VMPS speakers

[audiophile62]

"The RM 30 is a speaker that can match the dynamic capabilities of competent horns, the immediacy of electrostatics and planar-magnetics, and the fine detailing and imaging of the best dynamic designs." - Positive Feedback



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[audiophile62]

Specifications Bass:- 25 cm (10") WCF Megawoofer bass, 2x 16 cm (6") WCF midbass, 2x 16cm (6") Passive RadiatorsMid:- three rectangular 10 x 20 cm (4 x 8") Neo ribbons, 280 Hz - 6.9 kHzTreble:- FST, 6.9 kHz - 30 kHzImpedance & Sensitivity:- 4 Ohm (3.6 min.) 93 dB/1W/1mPower handling:- 400W rms / 4 Ohms, 20 W min.Frequency response:- 32 Hz - 25 kHz +0/-3 dBDimensions & Weight:- 122H x 18W x 49D cm, 50kg (48"H x 7"W x 19"D cm, 110 lbs)Output levels and distortion:- max. 1% THD fullrange / 1W, max. 115+ dB SPL/1mFinishes:- standard lite oak, dark oak, MLS rosewood, african ebony. Optional MLS piano black

 

[audiophile62]

Ribbon Monitor 2

Specifications Bass:- 30cm (12") woven carbon fiber, 30cm (12") Passive Radiator Mid:- two rectangular 10 x 20 cm (4 x 8") Neo ribbons, 280 Hz - 6.9 kHzTreble:- FST, 6.9kHz - 30kHzImpedance & Sensitivity:- 4 Ohm (3.6 min.) 91 dB/1W/1mPower handling:- 300 W rms / 4 Ohms, 20 W min.Frequency response:- 22 Hz - 25 kHz +0/-3dBDimensions & Weight:- 114H x 38W x 41Dcm, 55kg (45"H x 15"W x 16"D, 120 lbs)Output levels and distortion:- max. 1% THD fullrange/1 W, max. 112+ dB SPL / 1 mFinishes:- standard lite oak, dark oak

 

[audiophile62]

Ribbon Monitor 40

Ribbon Monitor 40 (shown in stained natural oak)2002. "Best of CES" Award in Hi-End audio category

"The speakers were so impressive that they moved at least one judge to tears."

Specifications Bass:- 25 cm (10") WCF Megawoofer bass, 25 cm (10") WCF midbass, 25cm (10") Passive RadiatorMid:- four rectangular 10 x 20 cm (4 x 8") Neo ribbons, 280 Hz - 6.9 kHzTreble:- FST, 6.9 kHz - 30 kHzImpedance & Sensitivity:- 4 Ohm (3.6 min.) 90 dB/1W/1mPower handling:- 500 W rms / 4 Ohms, 20 W min.Frequency response:- 24 Hz - 25 kHz +0/-3 dBDimensions & Weight:- 168H x 32W x 43D cm, 109 kg (66"H x 13"W x 17"D cm, 240 lbs)Output levels and distortion:- max. 1% THD fullrange / 1W, max. 115+ dB SPL / 1mFinishes:- standard lite oak, dark oak. Optional MLS african ebony, maple, birch, rosewood, walnut​

 

[audiophile62]

QSO 626R

Specifications Bass:- 16 cm (6") WCF Megawoofer bass, rear reflex loadedMid:- rectangular 10 x 20 cm (4 x 8") Neo ribbon, 280 Hz - 6.9 kHzTreble:- FST, 6.9 kHz - 30 kHzImpedance & Sensitivity:- 8 Ohm (5.6 min.) 90 dB/1W/1mPower handling:- 150 W rms /4 Ohms, 20 W min.Frequency response:- 42 Hz-25 kHz +0/-3 dBDimensions & Weight:- 61H x 25W x 33D cm, 18 kg (24"H x 10"W x 13"D, 40 lbs)Output levels and distortion:- max. 1% THD fullrange / 1 W, max. 110+ dB SPL / 1 mFinishes:- standard lite oak, dark oak. Optional MLS rosewood, african ebony, maple, piano black


