Vienna Acoustics Liszt Imperial Series Price per Pair

Vienna Acoustics


€ 11,390.00



Click here if you want to be informed as soon as this article is available.



Liszt

"Music is the heart of life."

Franz Liszt

Perhaps the most technically advanced pianist of his era, Franz Liszt was noted for astounding improvisation and innovating new forms of music.
Like its namesake, the Imperial Series LISZT is a marvel of technical command - the latest improvisation after a revolutionary Vienna Acoustics design sets a new standard in sound.

The Music Company

Vienna Acoustics products are inspired by people and place.
We have always been motivated by the dramatic difference; and when building a product by hand, as we do, it is always the people and their teamwork that determine that difference.
Our people - our team - share a passion for music that lives on in the world of music, with the famous classical and contemporary music venues. Music is the culture of Vienna, permeating every aspect of life, and musicians from around the world flock to the city to play in its celebrated, acoustically magnificent concert hall. Vienna Acoustics speakers reflect this heritage: like the great Musikvereinssaal, they enable each style of music to be fully realized. The sound is rich, authentic, detailed, and unfailingly musical.

The Liszt Speaker

The pinnacle of Vienna Acoustics' Imperial Series, the LISZT is an ingenious three-way loudspeaker system using the patented Flat-Spider-Cone ™ coincident driver technology first seen in our flagship Klimt Series ™. This driver is set in a separate rotating, vented enclosure, supported by a sophisticated bass cabinet featuring three of our patented Spider-Cone woofers.


The Music Center

The heart of the LISZT design is the new 15cm Flat-Spider-Cone coincident driver; This second-to-none driver assembly, which perfectly marries an astonishing new midrange with an odd noteworthy tweeter, was solely developed by Vienna Acoustics and is skillfully manufactured by ScanSpeak.
3mm reinforcement "Spider" ribs. 16mm reinforcement "Spider" ribs. 50mm reinforcement "Spider" ribs. The result of this patented technology is not only unparalleled stiffness with true pistonic behavior, but also exceptionally low mass, resulting in ultra-fast transient response and resolution. Precisely and effortlessly controlling this driver is a huge, high-force neodymium magnet assembly, built around a massive XNUMXmm voice coil.
Acoustics-designed, hand-coated silk dome tweeter, driven by a neodymium magnet motor assembly. With over two years of development, this new tweeter ranks as one of our best drivers to date.
The cabinet designed to house this unique driver system makes the most of its remarkable technology. The Flat-Spider-Cone driver is housed in a separate top unit that is decoupled from the bass enclosure by a high-tech, aluminum pivoting mechanism, facilitating optimal tuning by permitting minute toe-in adjustments of the Music Center.
While this basic configuration is similar to that found in the Klimt Series of Speakers, unique to LISZT is the porting of the midrange cabinet. This new VA researched suspension system allows for unsupervised dynamic delivery and resolution.

The Bass Array

While the Music Center handles high and middle frequencies, three 7 inch Spider Cone bass drivers, with our proprietary ribbed X3P polymer material, perform in a separate and elaborately devised enclosure.
The cabinet uses two separate chambers, one with a single woofer and the other with two woofers, each vented and uniquely tuned. The two lower units produce the lowest bass, working in parallel, while the single driver provides ideal transition to the midrange driver.
This configuration results in tremendous bass extension with speed and liquidity.

The Fit and Finish

As with all Vienna Acoustics speaker systems, the LISZT is meticulously handcrafted to the highest standards of quality in Vienna, Austria, with each finished speaker matching the reference within 0.3 dB, to ensure the most effortless and natural performance from every speaker that leaves our factory.
Impedance 4 Ohms
Frequency response 28 Hz – 25 kHz
Sensitivity 91 dB
Recommended Amplifier 50 - 400 Watts
Tweet 1.2in / 30mm Handcrafted, Hand-Coated Neodymium Center-Vented Silk Dome
midrange (1) 6in / 152.4mm Flat-Spider-Cone ™, High Power Neodymium Motor
Woofers (3) 7in / 177.8mm X3P Spider-Cone ™
Bass system Bass Reflex
Crossover system Three-Way. 6dB and 12dB Bessel
Crossover Components MKP Capacitor, 1% Tolerance; Air Coils, 0.7% Tolerance
Metal Film Resistors Tolerance, Inductance Free
Weight per Pair 198 lbs / 88 kg
Dimensions (W x H x D) inches 7.8 "x 45.2" 17.2 "without base assembly / mm 198 mm x 1148 mm x 435 mm
inches 11.6 "x 47.6" 17.2 "with base assembly / mm 295 mm x 1210 mm x 435 mm
Finishes

Cherry, Premium Rosewood, Piano Black, and Piano White

LISZT Technical Sound Background

by Peter Gansterer

What is the nominal impedance and its low?

LISZT is a 4 ohm speaker with a minimum of 3.1 ohms at around 100 Hz.

What are the crossover points?

bass-mid: about 280 hz. a little higher than usual, soundtested
several points from 100up
mid-tweeter: about 2700 hz

What are the crossover types?

bass: 12 dB
midrange: high-pass: 12 dB bessel, very soft, supported by bass reflex 2 octaves below crossover therefore non-recognizable increase of falloff
low-pass: 9dB modified first order
tweeter: 9dB modified first order plus natural falloff (tweeter housing)
- again 2 octaves - below crossover point

Why porting the midrange?

The initial idea came up when I tested coaxes with different suspension stiffness'.
When listening and then evaluating I just think the hard and fast against the air resistance of the closed and usually small midrange enclosure. Try to be hard on a midrange airtight Mahler or other midranges; same when the driver has to. But when you open it, it's no resistance other than the driver's suspension.
So I was testing the sound consequences in comparison, with the majority of tracks it was clearly better (with others no difference, but no harm). more speed, and resolution improvements. I think some of electrostatics' sound comes from non-enclosure, their moving mass itself, often cited for their effect, is not that low.
The other reason is that in loudness real-testing with music the midrange cracks about 2 dB later (meaning it has 2dB higher max loudness). I always look for that, it increases ease.

Is the bass configuration like this?

All 3 drivers are working in parallel.
The bass cabinet is split into 2 sections against standing waves (plus thedivider angled) and for rigidity.
New method (positioning) of bracing the cabinet multifold via finite elements method. the bass cabinet now has 7 bracings, the musiccenter 2.
A technical insight regarding cone behavior, a method of judging any cone's break-up. our cone is behaving like a true piston: there is a law which states fmax = c / d (d = diameter of cone);
I realized that this is something where you can get a general clue: drivers which are higher or even nearer to fmax are producing their upper midrange by breaking up (and thus weak to zero control), partial parts of the cone producing higher frequencies, plus resonances. therefore we know, a cone must not go higher than fmax, otherwise reason is it's breaking.
LISZT's midrange: 0.1 m, theoretical max = 3400 hz. our midrange reaches 2750 then simply stops; 3400, and at the same time showing 3400. this is the optimal musicality tradeoff, by generous inner damping via the polyprop / tpx / glass fiber mixture, but ultra-stiffness via the rips framework.