Vandersteen Audio SEVEN User manual

incredibly transparent reproduction because all drivers
from 100Hz and above are made of the same material
with exactly the same char-
acteristics. These very stiff
diaphragms allow for dy-
namic contrast unheard of
with typical materials. On
the rear input plate are
eleven room compensation
controls that a qualified tech-
nician uses to match the low
frequencies to the listening
room, and level and contour
controls that allow you to
tailor your Model Sevens to your own personal taste.
The Vandersteen Model Seven is designed and built in
the United States of America.
$5.00
Thank you for choosing the Vandersteen Model Seven Reference Loudspeaker System. While the
grilles are removable, we recommend that you leave them on the speakers at all times. The Model
Sevens were engineered and measured with their grilles in place. Removing the grilles compro-
mises the performance of the speakers and exposes the drivers to possible damage from probing
fingers. For a complete understanding of the Model Seven’s innovative technology and unique fea-
tures we recommend that you review this entire manual before connecting or using your new
speakers. Vandersteen Audio
The Model Seven combines the superior openness and
realism of the legendary Vandersteen boxless design with the
powerful, extended bass of an
amplified subwoofer in a com-
pact and elegant loudspeaker.
Unique features optimize the
Model Seven for a wide vari-
ety of placements, environ-
ments, and system configura-
tions. It is available in any
automotive finish to comple-
ment any décor.
The Model Seven incorpo-
rates advanced patented Car-
bon Fiber/Balsa sandwich cones and domes for the midbass,
midrange and tweeter. This technology allows true piston
operation for each driver in its pass-band, allowing very low
distortion and uniformity in sound. This innovation offers
Unless the high-pass crossover is built into the electronics, (See page 3.) the Model
Seven system requires a M5-HPcrossover between the preamplifier and main power
amplifier that is matched to the input impedance of the power amplifier. Using the
speakers without a properly configured M5-HPin place will severely damage the
midbass drivers. The drivers in your Model Sevens are critically paired to within one
tenth of a dB. In most cases if one driver is damaged, the pair must be replaced.
Physical damage (probing fingers) or damage due to a missing or improperly config-
ured M5-HP crossover will require non-warranty replacement of two very expensive
drivers. (Minimum $480.00 per pair for the tweeters alone.)
C ONTENTS
SW Amplifier Replacement
Crossover Replacement
Removing the Grille
Driver Replacement
Troubleshooting
Common Questions
Support
PACKING INFORMATION
WARRANTY
16
16
16
17-18
18
18
18
19
20
Listening Height
Plugging-In The SW Amp
LF Room Optimization
Controls
Amplifier Requirements
MAINTENANCE
Cleaning
Service
Battery Replacement
11
11
12
12
13
15
15
15
15
SETTING-UP
The M5-HP Crossover
High-Pass Electronics
The Speaker Cables
Bi-Wire Connections
Vertical Bi-Amp Connections
Internal Bi-Wire Connections
Speaker Placement
Installing The Cones
2
2
3
4
5
6
7
8
11
1 Model Seven Operation Manual
V ANDERSTEEN
M ODEL S EVEN R EFERENCE
L OUDSPEAKER | O PERATIONS
M ANUAL

S ETTING - U P T HE M ODEL S EVEN
Unless the high-pass crossover is built into the electronics, (see page 3) the M5-HP
crossover is required in all systems. Using the speakers without a properly config-
ured M5-HP crossover in place will cause severe and costly non-warranty damage to
the midbass drivers.
T HE M5-HP C ROSSOVER
The Model Seven uses a unique crossover and sub-
woofer amplification configuration to provide the true
benefits of bi-amplification and reduce the current de-
mands on the main amplifier. By inserting a passive high-
pass crossover between the preamplifier and the main
amplifier then connecting the Model Sevens like conven-
tional bi-wired speakers, the main amplifier remains in the
signal path to the subwoofer, but its current demands are
reduced. This insures sonic continuity as the main ampli-
fier’s characteristics that are evident through the upper fre-
quencies are maintained to the deepest bass, but with the
power and control of the Model Seven’s internal 400 watt
amplifier.
The M5-HP is the high pass crossover for the mid-bass
driver and must be installed in the system between the pre-
amplifier and power amplifier before the Model Sevens are
used. (The only exception is in systems with a high-pass
amplifier as noted below.) Properly configured to match the
input impedance of the amplifier, the M5-HP will roll off
the low frequencies going to the amplifier so that they are
-3db at 100Hz referenced to 1kHz. To compensate for the
low-frequency roll-off induced by the crossover, the re-
sponse of the Model Seven’s amplifier is contoured to re-
store the low frequencies to the proper level as shown in the
illustrations to the left. The M5-HP is a totally mono de-
sign, two are required for a stereo pair of Model Sevens.
M5-HPs are available in both balanced and single ended
configurations to match any system.
C ONFIGURING T HE M5-HP C ROSSOVER
Before you use the M5-HPs, each unit’s internal set of
ten dip switches must be set to match the input impedance
of your main amplifier. Information on your amplifier’s
input impedance should be in its manual or available from
its manufacturer. If you do not have accurate information
on your amplifier’s input impedance, do not use your
Model Seven speakers until you get the information or
have a competent technician determine the input imped-
ance by the method described on the next page. With
balanced amplifiers, the M5-HP crossover must be set to
match the sum of the positive and negative legs of the input.
(The individual legs must each be exactly one half the im-
pedance.) If the individual legs do not both have the same
These examples show the interaction between the external cross-
over, the main amplifier and the Model Seven subwoofer section.
20 60 100 140 180 220 260 HZ
Response of the main amplifier and mid-
bass driver with the low-frequency roll-off
induced by the external crossover.
Output of the Model Seven amplifier. The
contour is the opposite of the low frequency
roll-off induced by the crossover.
Response of the Model Seven’s sub-
woofer. The contour in its amplifier
boosts the frequencies below the cross-
over point back to flat and rolls-off the
subwoofer above the crossover point.
Superimpose the response of the Model
Seven subwoofer over the response of the
midbass driver and the crossover point is
evident.
Midbass
Driver
Model Seven
Subwoofer
Midbass
Subwoofer
Combined
Response
V ANDERSTEEN A UDIO 2
True balanced amplifiers will have the same impedance value on the positive and
negative legs of the inputs. An amplifier with different impedance values on the posi-
tive and negative legs of the inputs is not truly balanced and is not compatible with
the balanced version of the M5-HP crossover.

