Klimt Series™ – Owners Manual
Klimt Series™ – Owners Manual
THE MUSIC / THE KISS / POETRY
Thank you for your investment in one of the world´s most advanced loudspeaker
designs available. We have worked tirelessly to produce this loudspeaker system
and trust that you will enjoy the musical performance this product offers. To
achieve this new level of performance, special care has been taken in the
construction, the materials and the execution of this entirely new design. In
order to take full advantage of your new loudspeaker system, critical setup
attention must be taken to ensure that it performs as intended.
Please read this manual carefully and utilize the setup suggestions discussed.
Ultimately, the most important part of the process is to listen to music and
enjoy. Our suggestions are just that, suggestions. If you find in your listening
environment that a slightly different adjustment in setup results in a more
enjoyable sonic picture, then follow it. All rooms are different and thus, we
cannot give an accurate, single installation instruction guide that will cover all
possible environments. Please feel free to contact us or your local distributor
with any setup related questions. It is our collective goal to ensure that you
achieve the best possible performance out of this sophisticated product.
Thank you again and happy listening.
Sincerely,
Vienna Acoustics
Table of Contents
Product Description
1.1
1.2
1.3
1.4
1.5
Technology
Construction
Construction Details – The Music
Construction Details – The Kiss
Construction Details - Poetry
Connection Instructions
2.1
2.2
2.3
2.4
Amplification
Cable selection
Connection
Setup Instructions
Setup Instructions
3.1
3.2
3.3
3.4
3.5
3.6
Break-In
Positioning The Music and The Kiss
Positioning Poetry
Fine adjustments
Controls – The Music
Controls – The Kiss and Poetry
Listening
Technical Information
The Music
The Kiss
Poetry
Product Description
1.1 Technology
The Klimt Series™ loudspeakers feature an extensive list of new technologies.
Beginning with the new patented Flat-Spider-Cone™ midrange driver, special
care has been taken with the choice of materials and crafting. This driver is
created from a compound of several thermal plastic polymers as well as added
glass fibers. This material composition offers both a considerable stiffness to
mass ratio while also possessing the necessary self silencing necessary to ensure
a lack of coloration in sound reproduction. That is, the cone material itself is
virtually silent eliminating the need for notch type filters in the cross-over. The
goal is to eliminate the problem of cone resonances before they begin. Added to
the special material composition is the new flat design which further removes
the sonic signature of the driver by eliminating the cone diffraction of the cone
walls most often referred to as horn-loading. It is through the process of
concentrating on both physical construction or forming and with special quiet
materials that we are able to achieve this new level of performance that is free
of the normal mechanical limitations as well as resonances present in most
conventional midrange cone designs.
In addition to this entirely new flat midrange driver, we have installed a special,
hand crafted silk dome tweeter in its middle or pole location. Doing so allows for
a timing or phase correctness that cannot otherwise be achieved. Ultimately our
final complete coincident driver pairing is capable of reproducing the entire
human vocal range, and beyond, without any cross-over interference particularly
within the most critical human vocal range. The end result is a system that takes
on a presence which until now has only been available in compact monitors. A
further advantage of this design is the mentioned timing or phase correctness of
the overall combination. The complete assembly results in a dispersion
characteristic that creates much more of a “sweet area” versus the typical
“sweet spot” found in most designs. For this reason we prefer to describe this
entire assembly as the Music Center.
It is with this design ideal of concentrating on driver development in both the
mechanical and the material domains that the goal of a highly simplified crossover is achieved. As with our other designs, we begin with a first order crossover. This we believe allows us to achieve the most seamless integration of all of
the drivers into a single, cohesive whole. This is in part why we have chosen to
offer only the purest and simplest hook up interface of single-wire terminals.
Special care has also been taken with the formulation of the alloys used in these
propriety Vienna Acoustics speaker terminals to ensure the quietest connection
interface between speaker and speaker wire.
1.2 Construction
Each model within the Klimt Series™ features a top section or head which is a
completely sealed module of equal internal volumes. This construction allows us
to control and carefully position the critical Music Center. Holding this sealed
enclosure is a solid alloy shoe. This single piece alloy shoe attaches to the Music
Center´s cabinet in two points in the front and a single point in the rear. To
further eliminate the potential for extraneous mechanical information to reach up
from the bass cabinet, the aluminum shoe is similarly attached through one
large alloy connection point in the rear and a single point in the front. The
overall goal with this sophisticated design is to allow the entire Music Center to
be positioned at its optimal height and position while also being completely
isolated mechanically from the bass cabinet.
