker layers of diamond deposits that need to be laid down to achieve structural rigidity than the aluminum D26 The Vivid D26 is 7 dB more efficient than the diamond tweeter. Please review Vivid's Super Flux Magnet Technology employed in the D26 tweeters.
In real life, the D26 is padded down to 89 dB in the B1, K1 and 91 dB in the Giya, so the tweeter's 7dB of extra headroom gives us far less power compression for the same SPL and as a result of the higher efficiency, the Vivid D26 is just ticking over compared to the others. Meanwhile the Diamond tweeter is run at or near its maximum output, so at high SPL or high transients, the diamond tweeter will perform in a non-linear fashion and sound harsh & fatiguing.
Besides the remarkable sonics, the speakers are drop dead gorgeous - truly functional art. The fit & finish is superb.
Vivid Audio has a wide range of speakers to suit all sizes of rooms and while perfection is not inexpensive, the smaller speakers are quite affordable.
Standing over 1.3m high the K1 is the largest of the Vivid Audio range to feature the trademark ovoid form. With its four C125 aluminium diaphragm reaction-cancelling decoupled bass drivers the K1 is capable of filling very large rooms with spectacularly articulate bass. A 3½-way configuration includes the D50 mid range to cover the all-important mid frequencies to which the ear is so sensitive.
Featuring an almost identical philosophy and driver complement as the K1, the Vivid Audio B1 differs only in the number of bass units, having just two mounted fore and aft in a reaction-cancelling decoupled configuration. The same seamless union of the C125 bass with the D50 mid and D26 high frequency units delivers a smooth listening experience across a wide listening window with ample level medium to semi large rooms.
For those not requiring the level delivered by multiple C125s the Vivid Audio V1.5 family are two-way loudspeakers that achieve a respectable level into small and medium sized rooms. Being two-way designs the V1.5 exploits the benefits of a contoured baffle to preserve time alignment of the drivers as well as improve efficiency and directivity of the D26 tweeter. Pair the V series with a high quality subwoofer and you can extend the low frequency range and output of the system considerably.
Ideally suited to boundary placement, the V1 series are the smallest in the Vivid Audio range. Like the V1.5, they are two-way designs using a single bass/mid driver and tweeter mounted in a sculpted cabinet. Being designed for boundary placement the V1 exploits the natural low frequency reinforcement that results to permit a reduction in the enclosure volume to just 16 litres. A selection of three mounting systems make this a versatile design equally suited to the surround channels of a home theatre installation or to a near field computer music system.
Call 888-998-9335 or email us to discuss auditioning a Vivid Audio Loudspeaker