Some preamplifiers, power amplifiers, integrated am-
plifiers and multi-channel processors can be configured
by the user or the manufacturer to provide the low-
frequency roll-off required by the Model Sevens. Incor-
porating the high-pass crossover into the system elec-
tronics eliminates the need for M5-HP crossovers.
3 Model Seven Operation Manual
The high-pass section of the applicable unit must be con-
figured to these specifications:
Frequency Response: -3db at 100Hz
6db per octave (First order)
As you set up your Model Sevens, you will be prompted several times to evaluate some aspects of
their performance with reference quality music recordings. We find that natural instrument jazz
recordings generally offer the most realistic and accurate sonic reproductions. They are usually of a
small group yet cover a wide frequency range. Most are straight through recordings with a mini-
mum of processing or acoustical manipulation. If you are not really familiar with these types of re-
cordings, your Vandersteen dealer and/or other experts can help you select some. Once you have
established your reference recordings, you can maintain consistency by using these recordings to
evaluate all component, wire and placement changes. Without reference recordings, it is easy to fall
into the trap of trying to retune the system for every different recording.
impedance, the amplifier must be used in single- ended
mode or with a complex, custom crossover the amplifier’s
manufacturer may be able to provide.
To set the M5-HPs in either a balanced or single ended
system, please follow these procedures.
1. Locate the value closest to the input impedance of
your amplifier in the chart located on the top cover
of the M5-HP. If you amplifier’s input impedance
is between values, use the lower value. Note which
switches to turn on to match the input impedance
value.
2. Remove the cover from an M5-HP and locate the
internal set of ten dip switches.
3. Turn on the switches listed for the value you found.
The numbered side is “ON”. A switch is on when it
is depressed on the side of the numbers.
4. Repeat the procedure for the second M5-HP.
Reinstall the covers.
If you are unable to find the amplifier’s input imped-
ance or if you are not completely sure you have the cor-
rect input impedance, you should have a competent tech-
nician at your dealer determine the proper setting for the
M5-HPs by the following method.
1. Connect a signal generator to the input of an M5-HP
crossover, the output of the M5-HP to the input of
I NSERTING T HE M5-HP I NTO T HE S YSTEM
1. Connect the outputs from the properly configured
M5-HPs to the inputs of the main amplifier.
2. With a high-quality cable, connect the left channel
preamplifier output to the input of the M5-HP that is
connected to the left channel of the main amplifier.
your main amplifier and the output of the amplifier to an
oscilloscope as shown in the diagram below.
Signal
Generator
2. Set the M5-HP’s internal dip switches for 50k imped-
ance value as noted on the chart. If the -3db down
point is above 100Hz, try a lower setting. If the -3db
down point is below 100Hz, try a higher setting. When
the -3db down point is at 100Hz, the M5-HP is set to
match your amplifier. (If the oscilloscope is not cali-
brated in db, find the setting where the voltage at
100Hz is .707 of the voltage at 1kHz.) This setting is
the input impedance of your amplifier. It is a good idea
to write it down for future reference.
3. Set the second M5-HP to the same setting.
The M5-HP contains a battery that continuously biases
some of its components. The battery is mounted on the
PC board and has a life expectancy of 7+ years. Please do
not attempt to measure the output of the battery as the
measurement process will drain the battery more than sev-
eral months of normal use. Written on each battery is the
year that it should be replaced to insure continuous opti-
mum performance
.
M5-HP AMPLIFIER
OSCILLOSCOPE
4. In multi-channel systems, insert the M5-HP between
the processor L&R outputs and the amplifier inputs.
3. With a high-quality cable, connect the right channel
preamplifier output to the input of the M5-HP that is
connected to the right channel of the main amplifier.
H IGH -P ASS P REAMPLIFIERS , A MPLIFIERS A ND M ULTI -C HANNEL P ROCESSORS

CONNECTING THE SPEAKER CABLES
Research has demonstrated that the speaker cables
must be considered an integral part of the music system.
Each brand and model of cable has its own sonic charac-
teristics and contributes to the overall presentation of the
music as much as any active component. The Model
Seven easily passes the amount of information required
to hear these differences between cables.
There is no one best cable to use with the Model
Sevens. To assure that they were sonically neutral, the
Model Sevens were developed using a direct-coupled
laboratory amplifier connection loaded by precision re-
sistors to simulate cable resistance. With neutral speak-
ers, the factors that determine the best cables for your
system are your personal taste, the characteristics of your
listening room, and the associated equipment. The only
person familiar enough with your taste and room charac-
teristics to assist you in selecting cables is someone from
your local dealer who has visited your room and sat
through listening sessions with you. No one else can ade-
quately evaluate two of the three factors (taste and
room).
If you wait to select the cables until the other compo-
nents in the system are set, you can fine-tune the system
with your cable choice. As you evaluate different cables
in your system, remember that the dielectric in most
quality cables takes several hours to fully form. These
cables may not reach their full potential or exhibit their
true sonic characteristics until they have been in the sys-
tem for a week or more.
It is very important to keep the speaker cables as short
as possible. In repeated trials, short runs of inexpensive
to moderately priced cable consistently outperformed
long runs of the same cable as well as much more expen-
sive cables. If you must place your speakers a long dis-
tance from your electronics, you should consider posi-
tioning the amplifier between the speakers and using
long interconnect cables with short speaker cables. With
comparable lengths and quality, long interconnect cables
seem to compromise the sound of a system less than long
speaker cables. An additional advantage is that a given
length of interconnect cable will usually cost less than
the same length of bi-wired speaker cable. An amplifier
placed between the speakers can easily be concealed by a
plant or placed in a decorative piece of furniture.
B I -W IRING
The Model Sevens are optimized for true bi-wiring
using two separate speaker cables to connect each
speaker to the amplifier. The speaker’s internal crossover
presents different electrical characteristics to each cable
so that one cable carries the signal going to the woofers
while the other cable carries the signal going to the mid-
range and tweeter. The improvements offered by bi-
wiring versus a conventional single run of cable are
substantial. Often, a bi-wire set of moderately priced cables
will sound better than a single run of far more expensive
cables.
All the speaker cables in a bi-wire set should be the
same type. While it is tempting to use a cable known for
good bass response on the low frequencies and a different
cable known for good treble response on the midrange and
tweeter, the differing sonic characteristics of the two cables
can affect the blending between the midbass and midrange
drivers and compromise imaging, transparency, and detail.
Different cables should only be used after you audition
them in your system and verify that they do not affect the
midbass to midrange blending and that you like their sonic
characteristics.
Our research revealed that much of bi-wiring’s benefit
comes from the physical separation of the low frequency
cable from the midrange/tweeter cable. Internal bi-wire
cables that combine all the wires together in one sheath do
not offer all the advantages of true bi-wiring. These multi-
ple conductor cables are the only recommended method of
mono-wiring the speakers, but should not be considered the
equivalent of dual cable bi-wiring.
B I -A MPLIFICATION
The Model Sevens can only be bi-amplified passively
with two identical stereo amplifiers in a vertical configura-
tion. (One stereo amplifier per speaker.) Since a single,
higher quality amplifier will usually sound better than two
lesser amplifiers, we only recommend bi-amplification
when every component in the system is the best available
and there is no other path to improving the system. Cau-
tion should be used when bi-amping as some amplifiers
will oscillate on transients resulting in speaker failure es-
pecially the tweeter.
When vertically bi-amplifying, the speaker’s internal
passive crossover will divide the signal between the mid-
bass and the midrange/tweeter by presenting different elec-
trical characteristics at different frequencies to each chan-
nel of the amplifier. Above approximately 200Hz, this type
of passive filter is the most transparent method of dividing
the signal between the drivers. The internal passive cross-
over between the midbass and midrange can not be by-
passed so an electronic crossover can not be used to bi-
amplify the Model Sevens. Two crossovers in series with
each other (electronic and passive) cause severe phase shift
and response non-linearities.
The Model Sevens should not be bi-amped with two
different amplifier models in a horizontal mode. (One am-
plifier driving the low frequencies and the other amplifier
driving the midrange and tweeter.) When half of the
speaker is driven by a different amplifier model than the
other half - and in these cases, usually by amplifiers chosen
V ANDERSTEEN A UDIO 4
S ELECTING S PEAKER C ABLES

for the differences in their sounds rather than the similarities
— the blending between the midbass and midrange drivers
is compromised and the sonic consistency of the speaker is
effected. The upper and lower ranges of the speaker exhibit
different dynamic characteristics, tonal balances, and
detail through the frequency range where the human ear
is most sensitive to inconsistencies.
Bare wires should never come into contact with the aluminum dress plate while the
amplifier is on. Amplifier damage could result.
The input screws should be snug, but should not be over tightened.
T RUE B I- W IRE C ONNECTIONS
True bi-wiring is recommended for all systems using a
single stereo amplifier or two mono amplifiers. Four identical
runs of equal length speaker cables are required. (Two per
speaker.)
Please review the information on page 4 regarding cable
selection and connection techniques before you connect your
speakers.
1. Crimp and solder spade lugs to the speaker ends of
the cables being used to connect the Model Seven.
2. Choose one of the cables as the tweeter/midrange cable.
Connect this cable to the two terminals on the right
carefully observing proper polarity.
3. Connect the remaining cable to the two left terminals
carefully observing proper polarity.
4. Connect both cables in proper polarity to the same set
of outputs on your amplifier. If possible, use a single
spade lug to connect both positive wires and a single
spade lug to connect both negative wires to the amplifier
as shown in the diagram to the right.
W E R ECOMMEND
a. All four speaker cables should be the same type and
length. While certain different cable types may work
well together, using identical cables on both inputs
insures perfect blending.
b. Use high quality cables and spade lugs. Crimp and sol-
der the spade lugs to the cables.
c. If your amplifier has “A” and “B” outputs, use the “A”
outputs for both cables. The two sets of outputs may not
be electrically identical.
d. If your amplifier has multiple impedance taps, try the 4
ohm taps and 8 ohm taps to see which sound better.
(They will sound different.) The Model Seven is an easy
load and always stays between 4 and 8 ohms so there is
no danger of damaging your amplifier or the speakers
by using either set of taps. Both cables must be con-
nected to the same rated taps on the amplifier.
5 Model Seven Operation Manual