http://www.positive-feedback.com/Issue15/vmps626R.htm




....."......These are eminently enjoyable and highly musical speakers. They offer a stunningly transparent view into the recording. Listening to a good SACD through the 626Rs, you get an immediate, up close and personal presentation of everything SACD has to offer. These speakers rival good electrostatics in their ability to respond quickly and cleanly to the program material, without the dynamic limitations that many electrostats have........................................................................The first thing that struck me about the 626Rs was their ability to present the size and scale of instruments. Generally, I only hear this done well with large planar speakers or single-driver, high-efficiency speakers (like Lowthers), yet these small boxes reproduced the size of the instruments and the scale of the music in a remarkably natural way. ..........................I have already made reference to these speakers' dynamic capability, but want to stress that, for both large scale classical and rock, these speakers can reproduce dynamic structure in a convincing manner...................................It is as crystal clear, airy, and delicate as a tweeter can get, and rival any of the other great tweeters I've heard in the past. It portrays the metallic shimmering of well recorded cymbals as well as one could ask for................................I had the good fortune to listen to these speakers for several months, and enjoyed every minute. ...........The 626Rs do very well with a wide variety of music (and I suppose, home theater) systems. "
Steve Lefkowicz
POSITIVE FEEDBACK ONLINE

 

[audiophile62]

Ribbon Monitor Extreme - "Elixir"

RM/X (shown in piano black)2003. finalist for "Best of CES" Award in Hi-End audio category

Other finalists were Trinaural Processor from Spread Spectrum Technologies, and Swan Diva 2.2 loudspeakers ($68.000). Trinaural won the "Best of CES 2003", playing within a system with RM/X.


Specifications Bass:- 30 cm (12") sidefiring WCF Megawoofer bass, 25 cm (10") front WCF midbass, 30 cm (12") Passive RadiatorMid:- six rectangular 10 x 20 cm (4 x 8") Neo ribbon, 280 Hz - 6.9 kHzTreble:- FST, 6.9kHz - 30kHzImpedance & Sensitivity:- 4 Ohm (3.6 min.) 93 dB/1W/1mPower handling:- 500 W rms / 4 Ohms, 20 W min.Frequency response:- 20 Hz - 25 kHz +0/-3 dBDimensions & Weight:- 186H x 32W x 51D cm, 168 kg (74"H x 12,5"W x 17"D, 370 lbs) Output levels and distortion:- max. 1%THD fullrange/1W, max. 115+dB SPL/1mFinishes:- automotive 7 layers black lacquer standard​

Due to its outstanding low frequency response the new tweeter will cross over in the 7 kHz range. Mated to the RM/X's 94 dB midrange section you should get by on 15 W of tube for the mid/treble, plus solid state amplifier for bass.


Lightning strikes twice - sort of. Last year, Brian Cheney (of VMPS) won this award for his magnificent RM-40 ribbon loudspeaker. Hopefully in some small part being powered by the mighty Ampzilla2000 amplifiers. Again this year we shared the exhibit space. We had the full Trinaural system up and running. Actually, virtually the entire system was my concept (except the CD players). I had a souped up Thaedra (with new cards-shades of the new upcoming Thaedra2000) driving the Trinaural Processor which in turn drove six Ampzilla2000 amps. This combination drove the new VMPS Elixir loudspeaker which was also my concept design. More on that in a moment. Needless to say, the sound was beyond belief. Never in my career have I ever used "snake oil phrases" but I must say that even I, the ultimate skeptic, was truly blown away. And obviously so were all the judges. The object of audio reproduction is to make the system "disappear" and have just the close to true holographic presentation. In my entire career, I can only remember three occasions where I experienced something close to this. But this was the whole enchilada. I can surely tell you that once you experience the trinaural processor, you will NEVER go back to stereo again.