Caution: Under no circumstances should the speaker be carried or moved by
holding the Music Center. The result can be permanent damage to the
adjustment mechanism.
1.3 Construction Details – The Music
Unlike most typical bass cabinets, the bass cabinet of The Music is divided into
several cabinets. The top woofer occupies its own cabinet with dedicated
venting. The two additional woofers share their own dedicated cabinet with dual
venting ports. The three Vienna Acoustics proprietary X3P Spider-Cone™
woofers are then run in parallel with the upper bass unit most directly extending
the bass performance of the Music Center and the two lower bass units aiding in
further extending bass and overall dynamics. This entire bass assembly acts far
more like integrated subwoofers compared to more typical bass units.
The Murata Super-Tweeter occupies its own environment and is mounted at the
top of the bass cabinet allowing it to occupy the same general dispersion space
as the Music Center. Given the extreme extension this unit adds to overall
performance, it is not necessary for it to be mounted in the same cabinet as the
conventional tweeter. For this reason we are able to minimize the overall baffle
area of the Music Center itself thus eliminate cabinet diffraction.
With a complete speaker system of such mass, it was also necessary to develop
special hardware that not only would allow for the fine adjustment in final setup
but one that is substantial enough to physically support it. Each individual spiked
foot features an oversized threaded center core with a large specially formed
head allowing for easy adjustment. Additionally, there are four lock ring nuts
that allow for the final locking of each spiked foot after proper setup has been
completed. In the event these speakers are installed on fine wood or stone
floors, specially created floor protectors are also supplied.
Caution: Under no circumstances should The Music be installed without the
base hardware installed.
1.4 Construction Details – The Kiss
The bass cabinet in The Kiss is a bass reflex design. This allows the full
advantage of our new proprietary X3P Spider-Cone™ woofer to be taken
advantage of. In this configuration we are both able to extend the lower
extremes of bass response while also maintaining an overall system that can be
matched to the largest selection of high quality amplifiers.
In addition to the special care given to the complete speaker design, we also
believed that it was necessary to design a stand that is not only beautiful, but
more importantly offers the requisite stability necessary to take full advantage of
the speaker´s capabilities. The most obvious design element of this new
dedicated speaker platform is its side pillar. As is immediately obvious, this pillar
runs the entire depth of the loudspeaker offering the greatest front to rear
stability possible. In addition to the mechanical form of the stand, the materials
were specially selected to offer a silent environment for the speaker to operate
in. The final construction of the stand is a combination of high density fiber with
steel reinforcements working much like the finest architectural structures.
Caution: Because the dedicated stands have been designed as mirror images of
one another, it is possible to install the speakers with the pillars towards either
the inside or the outside of the soundstage with no compromise in performance.
How they are installed is of personal preference. For absolute stability,
installation of the spikes with or without the floor protectors is recommended.
1.5 Construction Details - Poetry
The bass cabinet of Poetry is a pair of two individual bass reflex cabinets on
either side of the Music Center. This design allows us to take advantage of our
proprietary X3P Spider-Cone™ woofers offering un-paralleled dynamic output
and speed coherency in a center channel loudspeaker.
As with the other speakers in the Klimt Series™, with a speaker of such size and
capability, it was necessary to develop a special stand that offers significant
stability specifically designed for center channel applications. In the event a
custom installation is necessary, included with the Poetry is a table top base that
allows for installing on any strong, flat surface.
Caution: If using the dedicated floor stand, do not use the supplied table top
base.
Connection Instructions
2.1 Amplification
The most common question asked of a speaker manufacturer is whether valve
amplification or solid state amplification is preferred. The simple answer to this
question is that we require good electronics. There are many fine examples of
both amplifier technologies that will work perfectly with this loudspeaker system.
We as designers and manufacturers have done all we can to insure the greatest
flexibility in amplifier selection.
There are a couple primary considerations that should be kept in mind when
selecting a proper paired amplifier for this loudspeaker system. First, what are
your listening habits? Do you listen to extremely dynamic material at high
volume levels? If so, you should consider a more powerful amplifier. Second, do
you have an unusually large space that these speakers are being installed in? If
so, again you should consider a higher powered amplifier. Otherwise, our
recommendation is to select the finest sounding quality amplifier in the fifty and
above wattage range (see specifications). This can be either valve or solid state.
The sonic differences in these designs are of personal preference. The most
critical part of selecting an amplifier aside from its sonic properties is its ability
to deliver stable current.
2.2 Cable Selection
Cable selection is a difficult area of discussion. So many aspects of cable design
and sonic signature exists that careful and thorough investigation with your
audio retailer is recommended. We have worked extremely hard with a variety of
cable manufacturers selecting the internal wiring used. Aside from this, we must
refer you back to your dealer and suggest taking the greatest care in listening.
