Vienna Acoustics Imperial Series LISZT User manual

Imperial Series™ LISZT– Owners Manual
Thank you for your investment in one of the world´s most advanced loudspeaker
designs available. We have worked tirelessly to produce this loudspeaker system
and trust that you will enjoy the musical performance this product offers. To
achieve this new level of performance, special care has been taken in the
construction, the materials and the execution of this entirely new design. In
order to take full advantage of your new loudspeaker system, critical setup
attention must be taken to ensure that it performs as intended.
Please read this manual carefully and utilize the setup suggestions discussed.
Ultimately, the most important part of the process is to listen to music and
enjoy. Our suggestions are just that, suggestions. If you find in your listening
environment that a slightly different adjustment in setup results in a more
enjoyable sonic picture, then follow it. All rooms are different and thus, we
cannot give an accurate, single installation instruction guide that will cover all
possible environments. Please feel free to contact us or your local distributor
with any setup related questions. It is our collective goal to ensure that you
achieve the best possible performance out of this sophisticated product.
Thank you again and happy listening.
Sincerely,
Your Vienna Acoustics Team

Product Description
Technology
The Imperial Series™ LISZT loudspeaker features an extensive list of new
technologies. Beginning with the new patented Flat-Spider-Cone™ midrange
driver, special care has been taken with the choice of materials and crafting.
This driver is created from a compound of several thermal plastic polymers as
well as added glass fibers. This material composition offers both a considerable
stiffness to mass ratio while also possessing the necessary self silencing
necessary to ensure a lack of coloration in sound reproduction. That is, the cone
material itself is virtually silent eliminating the need for notch type filters in the
crossover. The goal is to eliminate the problem of cone resonances before they
begin. Added to the special material composition is the new flat design which
further removes the sonic signature of the driver by eliminating the cone
diffraction of the cone walls most often referred to as horn-loading. It is through
the process of concentrating on both physical construction or forming and with
special quiet materials that we are able to achieve this new level of performance
that is free of the normal mechanical limitations as well as resonances present in
most conventional midrange cone designs.
LISZT is the result of a many year development project working to further
advance our patented Flat-Spider-Cone™ coincident driver system first used in
our flagship model, The Music, as well as throughout the rest of the Klimt
Series™.
By concentrating on driver development, in both the mechanical domain and the
material domain, we are left with the ideal of a highly simplified cross-over. As
with our other designs, we begin with a first order cross-over. This we believe
allows us to achieve the most seamless integration of all of the drivers into a
single, cohesive whole. This is in part why we have chosen to offer only the
purest and simplest hook up interface of single-wire terminals. Special care has
also been taken with the formulation of the alloys used in these propriety Vienna
Acoustics speaker terminals to ensure the quietest connection interface between
speaker and speaker wire.
In addition to this entirely new flat midrange driver, we have installed a special,
hand crafted silk dome tweeter in its middle or pole location. Doing so allows for
a timing or phase correctness that cannot otherwise be achieved. Ultimately our
final complete coincident driver pairing is capable of reproducing the entire
human vocal range, and beyond, without any cross-over interference particularly
within the most critical human vocal range. The end result is a system that takes
on a presence which until now has only been available in compact monitors. A
further advantage of this design is the mentioned timing or phase correctness of
the overall combination. The complete assembly results in a dispersion
characteristic that creates much more of a “sweet area” versus the typical
“sweet spot” found in most designs. For this reason we prefer to describe this
entire assembly as the Music Center.