In my judgment however, the real hero of this endeavor is Brian Cheney. Last year at CES, at one of our dinners, I sketched out a complete set of drawings (on my favorite napkins of course) for this new speaker. I told Brian that THIS is what he should develop for the following year. Not only did he break the bank with this effort, his brilliance has created without any shadow of a doubt, the finest loudspeaker that has ever been created. Brian surely deserves the credit for being the absolute most brilliant loudspeaker designer on the planet. I can just see all the crocodile tears from all the others. BOO HOO. You may have to get in a long line as his entire first production run was sold out. If you want Nirvana folks, three of these ELIXIR loudspeakers in my Trinaural setup will surely send you there.

- James Bongiorno​

 

[audiophile62]

Super Tower III / Special Ribbon Edition

Specifications column- four 30 cm (12") WCF Megawoofer bass, 30 cm (12") WCF Passive RadiatorMid:- nine rectangular 10 x 20 cm (4 x 8") Neo ribbons, 280 Hz - 6.9 kHzTreble:- Raven R2, 6.9kHz - 30kHzImpedance & Sensitivity:- 6 Ohm, 95 dB/1W/1m bass columnPower handling:- 1000W rms /6 Ohms, 15Wmin, biamping required, triamping possibleFrequency response:- 14 Hz - 25 kHz +0/-3dBDimensions & Weight:- 193H x 47W x 48D cm, 204 kg (76"H x 18,5"W x 19"D cm, 450 lbs)Output levels and distortion:- max. 1%THD fullrange / 1W, max. 120+ dB SPL / 1mFinishes:- piano white or piano black with removable black cloth grills standard, as some wood veneers, numerous exotic veneers available at extra cost. Shown in real Brazilian Rosewood with Electronic Crossover/Power Supply.

 

[audiophile62]

Nothing else since 1977

VMPS (Veritone Minimum Phase Speakers) delivered its first production run to dealers in January 1977 and we are now into our 31st uninterrupted year. Since we started out, hundreds of competitors have come and gone. We have survived because we not only provide a good product at a good price, but give the audiophile something rare in today's marketplace: fullrange, floorstanding speaker systems with first-octave bass response, wide dynamic range, high sensitivity, and a neutral tonal balance suited to any kind of music (or home theater, for that matter) at prices that are a fraction those of other name brands.

It was Bert Whyte, late Senior Editor of Audio Magazine, whose April 1980 review ("Towers of Power") of the 198cm, 113kg VMPS Super Tower IIa/R put us on the map, validating a unique design philosophy which emphasized full spectrum reproduction at intentionally, often spectacularly low prices. The STIIa/R, with its 16 active drivers including four of the most expensive tweeter extant, the Focal T120 harddome, retailed back then for a very affordable $3,876/pr.

We aspire to the highest levels of transducer technology, sound quality, ruggedness, and cabinetry and are undaunted when it comes to spending the money necessary to achieve those high levels. We do not price our products to mislead the consumer, who naturally assumes price and quality are related. No automobile selling at Ferrari prices would dare offer VW performance, but that is precisely what is happening in many instances with today's audiophile speaker systems. We find such pricing practices a shame and a scandal, the cause of endless confusion and grief for music lovers who want the best but do not have six figures to invest in sound equipment.

The VMPS program includes Subwoofers, all passive (i.e. no builtin amplifier), all quite substantial size and weight (the "Dedicated" Sub is the baby at 38kg), all requiring no equalization to pump out bass in the teens and twenties, and all easy to add to any system via the existing main amplifier and our optional Passive Crossovers, or via the biamp route with an outboard Electronic or Passive Crossover and a separate drive amplifier. Typically, the distortion of our Subs is an order of magnitude lower than the competition. We invented the slot-loaded passive radiator in 1979. It remains a feature in all our Subs and Towers, a push-pull, high efficiency means of generating first octave bass with high input sensitivity. Look at the competition, particularly the "powered" subwoofers, and see why we point with pride to our products. The amplifiers in virtually all "powered" woofers are dreadful Class B or (even worse) Class D designs which no self-respecting audiophile would tolerate anywhere else in his system. Indeed, the high power Class D amps in some very expensive subwoofers, which we have examined and tested at length, are the worst measuring, worst performing (unable to reproduce even a good sine wave), worst sounding amplifiers we have encountered in the past 30 years. Cheap, bad amps combined with equalization (which robs the sub of dynamic range), limiters (100dB to 104dB max SPL), and high moving mass (up to two pounds in some subs) make most modern powered subwoofers little more than a joke, suitable only for reproducing sound effects.