Remember, the goal of this speaker system is to produce music. The cable
selection is one area where you can have a significant impact on the overall
musical presentation.
2.3 Connections
As mentioned in the technology section of this manual, we prefer simple singlewire connections. You will notice that our terminals are quite large. For this
reason, if selecting spade lugs, you will have to specify large connectors.
Otherwise, standard banana plugs will work perfectly.
Note: If using large gauge bare speaker wire, termination of the wire to large
spade, pin or banana plugs is required.
Setup Instructions
3.1 Break-In
While there has been exhaustive testing performed on all parts of this speaker
system throughout the manufacturing process, proper break-in is necessary.
This process does not take particularly long, but special care during this process
is particularly important.
The most critical time in the overall break-in process is the first fifty hours.
During this time it is important that you not play the speaker system at
exceptionally high volume levels. While completing the initial break-in period the
speakers should only be played at comfortable listening levels. The easiest way
to complete this process is to place a CD on repeat and play the speakers for a
few days. The speakers will sound fine during this period. However, you will
experience a blending of all the drivers into a more coherent single sounding
speaker as the process is completed.
The second stage is much more gradual and one that may not be noticed
immediately. This is the fifty to approximately three-hundred hour period.
During this final period of break-in, there is a further refinement in the microdynamics or inner detail that will become more defined. In other words, the
presence of the musicians becomes more intimate. It is during this period that
final setup should be completed.
3.2 Positioning The Music and The Kiss
While there are several recommended methods used in proper speaker setup,
the only process that we believe in is one that includes listening. If you are not
listening to the speakers, it will be impossible for you to know whether you are
making the correct adjustments.
The first area of consideration when setting up a large scale, sophisticated
speaker system such as either The Music or The Kiss is the distance between the
speakers. Unfortunately, it is our experience that people leave their speakers
positioned far too close together to take full advantage of the scale and size of
presentation that a modern reference speaker system is capable of. The basic
rule to follow is to position the speakers with at least an equal distance between
the left and right channels as you are from them. For example, if you are three
meters away from the speakers, the speakers should be at least three meters
apart.
The second area of setup is commonly referred to as toe-in. With a two-piece
speaker design, this process requires more care than the typical single cabinet
design. The simple starting rule is to have the bass or lower cabinets aimed
approximately one to two meters behind the center or listening position (A)
while the top or Music Center is aimed approximately one-half this distance (B).
See the following image:
Caution: Before attempting any movement of the Music Center, be sure that
the locking bolt on the rear of the speaker is loosened. It is possible to force the
movement of the Music Center when it is locked down. Doing so will
permanently damage the pivoting hardware.
Following the positioning or toeing-in, attention needs to be turned to the
distance of the speakers with respect to the back and side walls of your listening
room. While it is possible to achieve positive results positioning the speakers
close to the rear wall, this position typically gives up some potential bass
extension as well as some soundstage depth. Ideally, the best starting place is
approximately one meter from the rear wall. This distance is also a
recommended starting point from the side walls. However, because of the driver
selection and their dispersion characteristics, it is possible to get quite close to
the side walls with care. In the event that the room does not allow anything
else, distance apart will be far more critical than the actual distance from the
side walls.
With The Music, before moving the speakers into the room it is necessary to
have the spiked foot kit installed. We suggest starting with each spike set with
approximately one centimeter of thread between the top of the foot bracket and
the bottom of the lock rings. This will allow for the greatest amount of
adjustment when doing the final fine adjustments. With the speakers playing
something with extended pulsing bass, something like a full double bass
instrument, carefully pull the speakers further into the room until a natural, fully
resolved and extended bass line can be heard. What you are listening for is full
resolution without a boominess or slowness. Typically you will find this location
within one to two meters from the back wall. It may be necessary to use
furniture slides given the weight of each speaker in order to complete this step.
Remember to never move the complete speaker by handling the Music Center.
All movements must be done by gripping the bass cabinet only.
After achieving ideal bass performance, carefully ensure that the cabinets are
level and stable. This should provide for a noticeable improvement in the clarity
and definition in bass performance. At this point, final adjustments to the Music
Center should be done.
Before trying to move the shoe, be sure the lock down screw at the rear of the
cabinet is loose. Then, carefully make small adjustments both angling in the
Music Center both in and out on either side until the desired sonic image is
achieved. The basic rule is that movements towards the listening position (in)
will result in a slightly warmer sound while movements away from the listening
position (out) will offer greater clarity and speed. As with all experiences, too
much of a good thing is no longer good. Too much warmth results in a dullness,
while too much clarity and speed will result in a harshness. After finding the
ideal balance, please lock the horizontal rotation lock screw snugly; over
tightening is not necessary.
