![]() Consequently, the bass creates the perfect cohesive foundation for the midrange and treble in my listening room. The ability to tune the bass on these speakers has made them integrate into my room better than any of the other speakers I have previously owned. John positioned the speakers in my family room using laser sighting and tuned the speakers' powered subwoofers with their 11-band equalization to give an even response in my room across their frequency range. I recently purchased the Vandersteen Model Seven Mk II Speakers and Vandersteen M7-HPA Mono Amps from John Rutan at Audio Connection. Richard Vandersteen strongly believes that a loudspeaker should faithfully preserve the waveform produced by the power amplifier, including "all of the delicate time-domain relationships that comprise the recorded musical performance." Fig.3 shows the left-channel speaker's step response at the position of my ears in the listening roomalthough it is subsequently disturbed by room reflections, the initial arrival is an almost textbook right-triangle shape. (What you don't want to see in this kind of measurement is a flat treble response, which corresponds to a rising on-axis output in this region.)įinally, like its predecessor, Vandersteen's Model Seven Mk.II offers a true time-coincident output, due to the stepped-back subbaffles for the upper-frequency drivers, the first-order crossover slopes, and the fact that all its drive-units are connected in positive acoustic polarity. The rear tweeters were turned off for this measurement you can see that the Model Sevens have lower levels of mid-treble and top-octave energy than the Carmels, conforming more closely to the optimal upper-frequency rolloff in my room. The Model Seven's powered subwoofers extend their output to 20Hz, though even with the settings of the 11-band equalizer chosen by Richard Vandersteen when he set the speakers up in my room, the low bass is a little too high in level, the midbass a little too low.įig.2 Vandersteen Model Seven Mk.II, spatially averaged, 1/6-octave response in JA's listening room (red) and of YGA Carmel Two (blue). The two different speakers have broadly similar measured responses between the upper bass and the mid-treble, though the Vandersteens have less energy at the bottom of the midrange. The blue trace in this graph shows the spatially averaged response of the YGA Carmel Two speaker, which I reviewed in December 2015, taken under identical conditions. I used an Earthworks QTC-40 omni microphone and a Creative E-MU0404USB audio interface, in conjunction with SMUGSoftware's Fuzzmeasure 3.0 running on my MacBook Pro. As usual, I generated this graph by averaging 20 1?6-octavesmoothed responses taken for each speaker individually in a vertical rectangular grid measuring 36" by 18" and centered on the positions of my ears in the listening chair. The red trace in fig.2 shows the spatially averaged response of the Model Seven Mk.IIs in my listening room. Fig.1 Vandersteen Model Seven Mk.II, electrical impedance (solid) and phase (dashed) (2 ohms/vertical div.). ![]()
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