VMPS is proud of its great reputation for solid, clean, extended bass in nearly every speaker we make. However, there is more to good speakers than just bass, although bass is the foundation of all music and a third of the keyboard lies in the bass range. In recent years VMPS has introduced three novel midrange designs which are finding their way into our entire product line.

Year 1998 saw two new drivers arrive from VMPS that have never existed heretofore. The 190cm tall push- pull, transformerless, unobstructed, high impedance (6 Ohms), high output 100Hz ribbon panels in the acclaimed Special Ribbon Edition Super Tower III (see Anthony Cordesman's review in Audio Magazine Aug 98; the reviewer also purchased the system for his home) are nothing short of a new "Absolute State of the Art" (Audio). Matched up with the unique synthetic granite, quadruple 30cm woofer towers and 15cm free- swinging ribbon supertweeter, the SRE/ST3 is the best speaker you can buy at any price. This is no mere repackaging of a few hundred dollars worth of cones and domes costing megabucks: our system includes the speakers, outboard electronic crossover and massive associated power supply (one million microfarads!).

In Nov 1998 we began delivery of the exclusive floorstanding Ribbon Monitor series which feature no less than the Holy Grail of highend audio: the first practical short (7" ), push-pull, high impedance, unobstructed, high power transformerless 500 Hz ribbon midrange, the X7! Ingenious design shrinks the huge SRE panels to a size and cost suitable for high quality 25cm and 30cm threeways. Spiral ribbon supertweeters handled the 5 kHz to 30 kHz range; woven carbon fiber woofers and slot-loaded passive radiators supply bass well into the first octave (32 Hz at -3dB for the RM 1, 20Hz at -3 dB for the RM2.)

We never made any changes to our speakers for the "refreshing" reasons, but at the beginning of year 2001, X7 ribbon midrange became "obsolete", and therefore replaced by even better sounding 20cm Neo panel with neodymium magnets and incredible 166Hz-10kHz bandwith. RM models thus evoluted to respective Neo versions. RM2 includes 12" WCF Megawoofer and Soundcoat as standard. Latest development in RM series, after award wining RM40 and exquisite RM/X - is RM30. RM40 won the "Best of Show" prize in "High-End Audio" category at 2002. winter CES.
Check out our latest designs which marked our 30th anniversary, RM V60and new subwoofers - Very Solid Sub & Very Large Array.

In summary, this is our message: you don't have to listen to cones anymore! VMPS ribbon or push-pull planar dynamic mids and tweeters far outperform the best cones, domes, or single-ended planars, and you should never shell out premium prices for such again.

VMPS loudspeakers are manufactured at Itone Audio / VMPS, 3429 Morningside drive, El Sobrante, California, USA, since 1977.​

 

[Tidal__]

Εμενα αυτα τα ηχεια οταν τα ειχα ακουσει δεν μου εκαναν ιδιαιτερη εντυπωση.
Επισης η αποκριση συχνοτητας του high fidelity ηταν.......αχλαδοκαμπος.:cool_11:

 

[Μιχαλης Σπερτος]

Εμενα αυτα τα ηχεια οταν τα ειχα ακουσει δεν μου εκαναν ιδιαιτερη εντυπωση.
Επισης η αποκριση συχνοτητας του high fidelity ηταν.......αχλαδοκαμπος.:cool_11:

Μιστερ ο αχλαδοκαμπος ειναι ισιαδα.
Μηπως εννοεις Κωλοσουρτης ?