V ERTICAL B I -A MP C ONNECTIONS
We only recommend bi-amplification when every component
in the system is the best available and there is no other path to
improving the system. In all other cases, you are better off in-
vesting in the best single amplifier. Caution should be used as
some amplifiers will oscillate using this configuration with pos-
sible speaker damage.
Vertical bi-amplification uses a stereo amplifier to drive each
speaker. Four identical runs of equal length of speaker cables are
required. (Two per speaker.)
Please review the information on page 4 regarding cable se-
lection and connection techniques before you connect your
speakers.
1. Connect two cables to each speaker as described in steps 1-3
on the previous page.
2. Designate one stereo amplifier as the left channel amplifier
and the other identical stereo amplifier as the right channel
amplifier.
3. Connect the preamp’s left channel output to both in-puts of
the left amplifier using two sets of pre-amplifier outputs and
two cables or one cable and a high quality single female to
dual male “Y” connector. Use the same method to connect
the pre-amplifier’s right channel output to both inputs of the
right amplifier. The M5-HP must be connected to one chan-
nel of each amplifier.
4. Connect the bass cable from the left speaker to the channel of
the left amplifier where the M5-HP crossover is connected.
Connect the tweeter/midrange cable from the left speaker to
the other channel of the same amplifier. Verify proper po-
larity.
5. Connect the bass cable from the right speaker to the channel
of the right amplifier where the M5-HP crossover is con-
nected. Connect the tweeter/midrange cable from the right
speaker to the other channel of the same amplifier. Verify
proper polarity.
W E R ECOMMEND
a. Verify with the amplifier manufacturer that your amplifiers
are the same generation and sound the same.
b. If your amplifier has multiple impedance taps, try the 4 ohm
taps and 8 ohm taps to see which sound better. (They will
sound different) The Model Seven is an easy load and always
stays between 4 and 8 ohms so there is no danger of damag-
ing your amplifier or the speakers by using either set of taps.
Both cables must be connected to the same rated taps on the
amplifier.
c. All four speaker cables should be the same type and length.
While certain different cable types may work well together,
using identical cables on
the top and bottom insures perfect
blending.
The input screws should be snug,
but should not be over tightened.
Bare wires should never come into
contact with the aluminum dress
plate while the amplifier is on. Am-
plifier damage could result.
This connection method can only be
used in a system configured with
two identical stereo amplifiers.
V ANDERSTEEN A UDIO 6
VERTICAL
BI- AMP
Amplifier
Terminal
Left Channel
Outputs Right Channel Outputs

I NTERNAL B I -WIRE, or Mono Wire C ONNECTIONS
If your domestic situation dictates the use of a single cable
per speaker, you should use a multiple conductor single-sheath
cable to internally bi-wire the speakers. Some of these cables use
different types of wire for the upper and lower ranges of the
speaker and may effect the blend between the midbass and mid-
range drivers. They should only be used after you audition them
in your system and verify that they do not effect the midbass to
midrange blending and that you like their sonic characteristics.
Please review the information on page 4 regarding cable se-
lection and connection techniques before you connect your
speakers.
1. Crimp and solder spade lugs to the speaker ends of the ca-
ble from the amplifier.
2. Connect one positive and one negative wire to the tweeter/
midrange terminals on the right carefully observing proper
polarity.
3. Connect the remaining positive and negative wires to the
two left terminals carefully observing proper polarity.
4. Connect the wires in proper polarity to the same set of out-
puts on your amplifier. If possible, use a single spade lug to
connect both positive wires and a single spade lug to con-
nect both negative wires to the amplifier as shown in the
diagram to the right.
Bare wires should never come into contact with the aluminum dress plate while the
amplifier is on. Amplifier damage could result.
The input screws should be snug, but should not be over tightened.
While single-cable internal bi-wiring is the only recommended method of mono-
wiring the Model Sevens it does not offer all the performance advantages of true bi-
wiring.
W E R ECOMMEND
a. The speaker cables should be as short as possible and the
same length. Consider putting the amplifier between the
speakers rather than off to one side.
b. If your amplifier has multiple impedance taps, try
the 4 ohm taps and 8 ohm taps to see which sound
better. (They will sound different.) The Model
Seven is an easy load and always stays between 4
and 8 ohms so there is no danger of damaging
your amplifier or the speakers by using either set
of taps. Both cables must be connected to the
same rated taps on the amplifier.
c. True bi-wire for optimum performance.
7 Model Seven Operation Manual
Amplifier
MONO-WIRE
Amplifier
INTERNAL
BI-WIRE

S PEAKER P LACEMENT
When you place a given loudspeaker, either front ra-
diating or dipole, into a typical domestic environment,
the room effects the performance of the speaker. Some of
these effects are due to the speaker’s relationship to the
physical dimensions of the room and can be significantly
effected by placement. Every distance from the source of
sound (drivers) to a boundary (wall) has an effect. Odd
dimensions placement assures that no two boundary ef-
fects build on each other.
O DD D IMENSIONS P LACEMENT
A method that helps find possible placements in many
rooms is positioning the loudspeakers on the odd dimen-
sional intersections of the room. The odd dimensional
intersections are where lines representing the length and
width of your room divided by odd numbers would
cross.
With their extensive subwoofer controls and room compensation adjustments,
the Model Seven’s low frequency response can be optimized for any placement. The
speakers’positioning will effect the midbass, midrange, and treble performance
with some positions offering better imaging and superior frequency balance and de-
tail. With the tremendous variables in room construction and layout, there are no
magical formulas for determining the best speaker placement in every room. We
recommend that you try the speakers in every domestically acceptable location to
find their best midbass to treble performance in your particular listening environ-
ment. The odd dimensions placement method covered in the following sections is a
tool that can help you find an acceptable placement, but to find the optimum place-
ment, you will need to invest the time and effort to try all the possible placements in
the room.
Before you begin your positioning experiments, verify that the speakers are con-
nected to the amplifier in proper polarity and that the M5-HPcrossover is in place
and properly set for the input impedance of the amplifier. The cones should not be
installed. Set the speakers on flat cookie sheets so that they will easily slide on the
carpet from position to position. To insure that the bass performance of different
placements does not bias your judgment of the midbass, midrange, and treble, all
placement experiments should be performed with the subwoofer amplifier un-
plugged.
Carefully listen to the imaging and midbass to treble performance of each possi-
ble placement with your reference quality music recordings. Without the subwoofer
sections, the speakers will have the frequency balance of high-quality mini-monitors
and should be evaluated as such. Listen for detail, clarity, naturalness, and the over-
all presentation of the music. Keep notes on the different placements to help track
where the speakers sound the best, once found use tape and mark rear cone loca-
tion.
As an example, we will use a rectangular room meas-
uring 14 feet wide by 18 feet long. We’ll assume that you
want to set the speakers on one of the short walls, al-
though this method works equally well for long wall
placement.
The first step is to take the length of the room, (18 feet
in our example) convert it from feet to inches, (18 X 12 =
216) and divide the result by odd numbers.
216 divided by 3 is 72 (all to the nearest inch)
216 divided by 5 is 43
216 divided by 7 is 31
216 divided by 9 is 24
216 divided by 11 is 20
(and so on; eventually the lines pile on top of each
other or the speaker gets too close to the wall to
access the rear connections and controls.)
The results are the distances in inches that the top front
V ANDERSTEEN A UDIO 8