Construction
LISZT features a top section or head which is a completely independent module
of equal internal volumes. This construction allows us to control and carefully
position the critical Music Center. To eliminate the potential for extraneous
mechanical information to reach up from the bass cabinet, the Music Center is
similarly attached through one centered high grade aluminium turning
mechanism. The overall goal with this sophisticated design is to allow the entire
Music Center to be positioned at its optimal angle towards the chosen listening
position while also being completely isolated mechanically from the bass cabinet.
Caution: Under no circumstances should the speaker be carried or moved by
holding the Music Center. The result can be permanent damage to the
adjustment mechanism.
The bass cabinet of LISZT is sophisticatedly divided into two chambers. The top
woofer occupies its own cabinet with dedicated venting. The two additional
woofers share their own dedicated cabinet with venting port. The three Vienna
Acoustics proprietary X3P Spider-Cone™ woofers are then run in parallel with
the upper bass unit most directly extending the bass performance of the Music
Center and the two lower bass units aiding in further extending bass and overall
dynamics. This entire bass assembly acts far more like integrated subwoofers
compared to more typical bass units.
With a complete speaker system of such mass, it was also necessary to develop
special hardware that not only would allow for the fine adjustment in final setup
but one that is substantial enough to physically support it. Each individual spiked
foot features an oversized threaded center core with a large specially formed
head allowing for easy adjustment. Additionally, there are four lock ring nuts
that allow for the final locking of each spiked foot after proper setup has been
completed. In the event these speakers are installed on fine wood or stone
floors, specially created floor protectors are also supplied.
Caution: We strongly recommend to install the base hardware for optimal
performance.

Accessories LISZT Base-Kit
ALUMINIUM BRACKETS: 2 pcs.
SPIKES with LOCKING NUTS: 4 pcs.
PROTECTION PLATES for SPIKES: 4 pcs.
HEXAGON BOLTS for fixing the BRACKETS: 6 pcs.
HEXAGON TOOL (Allen Wrech Key): 1 pce.
HEX DRIVER 2mm: 1 pce.
for fixing the Turing Mechanism of the upper Speaker Cabinet (Music
Center) in any chosen position (0 to 28 degrees).
GLOVES: 2 pcs.
Caution: Please carefully put the speaker on its backside, while mounting the
base-kit.

Connection Instructions
Amplification
The most common question asked of a speaker manufacturer is whether valve
amplification or solid state amplification is preferred. The simple answer to this
question is that we require good electronics. There are many fine examples of
both amplifier technologies that will work perfectly with this loudspeaker system.
We as designers and manufacturers have done all we can to insure the greatest
flexibility in amplifier selection.
There are a couple primary considerations that should be kept in mind when
selecting a proper paired amplifier for this loudspeaker system. First, what are
your listening habits? Do you listen to extremely dynamic material at high
volume levels? If so, you should consider a more powerful amplifier. Second, do
you have an unusually large space that these speakers are being installed in? If
so, again you should consider a higher powered amplifier. Otherwise, our
recommendation is to select the finest sounding quality amplifier in the fifty and
above wattage range (see specifications). This can be either valve or solid state.
The sonic differences in these designs are of personal preference.
Cable Selection
Cable selection is a difficult area of discussion. So many aspects of cable design
and sonic signature exists that careful and thorough investigation with your
audio retailer is recommended. We have worked extremely hard with a variety of
cable manufacturers selecting the internal wiring used. Aside from this, we must
refer you back to your dealer and suggest taking the greatest care in listening.
Remember, the goal of this speaker system is to produce music.
We encourage and recommend the use of high quality speaker cables and
believe them to be an interesting tool for the enthusiast in obtaining maximum
enjoyment from their music reproduction system. High quality cabling is capable
of finetuning a system for performance. As with any purchase, listen carefully
and allow your ears to guide you.
Connections
The massive Vienna Acoustics input terminals are designed to accept banana
plugs, spade terminals or bare wire connection. Make certain that all connections
are well tightened since poor contact between speaker cable and input connector
can lead to degradation of sound quality.
It is also a good idea to make a point of regularly cleaning all connections in
your system since oxidation will build up on a regular basis. We use gold/silver
terminals which do not oxidize, but contaminants or surface build-up on your
speaker cables and connectors may degrade sound quality.