 

[audiophile62]

Εμενα αυτα τα ηχεια οταν τα ειχα ακουσει δεν μου εκαναν ιδιαιτερη εντυπωση.
Επισης η αποκριση συχνοτητας του high fidelity ηταν.......αχλαδοκαμπος.:cool_11:

Τό vmps βγαίνει από τό : Veritone Minimum Phase Speakers. Στάηχεία αυτά ο σχεδιαστής επέλεξε νά δουλέψει ΟΛΕΣ τίς μονάδες τους στήν ίδια φάση , πιστεύοντας ότι ,ανεξαρτήτως μετρήσεων FR , μέ αυτό τό τρόπο η μουσική βγαίνει αβίαστη καί ΟΜΟΙΟΓΕΝΗΣ . Τό ακουστικό αποτέλεσμα τόν έχει δικαιώσει. Με μιά ακρόαση τους , ο ΕΜΠΕΙΡΟΣ ΜΟΥΣΟΦΙΛΟΣ ακροατής ( ακροατής μέ πείρα σέ ζωντνές εκτελέσεις κι όχι ο μηχανάκιας ) μπορει νά τό διαπιστώσει.

Εδώ παρατίθεται απόσπασμα από συνέντευξη τού σχεδιαστή Brian Cheney , σχετικά μέ τό θέμα.

".........You can easily hear polarity on all our speakers. The "MP" in "VMPS" means "minimum phase". All drivers are electrically in phase, and first order networks perserve the phase coherency of the envelope.
Common practice is to wire the drivers in a multiway system alternatively out of phase, to maintain good amplitude linearity through the crossover region. Unfortunately in the passband the midrange (of a 3way) is out of phase with the woofer and tweeter. Most manufacturers do it this way because it measures better. The practice destroys the integrity of the music signal and I hate it. You can cover the "in phase notches" in a crossover network by various means. Although the in-phase speaker will measure less flat (particularly in the crossover region) than the non-minimum phase design, its sound is superior. Some designs in addition are completely phase random, with slopes claimed to be approaching 100dB/oct. You can't tell whether the music is coming or going with such speakers, which I also dislike.
Speakers that have out-of-phase drivers include the Magneplanars, Newforms and virtually all cone dynamic two and three ways.......................................I think the main reason most designers invert polarity of alternate drivers in a multiway system is that it measures better that way. No one wants to be embarrassed by a measureable suckout in the FR curve. Although there are means available to minimize problems in the crossover region caused by in-phase design, truth is an in-phase configuration will never measure as flat through the crossover than the inverted-polarity wiring. Lord knows we want speakers to measure well..........................................
............Τhe highly audible fact that inverted driver polarity destroys the integrity of the music is of no concern to these people............The best known "ribbons" weren't ribbons at all, but single-ended planar dynamic. They only reproduced half the waveform, THD averaged 30% below 5 kHz, where a push-pull tweeter came in. To add to the problems, the tweeters and midwoofers were wired in opposite polarities. There were huge differences between the Apogee sound and convential cone dynamic speakers because the Apogee's errors were so huge. Not to say they didn't sound good, they just had serious design flaws....................................

Todays push-pull midrange and treble ribbons are a completely different animal. They sound a lot like conventional speakers (if you can find such with all drivers wired in phase, still a great rarity). Properly executed modern ribbons just sound more like live sound....."


Minimum phase response means that the envelope of frequencies arrives at the ear at the same time and in phase.

To do this we use first-octave crossovers (phase linear) and wire all drivers electrically in phase. Phase plugs in the woofers move their acoustic center forward to the blunt tip of the phase plug, and into the same plane as the mid and treble ribbons. Since these are planar they do not need to be moved back relative to the woofer's acoustic center.

There are "time aligned" speakers that wire midranges electrically of inverted polarity relative to the woofer and tweeter, which results in measurable better amplitude response. Of course it also destroys the integrity of the music signal outside the crossover region. Phase changes 180 degrees as the signal exits crossover and into the passband, a highly deleterious and audible effect.

 

[Tidal__]

Φιλε μου εγω απλα κατεθεσα την προσωπικη μου αποψη. Εμενα μου φανηκαν βαρετα με μηδενικη διαφανεια.

 

[Nick Arvanitakis]

Απάντηση: VMPS speakers

Τα περισσοτερα ηχεια μου φερνουν στο μυαλο τον Nudell!

 

[costas EAR]

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