9 Model Seven Operation Manual
center of the speaker’s grille frame should be away from
the wall behind the speaker.
Now we can graph these odd dimension distances on a
drawing of the room. We only need to graph them for the
wall where we intend to place the speakers.
20
72 43 31 24
We use the same method to figure how far the top front
center of the speaker’s grille frame should be from the side
walls. We take the width of the room, (14 feet) convert it
from feet to inches, (14 x 12 = 168) and divide the result
by odd numbers.
168 divided by 3 is 56 (all to the nearest inch)
168 divided by 5 is 34
168 divided by 7 is 24
168 divided by 9 is 19
168 divided by 11 is 15
The results of these odd number divisions are the dis-
tances in inches that the top front center of each speaker’s
grille frame should be away from the side wall.
Now we can graph these odd dimensions distances on a
drawing of the room.
By overlaying the width and length graphs, we can see
the intersection points of the lines. These points represent
where the top front centers of the speakers’ grille frames
should be.
15
24
34
56
56
34
24
15
20
72 43 31 24
As you can see, we now have quite a few intersections
to choose from in our example room. In your room, some
of the intersections will be impossible to try or eliminated
due to domestic considerations.
As you try different placements for your speakers, al-
ways place both speakers on the same length line. For
example, both speakers would be placed on 43 inch line
or both speakers would be placed on the 24 inch line. The
speakers can be placed on different width lines, for exam-
ple one on the 34 inch line and the other on the 56 inch
line. Placing the speakers on different rather than match-
ing width lines will require that the listening position be
offset to center it between the speakers. Often the imaging
will be better with the speakers placed on matching width
lines.
After listening to the speakers centered on the charted
intersections, you should listen with the speakers a few
inches away from the intersection points in each direction.
In some cases, the speakers will sound better slightly off
the intersections due to the particular characteristics of
your room or a slight error in your original room measure-
ments. Both speakers should be moved the same amount
forward or backward to maintain a consistent listener to
speaker distance when fine-tuning placement.
Several factors influence how speakers interface with a
room other than the room’s basic dimensions so it is pos-
sible that none of the placement options on the wall you
initially place the speakers on will sound quite right. The
sound may be too forward or too withdrawn or the imag-
ing may not be to your liking. If you are unable to
achieve satisfactory sound with the speakers placed on
one wall, try placing the speakers on a different wall of
the room. Even in a rectangular room, the speakers will
interface differently with the room depending upon which
of the four walls they are placed. In some rooms the
speakers will sound best placed on a short wall, while in
other rooms the speakers will work better on a long wall.
15
24
34
56
56
34
24
15

V ANDERSTEEN A UDIO 10
A COUSTICAL C ENTER
The Model Seven’s acoustical center is at the top front
center of the grille frame. In a perfectly rectangular room
with absolutely rigid walls and no doors or windows, the
acoustical center of the loudspeaker would be placed ex-
actly at the point where the two dimensions intersect to
realize the full benefits of odd dimensions placement. In a
real room, the actual best placement may vary from the
intersection by several inches. Fine-tuning the placement
by moving the speakers a few inches off the calculated
intersections takes these real world conditions into ac-
count.
You should not use any placements that put the acous-
tical center of the loudspeaker the same approximate dis-
tance from the rear and side walls or where one distance is
a multiple of the other. In our example room, this would
eliminate the intersection of the 24 inch width and length
lines since they are both the same distances from their
respective walls. It would also eliminate the intersection
of the 24 inch width line and 72 inch length line because
72 is a multiple of 24. (3 x 24 = 72) If any of the odd di-
mension intersections in your room are within a few
inches of being the same distance from the side and rear
walls or multiples of each other, you should not use them.
S PEAKER T OE- I N
The degree of toe-in can effect the imaging and re-
sponse characteristics of the speakers. In most rooms, the
speakers will work well with twenty degrees of toe-in.
Speakers that are placed close to the side walls or in
rooms with very reflective side walls may require addi-
tional toe-in to avoid a confused image and/or a forward
midrange and treble. Although rare, in some rooms the
speakers may actually perform better with a slight amount
of toe-out.
A COUSTIC T REATMENTS
If the speakers are close to the side walls and you hear
a brightness in the midrange/treble or a problem with the
imaging that toeing-in the speakers does not help, some
sound diffusers should be mounted on the side walls to
control reflections.
To determine where the sound diffusers should be
placed, imagine that the walls are mirrors and mount
them on the walls where you would see the reflections
of the speakers when you are sitting in your normal
listening position. Before you actually mount anything
on the side walls, experiment with the diffusers loca-
tion to verify that you will get the results you desire.
Speaker
Speaker
Listening
Position
If your listening position is close to the wall behind
you, mount some sound absorbent material, such as a
hanging tapestry, directly behind your head. As with
the diffusers for the side walls, experiment with a pil-
low or a folded natural-fiber blanket to verify the re-
sults before you acquire or mount the material.
H ELPFU L H INTS
A. To try the speakers on different walls, set your
equipment in the middle of the room so the
speaker cables can reach each possible location.
B. When you change the placement of the speakers,
listen to several different reference quality music
recordings before judging the results of the
change.
C. If you set the speakers on a wood floor, use spike
shoes to protect the floor from damage.
D. Don’t over-analyze the sound of each placement.
When the sound is right, it will be obvious.
E. Keep notes on the sound of different placements
you try. It is easy to get mixed-up and forget
which placement sounded the best.
The Model Sevens break-in and significantly improve during the first 100 hours of
use. Until this period has elapsed, the speakers exhibit some sonic aberrations as the
parameters of the Model Seven were established with completely broken-in drivers.

11 Model Seven Operation Manual
I NSTALLING T HE C ONES & L ISTENING
H EIGHT A DJUSTMENTS
The Model Seven is supported by three cones, one in
each front corner and one in the rear center. Install the
skirted locking collar on the cone and thread the cone in
until the bottom of the skirt is even with the top of the cone
(this should leave about seven threads showing on top of
the locking collar). With the speakers still in the position
previously discovered, thread the cone assemblies directly
into the bottom of the speaker with the top of the locking
collar just touching the bottom of the speaker and the bot-
tom of the skirt still even with the top of the cone. Do not
tighten them at this time. At no time should the weight of
the speaker be on the cones with less than seven threads into
the speaker bottom. Two people are required to safely in-
stall the cones. Do not attempt to install the cones by your-
self.
All properly aligned loudspeakers have a vertical listen-
ing window where their sound is optimized. The Model
Seven’s six inch high optimum listening window is centered
at 36 inches when the speaker is vertical. If your ear height
is above or below 36 inches at your normal listening posi-
tion, the speakers should be tilted to center the optimum
listening window at your ear height. A Laser Jig is used to
level, set vertical alignment and toe in .
1. Remove the grille and install the Laser Jig into the four
grille receptacles on the front baffle. Make sure the Jig
is seated into the receptacles fully.
2. Measure the ear height of the listener relaxed in the lis-
tening position. Place a piece of cardboard vertically
against the seat back. Draw a X on the cardboard at ear
height exactly on center (this will be slightly behind the
ears which is OK). With a level for a straight edge
draw a plumb vertical line through the X.
3. Rotate the laser to the earlier determined toe on the pro-
tractor. Tip: when measuring for speaker location de-
termined by the earlier experiment, use tape to mark the
precise position for the rear cone of each speaker. All
toe movements will swivel on the rear cone so the
speaker position remains constant. Turn on the laser
and rotate the speaker until the dot falls on the vertical
line. Turn off the laser.
4. Using the bubble level built into the Laser Jig, level the
speaker (right-left) using the front cones. Insert a small
Improper listening height can cause
the speakers to sound extremely
bright or dull.
Two people are required to safely in-
stall the cones. Do not attempt to in-
stall the cones by yourself.
Be careful not to cross thread the
cones as you install them into the bot-
tom of the Model Seven. The cones
should turn easily by hand. Damaged
threads can be repaired with a
9/16x18 thread tap.A stuck cone can
be removed by turning it with a nail
or small screwdriver inserted
through the cross hole.
screwdriver into the cross hole in the cone and turn in
the cone (counter clockwise) on the high side until
level. Do not turn either cone clockwise as the cones
are already out as far as allowed. Holding the cone in
place with the screwdriver, tighten the locking collar
with the supplied wrench on both front cones. Doub-
ble check that there are no threads showing on either
cone.
5. Turn on the laser and verify that the dot is still on the
vertical line. Tweak if necessary. With a screwdriver
into the cross hole of the rear cone, turn it in (counter
clockwise) until the dot is on the X. Tighten the
locking collar. The Model Seven is now perfectly
aligned.
6. Remove the grille from the other speaker and install
the Laser Jig.
7. Rotate the laser to the same but opposite angle on the
protractor and repeat steps #3 through #5. Both
Model Sevens are now perfectly aligned.
P LUGGING-IN THE SUBWOOFER AMPLIFER
With the speaker cables connected, the M5-HP crossover
in place, the placement established, and the cones installed,
the Model Seven’s subwoofer amplifier should be plugged-
in. The amplifier uses a removable power cord that should
be securely inserted into the amplifier then plugged into a
non-switched outlet that is known to be operating properly.
If an extension cord is required, it should be as short as
possible and constructed of 14 gauge or larger wires. As the
amplifier is plugged-in, it will usually produce a thump or
pop from the subwoofer. Never use a ground cheater.
During electrical storms or when the system will not be
used for a long period of time, (i.e. vacations) the Model
Seven amplifier should be unplugged along with the other
components in the system.