While it is popular among some audiophile circles to fit duplicate sets of binding
posts for "bi-wiring", we have chosen to follow sound engineering practises. Our
crossovers are configured as an organic whole, intended to optimize every
known aspect of driver integration.
It is our belief that with the high quality of wire currently available, it is in most
cases possible to obtain higher performance from a single run of superior
cable to two lesser runs of cable. By keeping a single ground plane in our
crossover design, we are better able to control the many variables that can be
negatively affected by poorly executed bi-wiring choices. The result for you is
consistently superior musical reproduction.
Setup Instructions
Break-In
While there has been exhaustive testing performed on all parts of this speaker
system throughout the manufacturing process, proper break-in is necessary.
This process does not take particularly long, but special care during this process
is particularly important.
The most critical time in the overall break-in process is the first fifty hours.
During this time please desist from playing the speaker system at exceptionally
high volume levels. While completing the initial break-in period the speakers
should only be played at comfortable listening levels. The easiest way to
complete this process is to place a CD on repeat and play the speakers for a few
days. The speakers will sound fine during this period. However, you will
experience a blending of all the drivers into a more coherent single sounding
speaker as the process is completed.
The second stage is much more gradual and one that may not be noticed
immediately. This is the fifty to approximately three-hundred hour period. During
this final period of break-in, there is a further refinement in the micro-dynamics
or inner detail that will become more defined. In other words, the presence of
the musicians becomes more intimate. It is during this period that final setup
should be completed.
Positioning LISZT
While there are several recommended methods used in proper speaker setup,
the only process that we believe in is one that includes listening. If you are not
listening to the speakers, it will be impossible for you to know whether you are
making the correct adjustments.
The first area of consideration when setting up a large scale, sophisticated
speaker system, is the distance between the speakers. Unfortunately, it is our

experience that people leave their speakers positioned far too close together to
take full advantage of the scale and size of presentation that a modern reference
speaker system is capable of. The basic rule to follow is to position the speakers
with at least an equal distance between the left and right channels as you are
from them. For example, if you are three meters away from the speakers, the
speakers should be at least three meters apart.
The second area of setup is commonly referred to as toe-in. With a two-piece
speaker design, this process requires more care than the typical single cabinet
design. The simple starting rule is to have the bass or lower cabinets aimed
approximately one to two meters behind the center or listening position (A)
while the top or Music Center is aimed approximately one-half this distance (B).
See the following image:
Caution: Before attempting any movement of the Music Center, please make
sure that the turning mechanism of the speaker is unlocked. It is possible to
force the movement of the Music Center when it is locked down. Doing so will
permanently damage the pivoting hardware.

Following the positioning or toeing-in, attention needs to be turned to the
distance of the speakers with respect to the back and side walls of your listening
room. While it is possible to achieve positive results positioning the speakers
close to the rear wall, this position typically gives up some potential bass
extension as well as some soundstage depth. Ideally, the best starting place is
approximately one meter from the rear wall. This distance is also a
recommended starting point from the side walls. However, because of the driver
selection and their dispersion characteristics, it is possible to get quite close to
the side walls with care. In the event that the room does not allow anything
else, distance apart will be far more critical than the actual distance from the
side walls.
With LISZT, before moving the speakers into the room it is necessary to have
the spiked foot kit installed. We suggest starting with each spike set with
approximately one centimeter of thread between the top of the foot bracket and
the bottom of the lock rings. This will allow for the greatest amount of
adjustment when doing the final fine adjustments. With the speakers playing
something with extended pulsing bass, something like a full double bass
instrument, carefully pull the speakers further into the room until a natural, fully
resolved and extended bass line can be heard. What you are listening for is full
resolution without a boominess or slowness. Typically you will find this location
within one to two meters from the back wall. It may be necessary to use
furniture slides given the weight of each speaker in order to complete this step.
Remember to never move the complete speaker by handling the Music Center.
All movements must be done by gripping the bass cabinet only.
After achieving ideal bass performance, carefully ensure that the cabinets are
level and stable. This should provide for a noticeable improvement in the clarity
and definition in bass performance. At this point, final adjustments to the Music
Center should be done.
Before attempting any movement of the Music Center, please make sure that
the turning mechanism of the speaker is unlocked. Then, carefully make small
adjustments both angling in the Music Center both in and out on either side until
the desired sonic image is achieved. The basic rule is that movements towards
the listening position (in) will result in a slightly warmer sound while movements
away from the listening position (out) will offer greater clarity and speed. As
with all experiences, too much of a good thing is no longer good. Too much
warmth results in a dullness, while too much clarity and speed will result in a
harshness. After finding the ideal balance, please mind to lock the Music Center
in the selected position; over tightening is not necessary.
As mentioned from the beginning, this setup guide is just that, a guide. Nothing
can replace careful listening within the given room of installation. If you find that
an adjustment in your system, which is contrary to these recommendations,
yields better sound and more musical results, trust that first. Ultimately your
ears are the most important tool in proper speaker setup.