The last step of setup is the image height. Because of the dispersion
characteristics and phase or timing correctness of the Music Center, adjustments
in height will mostly affect image height. If you use a piece of music with a
single central focused vocal, adjust the height of both speakers until there is a
solidity and consistency across the entire sound stage.
Note: The height grid located on the rear of the Music Center will typically be
located between 0 and 3 and not higher after final setup and is also only a
guide.
As mentioned from the beginning, this setup guide is just that, a guide. Nothing
can replace careful listening within the given room of installation. If you find that
an adjustment in your system, which is contrary to these recommendations,
yields better sound and more musical results, trust that first. Ultimately your
ears are the most important tool in proper speaker setup.
3.3 Positioning Poetry
As with other sophisticated center channel loudspeakers, specific setup
instructions from your processor should be read and followed before continuing.
There are still a couple specific recommendations that should be followed in
conjunction with the processor´s instructions. First, this is a full range speaker
system capable of great dynamic output. This means that it is absolutely
necessary to have an amplifier that is capable of producing adequate power for
the proper matching to the front main left and right channel loudspeakers
without compression or worse, clipping. Ideally, three high power identical
amplifiers would be selected for the front three channels in a theater. Second,
careful listening should still be done for the fine tuning of Poetry. Even with the
most sophisticated measuring devices, human ears are more sensitive. Thus,
always trust your ears first.
Final setup of Poetry should follow these basic rules. Whether Poetry is mounted
on its supplied table base or on its optional floor stand, the angling of the overall
cabinet should be done such that the two bass drivers are aiming towards the
listening environment. This means that if Poetry is lower than the listening
position, careful adjustments angling the complete speaker up should be done.
This also means that in the event Poetry is mounted above the listening
environment, an angling down should be done. The proper adjustment of the
overall cabinet will have profound effects on overall bass resolution and total
clarity. While listening to rich bass content through the center channel, try
angling the overall cabinet as described and listen to bass content and definition.
The correct angle is the position where you have the greatest bass extension
and definition. Following the angling the overall cabinet, using some dialogue
rich material, adjust the angle of the Music Center so that the greatest vocal
clarity can be heard. Given that the center channel is mounted in the center
position, the physical setup is quite a bit easier than main stereo pairs of
loudspeakers.
3.4 Fine Adjustments for The Music and The Kiss
Before attempting to work with any of the following fine tuning recommendations, please be sure you have exhausted all prior recommendations.
Careful adjustment of The Music´s main bass cabinet has the potential of
improving both detail as well as overall bass extension. By carefully listening to
something with a pronounced and rhythmic bass, like that of the double bass
instrument recommended earlier, listen to each speaker and determine where in
height off of the floor the bass line has the greatest detail and coherence. If this
location is lower than the listening position, carefully extend the front spikes
until this clearer position is aimed at the seated location. Be aware that
adjustments as small as an ⅛-turn can have dramatic results. As earlier, pay
special attention to the stability of the speaker. In the event that greater clarity
was higher than the listening position, do the reverse. After making this
adjustment, be sure that the image height is also adjusted. Typically raking back
the bass cabinet will result in the need to aim the Music Center down while a
raking of the bass cabinet down will require an angling up of the Music Center.
Toe-in of the overall cabinet as well as distance between the speakers can also
result in improvements in overall clarity and resolution. If there appears to be a
doubling or sluggishness to the center of the sound stage, try pulling the
speakers slightly further apart or aim the overall cabinet further away from the
listening position. If there is a vagueness to the soundstage or a lack of central
focus, it is possible that you will need to either move the speakers closer
together or angle-in the overall cabinet slightly more. As with rake, any
adjustments to the overall cabinet position will most likely result in having to
make further compensating adjustments to the Music Center.
3.5 Controls – The Music
The final step in proper setup of The Music is the adjustment of the three small
switches located above the speaker connection terminals at the rear of the
speaker.
These three switches are labeled: M, UB, LB. These represent:
Midrange, Upper-Bass and Low-Bass. The flat or normal position for these
switches is in the lower position. These switches were designed to add a small
amount of correction specifically for addressing room acoustics. Since all rooms
have certain sonic properties, it is possible that the physical placement cannot
resolve all audible problems.
In order to add a small amount of additional upper-frequency energy, place the
M-switch to the upper position. This is particularly useful in an well-damped
listening rooms. In order to increase bass warmth, try moving the UB-switch to
the upper position. This can be quite helpful in larger listening rooms where the
speakers are unusually far from the rear wall. The final switch is the LB-switch.