V ANDERSTEEN A UDIO 12
G UIDE T O A DJUSTING T HE R OOM C OMPENSATION C ONTROLS .
8. Play tracks sixteen through twenty six (right channel)
and verify two thirds are above 70dB and one third
below. It most likely will not be, so adjust the low
frequency level on the right speaker’s amplifier up or
down until two thirds are above and one third are be-
low. Do not change this setting until finished with the
calibration procedure. Note: this is on the right
speaker not the preamp which remains as set earlier.
9. Play tracks sixteen through twenty six again and note
on the Work Sheet how far each band is above or be-
low 70dB. For example:
dB +6 -3 -4 0 +4 +10 +2 +6 +10 -3 +2
(Note: that two thirds are up and a third are down. If
the reading is off the scale, call it +10 or –10 as be-
fore).
10. Calculate the target correction by multiplying by .3
and rounding to the next greater whole number. For
example using the right channel noted above:
dB +2 -1 -2 0 +2 +3 +1 +2 +3 -1 +1
(Note: if the pot stops full counter clockwise or
clockwise before attaining your target number this is
OK, leave it there do not force the pot as they are frag-
ile).
11. Repeat #10 for the target calculation for the left chan-
nel.
12. Play track one and have an assistant adjust pot #1 on
the left speaker to the previously calculated target or
all that is possible within the range of the pot.
13. Repeat #12 for each appropriate track and pot.
The Model Seven amplifier levitates the subwoofer cone and centers the voice coils.
If the subwoofer amplifier has been unplugged for more than a few hours - includ-
ing when the speakers are first set-up - avoid playing deep bass above a moderate
conversational level until the amplifier has been plugged-in for at least one hour to
allow the subwoofer driver to center. Never float the subwoofer ground!
LOW-FREQUENCY ROOM OPTIMIZATION
The eleven room compensation controls located on the
rear input plate help counter the amplitude and phase effects
of room nodes and anti-nodes and provide the most linear
low frequency response at the listening position. They can
only be properly set by using the Vandertones disk and a
Radio Shack analog S.P.L. meter. Once the controls have
been set for a particular room, they should not need to
be readjusted unless the speaker placement and/or lis-
tening position are significantly changed.
The low-frequency level will be set by the process
on page 13.
1. Set the microphone at the listening position at ear
height.
2. Turn on the S.P.L. Meter to the 70dB scale, “C”
weighting, “Slow” response.
3. Insert Vandertones test disc into a CD player, set the
volume on the preamp to a low level.
4. On the left Model Seven sub-woofer amplifier set the
low frequency contour control to minimum (#1) and
verify that all eleven room compensation bands are set
straight up (screwdriver slot vertical). Set low fre-
quency level to 0dB.
5. Locate the Low Frequency Work Sheet provided loose
in this manual. Make copies if necessary and keep one
as a master.
6. Play tracks one through eleven (left channel) and note
on the Work Sheet the meter readings for all eleven
tracks. Adjust the preamp volume up or down until
two thirds of the tracks read 70dB or higher and one
third of the tracks are 70dB or lower. This is your
reference volume. Do not readjust until this entire cali-
bration is complete for both speakers.
7. Play tracks one through eleven again and note on the
Work Sheet how far each band is above or below
70dB. For example:
dB 0 +4 –10 +10 +6 –4 +10 +3 +6 –6 +3
(Note: that two thirds are up and a third are down. If
the reading is off the scale, call it +10 or –10).
A DJUSTMENT S ECTION WITH VANDERTONES DISK AND RADIO SHACK S.P.L. METER
This procedure requires the Radio
Shack analog S.P.L. meter (digital will
not give satisfactory results) and the
Vandertones test disk. Do not use any
of the commonly available frequency
correction charts or a meter that has
been modified to be corrected.

USER ADJUSTMENTS
13 Model Seven Operation Manual
14. Play tracks sixteen through twenty six and have an
assistant adjust pots #1 through #11 as before. For
your information the bands center frequencies are:
Pot# 1 2 3 4 5 6 7 8 9 10 11
Frq. 20 24 30 36 42 50 60 72 84 100 120
15. This procedure is half art and half science so do not try
to adjust every peak or dip all the way to 0dB even if
possible. Our studies and listening have shown that
adjusting all the peaks and dips to 0dB can cause a
non-musical sound with audible equalization effects.
Some rooms are very flat and the temptation to adjust
for perfectly flat will be great. Don’t do it, as it will
sound over equalized. Our ear/brain knows there are
standing waves in the room and can’t be fooled so all
we can do is reduce their amplitude. If after finishing
the final level and contour adjustments in the section
below you feel the sound is not engaging, go back and
carefully relax the corrections made. Start by backing
off any pot that was at maximum or minimum rotation
about one hour, as if it were a watch face.
Note: In most rooms because the surroundings are not
symmetrical it is quite common for the right and left
Level Control on the bass amplifier to be at different
settings. This is true even in rooms where the speakers
are placed symmetrically because of adjacent rooms or
wall construction differences. It is important for this
difference to remain when adjusting the sub-woofer
Level Control in the following section. For example:
the left Low Freq Control is at “0” because that is
what the calibration procedure calls for and the right
Low Freq Level may have ended up at “+2” during the
calibration procedure of the right speaker. This differen-
tial must always remain. We have calibrated dozens of
rooms over the years and have observed that the bass
change is minimal but the midrange becomes noticeably
more open and three dimensional.
Do not try to set the Room Compensation Controls by ear. Due to the complex interac-
tions of the controls, you will only succeed in compromising the inherent accuracy of the
speakers. Unless adjusted using the preceding method, the eleven Room Compensation
Controls should be left straight up.
L OW -F REQUENCY L EVEL
Set the low-frequency contour control to minimum (#1)
and verify that all 11 room compensation bands are set up.
Select a clean jazz recording with a stand-up bass scaling
up and down. Adjust the Low-Frequency Level controls
on the speakers until the transition from the subwoofer to
the upper part of the speaker is seamless and linear. The
levels on both speakers should maintain any difference
discovered during Room Compensation adjustments.
C ONTOUR A ND H IGH- F REQUENCY L EVEL C ONTROLS
Three controls on the Model Seven’s input plate allow
you to tailor the characteristics of the speaker’s bass and
treble response to suit the listening environment and your
personal taste. The High-Frequency Level and High-
Frequency Contour controls adjust the output level and
response characteristics of the rear mounted tweeter while
the Low-Frequency Contour control adjusts the Q of the
subwoofer section. Since these controls alter the perform-
ance of the speaker to match your personal taste, they
should be adjusted by ear using well recorded, accurate
jazz recordings. All the instructions for adjusting these
controls assume that the Low-Frequency Room Compen-
sation controls have been set, and the Low-Frequency
Level adjusted for linear response. It is also assumed that
the speakers are positioned according to previous instruc-
tions, that the cones are installed with the tilt required to
aim the speakers at your listening height and that the high-
pass crossover is in place and properly configured.
Before we individually address each of these controls
and their use, we want to point out that they are not sub-
stitutes for tone controls. One should be careful to select
known high quality recordings with recognizable instru-
ments to eliminate confusion and the possibility of chas-
ing variations in recordings. This could be like watching
a cat chase its tail! A good jazz recording with a stand up
bass works best. Preamplifier tone controls are designed
to withstand thousands or even tens of thousands of ad-
justments and are the best way to compensate for
If after finishing the final level and contour adjustments in the section below you feel the
sound is not engaging, go back and carefully relax the corrections made. Start by backing
off any pot that was at maximum or minimum rotation about one hour, as if it were a
watch face.