Fine Adjustments for LISZT
Before attempting to work with any of the following fine tuning
recommendations, please be sure you have exhausted all prior
recommendations.
Careful adjustment of LISZT´s main bass cabinet has the potential of improving
both detail as well as overall bass extension. By carefully listening to something
with a pronounced and rhythmic bass, like that of the double bass instrument
recommended earlier, listen to each speaker and determine where in height off
of the floor the bass line has the greatest detail and coherence. If this location is
lower than the listening position, carefully extend the front spikes until this
clearer position is aimed at the seated location. Be aware that adjustments as
small as an ?-turn can have dramatic results. As earlier, pay special attention to
the stability of the speaker. In the event that greater clarity was higher than the
listening position, do the reverse.
Toe-in of the overall cabinet as well as distance between the speakers can also
result in improvements in overall clarity and resolution. If there appears to be a
doubling or sluggishness to the center of the sound stage, try pulling the
speakers slightly further apart or aim the overall cabinet further away from the
listening position. If there is a vagueness to the soundstage or a lack of central
focus, it is possible that you will need to either move the speakers closer
together or angle-in the overall cabinet slightly more.
Listening
After having completed a thorough break-in and then completing a full and
comprehensive setup, listening can and should begin in full earnestness. As with
the city we live, design, work and ultimately build this product in, Vienna is
about music, music and music. While most acclaimed for our classical music halls
and performances, Vienna also has one of the most vibrant jazz scenes as well
as rock and everything in between.
Music comes in all colors and forms. We are not here to tell you what to listen to.
We have done all we can to produce a product that is capable of reproducing the
music that all of us at Vienna Acoustics listens to. What does that mean? Simply
put, all music!
Just listen and enjoy.

Technical Information
Impedance 4 Ohms
Frequency
Response 26 Hz – 25 kHz
Sensitivity 91 dB
Recommended
Amplifier Size 50 – 400 Watts
Tweeter 1.2” Handcrafted, Hand-Coated
Neodymium Center Vented Silk Dome
Midrange (1) 6” Flat-Spider-Cone™,
High-Power Neodymium Motor
Woofers (3) 7” X3P Spider-Cone™
Bass System Bass Reflex - Bass Function Impulse Optimizing QB 3 (Quasi-
Butterworth)
Crossover
System Three-way. 6dB and 12dB Bessel Crossover Components MKP Capacitor 1% Tolerance Air Coils
0.7% tol.
Metal Film Resistors 1% tol. Inductance Free
Weight per Pair 198 lbs / 88 kg
Dimensions
(WxHxD) inches 10.5” x 49.25” 17.25” with base assembly
Dimensions
(WxHxD) mm 267 mm x 1250 mm x 435 mm with base assembly
Finishes Cherry, Premium Rosewood,
Piano Black and Piano White
Vienna Acoustics – The Art of Natural Sound™