The upper setting of the LB-switch allows for the greater bass content. In rooms
where the full extension and power of overall bass does not overpower the room
this position will result in the greatest power as well as resolution of extended or
lower bass. A secondary advantage to this position is the possibility of greater
air and focus around the upper frequencies and vocals.
While each of the switches has minimal effect, if special care has been taken in
the overall physical setup of the complete loudspeaker system, the results can
be profound. As with all of our other recommendations, always listen and trust
what you are hearing.
3.6 Controls – The Kiss and Poetry
The final step in proper setup of The Kiss and Poetry is the adjusting of the two
small switches located above the speaker connection terminals at the rear of the
speaker. These three switches are labeled: T and B. These represent Treble and
Bass. The flat or normal position for these switches is in the lower position. The
addition of these switches was intended to add a small amount of correction
specifically for addressing room acoustics. Since all rooms have certain sonic
properties, it is possible that the physical placement cannot resolve all audible
problems.
In order to add a small amount of additional upper-frequency energy, place the
T-switch to the upper position. This is particularly useful in well-damped listening
rooms. The second switch is the B-switch. The upper setting of the B-switch
allows for the greater bass content. The advantage of this setting is that it
results in the greatest power as well as resolution of extended or low bass. A
secondary advantage of this position is the possibility of greater air and focus
around the upper frequencies and vocals.
While each of the switches has minimal effect, if special care has been taken in
the overall physical setup of the complete loudspeaker system, the results can
be profound. As with all of our other recommendations, always listen and trust
what you are hearing.
Listening
After having completed a thorough break-in and then completing a full and
comprehensive setup, listening can and should begin in full earnestness. As with
the city we live, design, work and ultimately build this product in, Vienna is
about music, music, music. While most acclaimed for our classical music halls
and performances, Vienna also has one of the most vibrant jazz scenes as well
as rock and everything in between. Music comes in all colors and forms. We are
not here to tell you what to listen to. We have done all we can to produce a
product that is capable of reproducing the music that all of us at Vienna
Acoustics listens to. What does that mean? Simply put, all music! Just listen and
enjoy.
Technical Information
The Music
System Type
3-way loudspeaker system, employing integrated
sub-woofers plus Super-Tweeter
Frequency Response
22Hz – 100kHz
Bass Driver
3 x 23cm Patented Vienna Acoustics Spider-Cone
Midrange
–
Tweeter 18cm Patented Vienna Acoustics Flat-Spider-Cone
Coincident
midrange with 2.5cm hand crafted neodymium
center vented silk dome tweeter
Super-Tweeter
1.3cm
Sensitivity
91db
Impedance
4Ω
Recommended Power
50 – 500 watts
Speaker Weight
82kg / 180lbs each
Speaker
Dimensions 273mm/10.75” x 1295mm/51” x 630mm/24.80”
(WxHxD)
each
The Kiss
System Type
3-way
stand-mounted
system,
employing
integrated sub-woofer
Frequency Response
36Hz – 20kHz
Bass Driver
23cm Patented Vienna Acoustics Spider-Cone
Midrange
–
Tweeter 18cm Patented Vienna Acoustics Flat-Spider-Cone
Coincident
midrange with 2.5cm hand crafted neodymium
center vented silk dome tweeter
Sensitivity
89db
Impedance
4Ω
Recommended Power
50 – 180 watts
Speaker Weight
43kg / 95lbs each
Speaker
Dimensions 273mm/10.75” x 540mm/21.3” x 540mm/21.3”
(WxHxD)
each
Stand Weight
23kg / 50lbs each
Stand Dimensions (WxHxD)
273mm/10.75” x 730mm/29” x 530mm/21”
(including spikes) each
Poetry
System Type
3-way system, employing integrated sub-woofer
Frequency Response
32Hz – 20kHz
Bass Drivers
2 x 23cm Patented Vienna Acoustics Spider-Cone
Midrange
–
Tweeter 18cm Patented Vienna Acoustics Flat-Spider-Cone
Coincident
midrange with 2.5cm hand crafted neodymium
center vented silk dome tweeter
Sensitivity
90db
Impedance
8Ω
Recommended Power
50 – 300 watts
Speaker Weight
50kg / 110lbs
Speaker
Dimensions 920mm/36.25” x 270mm/10.75” x 550mm/21.75”
(WxHxD)
Stand Weight
40kg / 90lbs
Stand Dimensions (WxHxD)
920mm/36.25” x 580mm/17.75” x 580mm/23”
(including spikes)
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