your particular tastes and the peculiarities of individual
recordings. The Model Seven’s controls were chosen
solely for their sonic characteristics and have a life expec-
tancy of hundreds rather than thousands of uses. This
should be enough to cover several lifetimes worth of resi-
dence changes or room alterations.
L OW- F REQUENCY C ONTOUR ( Q C ONTROL)
The Low-Frequency Contour control adjusts the Q of
the subwoofer to accommodate different rooms, listening
tastes, or system modes. In subwoofer engineering terms,
system Q is the product of a complex mathematical equa-
tion derived from driver, electrical, and enclosure parame-
ters. In practical terms, it relates to the character of the
bass response. A low Q subwoofer sounds very tight and
controlled. A high Q subwoofer produces a warm, full
bass with more energy in the most audible bass range.
The Model Seven’s Low-Frequency Contour control is
leveled from 1 to 10. As shown in the graph below, posi-
tion # 1 provides the tightest bass (Lean Audiophile
Sound), position # 7 is maximally flat as measured at the
driver cone, (Linear Anechoic Response) and position #
10 emulates the peaked response of a typical high Q home
theater subwoofer (Big and Boomy.)
Once the room compensation controls have been set by
a qualified technician, our experience is that the bass in
most rooms sounds the most linear on high-quality music
recordings with the Low-Frequency Contour set in the # 5
to # 8 range. Contour should always be the same for both
speakers. Please remember that every room and system
are different and that the nominal position in your system
may be higher or lower due to room characteristics or per-
sonal preferences.
Once you have established the nominal setting for your
system, we recommend that you make any temporary bass
adjustments with the preamplifier’s or video processor’s
bass controls. If your system does not have tone controls
and is regularly used for home theater reproduction, we
recommend using an additional one or two V2W L.F.E.
theater subwoofers. The Low-Frequency Contour control
should be set to the best setting for two channel music as
described above. With this configuration the Model
Seven’s sub-woofer and the L.F.E. sub-woofer(s) will be
in play while watching movies. Fun!!!
H IGH- F REQUENCY L EVEL A ND C ONTOUR
The High-Frequency controls adjust the output level and
response characteristics of the rear mounted tweeter. As
you prepare to set the rear tweeter for your room and taste,
there are some points you should consider. In most rooms,
with the speakers positioned reasonable distances from the
walls, the best setting for the rear tweeter is OFF. With the
rear tweeter turned off, the Model Seven is a perfectly
aligned, mono-polar design. Our measurements as well as
our ears convince us that this configuration provides the
best imaging, the most true detail, and the lowest distor-
tion. In some highly damped rooms however, speakers with
flat treble response can sound dead and lifeless. We believe
that in these rooms, increasing the high-frequency content
of the reverberant field is the best way to compensate for
the extreme room characteristics.
The decision to incorporate the rear tweeter into the
Model Seven was not an easy one. Even though it can pro-
duce some pleasing phasey phenomena as its output re-
flects 901 different ways off the surrounding walls, it is a
second source for the information reproduced by the direct
tweeter and therefore, its contribution to the sound field is
significantly smeared in time and technically 100% distor-
tion. (The front direct tweeter is already reproducing all of
the high-frequency information on the recording, any in-
crease above what is actually on the recording is by defini-
tion, distortion.)
In highly-damped rooms with thick carpeting, plush
furniture, and heavy drapes, activating the rear tweeter may
subjectively provide a more realistic and lifelike frequency
balance. If you decide to use the rear tweeter, set the High-
Frequency Level control at # 3 and evaluate the different
High-Frequency Contour settings with your reference re-
cordings to determine which contour settings sound the
most natural in your room. Each higher number extends the
rear tweeter’s output slightly lower in frequency as shown
in the graph below.
After you decide which contour setting provides the
best high-frequency characteristics for your room, use the
High-Frequency Level control to adjust the rear tweeter
level. Each higher number increases the output of the rear
tweeter by about 11/2dB.
If you are unable to achieve satisfactory perform-
ance using the information and procedures above,
please contact the Model Seven Customer Assis-
tance Department at Vandersteen Audio.
V ANDERSTEEN A UDIO 14

15 Model Seven Operation Manual
A MPLIFER R EQUIREMENTS
The Model Seven is designed for use with amplifiers
rated from 30 to 200 watts per channel into 8 ohms. These
amplifiers will provide ample power for realistic listening
levels in most situations. Amplifiers with less than 75
watts should be tested with the volume control half the
way up (the point where most amplifiers clip) to verify
that the system can achieve realistic listening levels with-
out stress. Amplifiers with more than 200 watts must be
used with caution due to the increased potential for
speaker damage if they are misused or an accident occurs.
The Model Sevens are very revealing speakers and
are easily capable of showing the subtle sonic differ-
ences between amplifiers. They will perform well with
a tube, transistor, or hybrid amplifier, allowing each
design to realize its full potential.
Fuses between the amplifier and the Model Seven
will degrade the performance of the entire system. No
fuses are used in the Model Seven and preference
should be given to the use of an amplifier that does not
use output fuses.
Preamplifiers and CD players should be left on except during electrical storms or ex-
tended absences.Amplifiers should be turned off when the system is not being used.
Once broken in, modern power amplifiers sound good after only 20 minutes of
warm-up. Leaving the amplifier on all the time exposes the speakers to possible dam-
age from power line anomalies or electrical component failure while the system is un-
attended.
MODEL SEVEN MAINTENANCE
C LEANING
The appearance and performance of the Model Seven
can be enhanced by observing a few precautions and per-
forming some simple maintenance.
The input terminals on the Model Seven and the spade
lugs on the speaker wire should be cleaned periodically
with alcohol or a solution made specifically for cleaning
electrical contacts. Other connection points in the system
should be cleaned as per the equipment manufacturer’s
recommendations.
The grille cloth on the Model Seven can be gently
vacuumed using a brush attachment that will not snag the
cloth. The automotive finish should by cleaned with a
damp soft cotton cloth (old T shirt). The polyurethane
clear coat can be maintained with an occasional coat of
car wax, being careful not to get it on the grille fabric.
Do not use Windex or any product with ammonia on the
Model Seven.
The speakers should not be exposed to excessive heat
or direct sunlight which can damage the fit and finish of
the fine finish.
S ERVICE
In the unlikely event that your Model Sevens require
service, please follow these procedures.
1. Verify that your Model Sevens have been set-up and
connected according to the instructions in this manual.
2. Verify that the problem you are hearing is in the
speaker by switching the left and right speaker cables
at the speakers. If the problem switches sides, it is in a
component or cable rather than the speaker.
3. Play each bass input and the midrange/treble input of
the suspect speaker separately to determine which sec-
tion has a problem.
4. Contact Vandersteen Audio with your Model Sevens
serial number, information on your associated compo-
nents, a description of the problem and the steps you
have taken to isolate it to the Model Seven.
5. The Model Seven is a modular system. Should
Vandersteen Audio determine that a module needs to
be returned to the factory for repair, a Return Au-
thorization form is available on our website.
(Due to the precise driver matching, drivers may
need to be replaced in pairs).
6. Return the damaged or defective module and the
completed Return Authorization Form to Vander-
steen Audio. Any shipment of a complete Model
Seven to the Factory will be refused.
VANDERSTEEN AUDIO
116 West Fourth Street
Hanford, CA 93230
[phone]
www.vandersteen.com

B ATTERY P ACK R EPLACEMENT
The Model Seven contains an internal battery pack
that continuously biases some of the crossover compo-
nents. The battery pack is mounted on the crossover
board and has a life expectancy of 12+ years. Like all
Model Seven components, the battery pack should be
changed at the factory (remove the entire cross over).
Please do not attempt to measure the output of the
battery pack. The measurement process will drain
the batteries more than several months of normal
use.
You should contact your dealer or Vander-
steen Audio regarding changing the battery
packs. Date of Change:
If you do not feel you have the technical expertise to disassemble and reassemble the
speaker modules, you should have your Vandersteen dealer or a competent techni-
cian perform the work.
R EMOVING T HE S UBWOOFER AMPLIFIER M ODULE
1. Turn off the main amplifier. Unplug the subwoofer
amplifier.
2. Remove the speaker cables.
3. Remove the screws securing the aluminum input
plate. Remove the input plate.
4. Place a stack of books at the rear of the speaker to
support the amplifier as it is removed. The support
stack should be just a little below the bottom of the
amplifier heat sinks.
5. Remove the screws holding the amplifier.
6. Carefully pull the amplifier back and rest it on the
stack of books.
7. Using a thin blade screwdriver through the square
opening at the top of the amp, loosen the set screws
holding the input wires and gently pull the input
wires loose.
8. Loosen the screws on the output terminals and re-
move the four output wires.
9. Pull the amplifier completely clear of the speaker
and set it on a soft surface.
R EINSTALLING T HE S UBWOOFER AMPLIFIER M ODULE
1. Place a stack of books at the rear of the speaker to
support the amplifier as it is reconnected. The stack
should be just a little below the amplifier cavity in
the speaker.
2. Reconnect the four output wires. As you look at the
amplifier with the transformer at the bottom, the
wires from left to right are red, red with green band,
black, black with green band.
R EMOVING T HE C ROSSOVER M ODULE
1. Remove the subwoofer amplifier according to the
instructions in the earlier section.
2. Remove the eight silver screws attaching the eyelets
to the terminal block.
R EINSTALLING T HE C ROSSOVER M ODULE
1. Gently slide the crossover board into its tracks until
it stops.
2. Insert the two screws into the vertical portion of the
PC board.
R EMOVING T HE G RILLE S TRUCTURE
1. Grab with your fingers the left and right sides of the
upper portion of the grill just above the lower sect-
3. Reinsert the input wires into the terminals and
tighten the set screws. The red wire should be in-
serted into the terminal toward the outside edge of
the amplifier.
4. Being careful not to pinch the wires, insert the am-
plifier into the speaker and attach it with its screws.
5. Reinstall the aluminum input plate.
3. Remove the two screws from the vertical portion of
the PC board.
4. Pull on the crossover board with a steady force so
that it slides out the rear of the speaker.
3. Insert the eight silver screws attaching the eyelets to
the terminal block.
4. Reinstall the subwoofer amplifier according to the
instructions in the earlier section.
ion. Wiggle the grill assembly back and forth but
straight out. Do not pry or pull on the lower section.
V ANDERSTEEN A UDIO 16

17 Model Seven Operation Manual
2. Once the four grille receptacles release, carefully con-
tinue to move the assembly straight out until clear of the
speaker enclosure. The upper and lower sections are
bonded together and will wedge into a bind if not
kept straight.
3. Set the grille assembly in a safe place where it will
not be damaged or soiled.
R EINSTALLING T HE G RILLE S TRUCTURE
1. Carefully align the grille with its appropriate sockets
and gently tap the grille at all four corners of the up-
per section. Use caution and keep the grille assembly
square with its recess around the woofer.
2. Tap all four corners progressively until completely
seated. Note: if you try to insert the lower section
ahead of the upper section the grille assembly will be
damaged or the finish will pop off the corners.
R EMOVING T HE S UBWOOFER D RIVER
1. Unplug the subwoofer amplifier, and disconnect the
speaker wires.
2. With the assistance of at least one other person, gen-
tly lay the speaker down on one side on a soft surface
that you are certain does not contain any hidden de-
bris that could scratch the finish. Support the speaker
so there is no movement while working.
3. Remove the screws holding the black bottom on the
speaker. (You do not need to remove the cones.)
Set the bottom to the side where it will not be dam-
aged or soiled.
4. Cut the wires to the outside voice coil as close to the
terminals as possible.
5. Remove the lock nuts securing the subwoofer driver.
Carefully pry the driver out.
6. Cut the wires to the inner voice coil as close to the
terminals as possible. Make a note of wire color and
any markings on the driver for polarity.
R EMOVING T HE M IDRANGE D RIVER
1. Remove the grille structure.
2. Remove the screws mounting the tweeter. Pull the
tweeter and have a assistant hold it being careful to
not put too much strain on the wires.
3.
Remove the screws securing the midrange driver.
4. Carefully pry the driver out.
5. Cut the wires as close to the terminals as possible.
Temporarily replace the tweeter and hold it in place
with one screw.
R EMOVING T HE M IDBASS D RIVER
1. Remove the grille structure.
2. Remove the screws securing the driver.
3. Carefully pry the driver out.
4. Cut the wires as close to the terminals as possible.
Note the color of the wire and any special markings
of polarity for future use.
1. With the solder provided with the rebuilt or replace-
ment driver, solder the wires to the terminals for the
inner voice coil in the proper polarity noted earlier.
2. Install the driver into the cabinet and secure it with
the lock nuts. (The nuts should be snug, do not over
tighten them.) An air-tight seal is required. If the ex-
isting weather stripping is not in good shape, peel it
off and replace it with new weather stripping avail-
able from Vandersteen Audio.
R EINSTALLING T HE S UBWOOFER D RIVER
3. Solder the wires to the terminals for the outer voice
coil in the proper polarity.
4. Install the bottom on the speaker and secure it with
the screws. (The single cone should be located at the
rear of the speaker.)
5. With another person’s help, set the speaker upright
and reconnect the speaker cables, and plug-in the
subwoofer amplifier.
R EMOVING T HE T WEETER D RIVER
3. C ut the wires (white with black and red markers) as
close to the terminals as possible but not the black and
green wires coming from the square module.
4. The tweeter will be serviced with the module.
1. Remove the grille structure.
2. Remove the screws that are around the outside of the
face plate. Do not touch the three screws forming the
inner circle.

V ANDERSTEEN A UDIO 18
R EINSTALLING A D RIVER I N T HE S PEAKER H EAD
1. With the solder provided by Vandersteen Audio with the
replacement pair of matched drivers, solder the wires to
the driver terminals in the proper polarity. (Apply the
heat to the wire. When the solder flows to the terminal,
quickly pull the soldering pencil away.
This will avoid heat damage to the driver terminal’s
plastic parts.)
2. Install the driver into the cabinet with its screws.
3. Reinstall the grille structure.
T ROUBLESHOOTING G UIDE
Problem: Subwoofer driver hums. Audible at the
listening position.
Solution: Try different grounding methods. Try floating the
main amplifier’s power cord with a cheater.
Never float the ground on the Model Seven power
cord. Attach a ground wire from the ground termi-
nal (near IEC connector) to the preamp.
Problem: Still hums, grounding changes didn’t help.
Solution: Check your interconnect cables. Route cables
away from the amplifier. Position the M5-HP
crossover away from the amplifier. Verify
that the M5-HP is properly installed in the
system. Try the system at a very low volume
level without the M5-HP. If the M5-HP is the
source of the hum, it will have to be replaced
before the system can be used.
Problem: Still hums, cable and crossover changes
didn’t help.
Solution: Disconnect the inputs from the Model Seven,
if the hum is still evident at the listening position,
please contact Vandersteen Audio.
(It is normal for the amplifier’s high-voltage
power supply to have a slight hum but
this should not be audible more than a few feet
away from the speaker.)
Problem: No subwoofer output.
Solution: Verify that the Model Seven subwoofer ampli-
fier is plugged into a live AC outlet. (It should
thump or pop when you plug it in.) Verify
that the AC cord is securely inserted into the
Model Seven’s amplifier.
Problem: High or low subwoofer output level.
Solution: Verify the actual input impedance of the main
amplifier and that the M5-HP is correctly
matched to it. Check the low-frequency level
and contour control settings.
Problem: Model Seven amplifier excessively hot.
Solution: Remove the amplifier according to the instruc-
tions on page 16 and return it to Vandersteen
Audio for service.
Problem: Unsatisfactory high-frequency balance.
Solution: Check the high-frequency level and contour
control settings.
C OMMON M ODEL SEVEN Q UESTIONS
Can a subwoofer or subwoofers be added to a system
with Model Sevens?
The Model Sevens contain integral subwoofers and
there would be no benefit or advantage to adding separate
subwoofers. When the Model Sevens are used in a home
theater system, program the processor to redirect the Low
Frequency Effects (LFE) and subwoofer information to the
front channels where it will be reproduced by the Model
Seven subwoofers. Some may want to add an LFE sub.
What speaker cables sound best with the Model Seven?
The cables that sound best with your Model Sevens are
the cables that are most complementary to your particular
associated equipment, the characteristics of your room
and your personal taste. There is no way for us to ade-
quately evaluate two of the three deciding factors, (room
and taste) so there is no way for us to accurately predict
what cables will sound best with your Model Sevens.
How will I know when an update is available for my
Model Sevens?
Vandersteen dealers will be notified when Model
Seven updates are available. In most cases, the update
will be performed by the factory. Some updates may be
available to the original owners only. The only way to
prove this is by registering the warranty or keeping the
original invoice.
SUPPORT
This manual has dealt with the installation, use, and capabilities of Vandersteen Model Seven loudspeakers. You should
review this manual with anyone who will use the audio system to insure that they will exercise proper care and judgment.
Should you have any questions regarding your Model Sevens, you should contact Vandersteen Audio by phone M-F
8:00am to 5:00pm Pacific Time. We will do our best to answer your questions and address your concerns.

Fold
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19 Model Seven Operation Manual
UNPACKING AND REPACKING THE MODEL SEVEN
At least two people are required to unpack or pack a pair of Model Sevens. Each
speaker is shipped on its own pallet and has a gross weight over 220 pounds. Please
use the handholds in the boxes and proper lifting techniques to lift and move the
speakers.
There could be grease or dirt on the bottom of the pallet. Cover carpet with several
layers of newspaper or an old blanket before you set the pallet down.
The speaker must remain up-right as it is unpacked. Do not tilt the pallet to access
the securing bolts or remove the box.
U NPACKING I NSTURCTIONS
1. Cut the tape around the top of the box at all four cor-
ners.
2. Lift up each of the top flaps to release the main box
flaps that were anchoring the top in place and lift the
top off.
3. Lift the cardboard grille cover/spacing collar up and off
the speaker.
4. Cut the tape around the bottom of the box at all four
corners.
5. Pull out the bottom flaps to release the main box
R EPACKING I NSTURCTIONS
The Model Seven must be bolted to its pallet and prop-
erly packed in its original box prior to shipment.
1. With one person supporting the body of the speaker,
carefully lean the speaker to the sides and remove the
cones from the bottom.
2. Gently lift the speaker and set it on the pallet inside the
cardboard recess.
3. Insert the two shipping bolts with washers through the
pallet and into the speaker. Tighten the bolts just one
turn past finger tight.
4. Pull flannel sock and the plastic bag over the speaker.
5. Slide the main box down over the speaker. Secure the
main box flaps inside the bottom flaps as shown in the
illustration. Run reinforced tape around the bottom to
hold the flaps tight against the box.
6. Slide the grille cover/spacing collar over the speaker.
7. Place the top on the box and secure the main box flaps
inside the top flaps as shown in the illustration. Run
reinforced tape around the top to hold the flaps tight
against the box.
flaps that were holding the bottom and the main
box
together and lift the main box up and off the
speaker.
6. Lift the plastic bag and flannel sock off the speaker.
7. With allen wrench provided, reach through the open-
ing in the pallet and remove the two bolts attaching
the speaker to the pallet.
8. With the help of at least one other person, lift the
speaker off the pallet and set it on a soft surface. Do
not use the grille frame to support the speaker.
Please keep the boxes, pallets and hard-
ware. Replacement boxes and pallets must
be shipped by truck and will cost at least
$450.00
Tape
Main Box
Spacing Collar
Tape
Allen Bolt
Model
Seven

Model Seven Operation Manual Copyright 2010 Vandersteen Audio, Inc.
L IMITED O NE YEAR WARRANTY
VANDERSTEEN AUDIO loudspeakers are warranted to the original purchaser to be free from defects in materials or
workmanship, SUBJECT TO THE FOLLOWING CONDITIONS, for one (1) year from the date of purchase from an
authorized VANDERSTEEN AUDIO dealer.
THIS WARRANTY IS SUBJECT TO THE FOLLOWING CONDITIONS AND LIMITATIONS:
This warranty is void and inapplicable if the loudspeaker has:
A. Not been used in accordance with the instructions contained in the operation manual.
B. Been subject to misuse or abuse; examples of which would be burned driver voice coils or burned crossover compo-
nents.
C. Been modified, repaired, or tampered with by anyone not specifically authorized to do so by Vandersteen Audio.
D. Been subject to inputs in excess of the maximum rating, or inputs from an unstable or clipped amplifier.
E. Suffered physical damage to the structure or components due to accident, neglect, or transportation.
IF A VANDERSTEEN AUDIO LOUDSPEAKER FAILS TO MEET THE ABOVE WARRANTY AND THE ABOVE
CONDITIONS HAVE BEEN MET, THEN THE CUSTOMER’S SOLE REMEDY SHALL BE TO RETURN THE
PRODUCT TO VANDERSTEEN AUDIO WHERE THE DEFECT WILL BE REPAIRED WITHOUT CHARGE FOR
PARTS OR LABOR. THIS WARRANTY APPLIES ONLY TO PRODUCTS RETURNED TO VANDERSTEEN AU-
DIO IN HANFORD, CA USA.
(Returning the product to Vandersteen Audio from some countries other than the United States may involve considerable
time and expense. The customer is responsible for all fees and duties and for providing instructions and all the paperwork
required to return the product after it is serviced.)
The speaker must be packed in the original packing and returned to VANDERSTEEN AUDIO via insured freight by the
customer at his or her own expense. A returned product must be accompanied by a Return Authorization Form, (available
from VANDERSTEEN AUDIO upon request) which includes a written description of the defect and return shipping
information.
ANY IMPLIED WARRANTIES RELATING TO THE ABOVE PRODUCT SHALL BE LIMITED TO THE DURA-
TION OF THE ABOVE WARRANTY. THIS WARRANTY DOES NOT EXTEND TO ANY INCIDENTAL OR CON-
SEQUENTIAL COSTS OR DAMAGES TO PURCHASER.
Some states do not allow limitations on how long an implied warranty lasts, or an exclusion of incidental or consequen-
tial damages so the above limitations or exclusions may not apply. This warranty gives you specific legal rights, you may
also have other rights in your state.
VANDERSTEEN AUDIO reserves the right to modify the design of any product without any obligation to previous pur-
chasers and/or to change the prices or specifications without notice or obligation to anyone.
A P ERSONAL NOTE
I have been doing volunteer work for several years with elderly people with severe hearing
losses, and I have seen the frustration and anger that are brought on by these loses. We
now know that many of these people developed their hearing problems because of expo-
sure to high noise levels when younger.
Many home stereo systems, as well as audio/video, personal, and automobile sound sys-
tems are capable of volume levels potentially damaging to your hearing. Please use com-
mon sense, and listen to your music and movies at safe levels now so you will still have
the ability to hear and enjoy them in the future.
Richard Vandersteen