Brodmann

Considered to be the most musically natural, realistic sounding loudspeakers from leading Vienna piano manufacturer
"Simply Achieve Perfection"

BRODMANN loudspeakers have recently had their successful introduction to the market after taking over the previous Bosendorfer range of speakers. The previous range has been extensively revised and new models added to bring the even greater realisation of true music reproduction. I could clearly hear and appreciate the various differences between piano manufacturers like Steinway and Brodmann etc. If you appreciate genuine music realism then these could be the ultimate speakers for you.

It was at RMAF - Rocky Mountain Music Fest, where I first experienced Brodmann speakers, incidentally they were  bring driven by Electrocompaniet gear, One of the occasions I was in their room a Recording Engineer came and bought a pair of their new Festival F1 stand mounting speakers, when asked why Brodmann amongst all the rest at the show, his comment, "I have been looking for 3-1/2yrs for speakers that gave me what I know music sounds like, I have been playing my recordings throughout the show and Brodmann speakers are the first to give me what  I know is true to the real sound, so I am buying them today."  What better acclamation or higher praise do we need than that for a loudspeaker?

RMAF 2011: Brodmann, Electrocompaniet: comment by Socrates7 

"Brodmann Acoustics was showing off several speakers at the show over the weekend, paired with some wonderful gear from Electrocompaniet."

I did get treated to a lengthy discussion about what makes them different, however. First, there’s no internal bracing at all. “Why would you stuff a Stradivarious with damping material?” was the line I remembered. I ventured that vibrational energy might not be conducive to good sound, at which point I was told that not all vibrational energy is bad. While the cabinet itself is entirely inert, I was told, there is a twist. Namely, the precisely mounted side panels — easiest to see on the burled-veneer units, below. These panels are mounted precisely at 4mm from the main cabinet — and will resonate during playback. Interestingly, they’re said to act as a woofer, greatly increasing depth and the quality of the tone. I was also told that the discovery itself happened quite by accident, but happily one that was replicable and applicable.

While the actual explanation on why this works is entirely beyond me, I have to offer this: whatever it was, these speakers had some of the best, most inviting sound at the show. And the little speakers on the side, the Festival FS, not only filled the room with deep, moving music, they struck me as simply incredible. The sheer size, scope and depth of the image they threw completely belied their size. In a word? Enthralling"..

And they’re my second nod for Best in Show. Fantastic speakers. Just fantastic

Brodmann has been very successful since 1828 in the world of high quality sound.  However I must admit that I had never heard of Brodmann pianos from Vienna. The only Viennese piano manufacturer I was aware of prior to the 2010 RMAF was Bösendorfer, and Brodmann's Bernd Gruhn (pictured) enlightened me, explaining that back in the day, Herr Brodmann had been Herr Bösendorfer's teacher. I mentioned that it was a coincidence that a second Viennese piano manufacturer was branching out into loudspeaker production—Bösendorfer launched an idiosyncratic line of speakers at a New York Stereophile Show a few years back—only to find out that it wasn't a coincidence at all. The Brodmann speakers are designed by Hans Deutsch, who had licensed his designs to Bösendorfer. When that company withdrew from the speaker business, Deutsch approached Brodmann.

The Bösendorfer speakers had featured vibrating panels, which made them sound superb on piano recordings and colored on other kinds of music. The Brdomann speakers still feature vibrating panels below 130Hz, but sounded uncoloured on the Joshua Bell recording of the Mendelssohn Violin Concerto. (Elecronics were an Electrocompaniet EMC-10P CD player, EC4.8 preamp, and AW250 power amp.)

Gruhn told me that unlike the Bösendorfer designs, the Brodmann's vibrating panels, one on each side, are loosely coupled to the cabinet, which reduces the coloration and allows the benefit of the large radiating area at low frequencies to be realized. The VC2, which was being demonstrated, uses a pair of conventional midrange units mounted on the sides of the speaker to cover the range from 130Hz to 1600Hz, with two dome tweeters mounted on the front of the cabinet taking over above that region.

Beautiful listening. Beautiful living.

Have you ever been mesmerized by something you heard but couldn’t see? It’s not a contradiction, just a technical challenge. One met beautifully by Brodmann’s Inwall speaker system. 

Today’s lifestyles demand solutions that harmonize imagination and reality. Do you want a huge sound out of your speakers but have spatial constraints? Are acoustics important to you but aesthetics more important to others in a shared environment? How do you divide your time between music and film? 

We designed the Brodmann Inwall series to deliver luxurious sound reproduction without compromising a luxurious environment. When installed, the Brodmann Inwall speakers blend discreetly into the most elegant of interiors. The fabric covers can be customized to match any décor. The speaker depth of only 118 mm minimizes the space needed for installation. And we don’t know of any other speaker designed to work both vertically and horizontally. 

The Brodmann Inwall speakers bear the proven technology of our extraordinary Vienna Classic series, so, unlike most speaker systems, the Brodmann Inwall can be used as either a home theater or stereo source without any sacrifice in the rich and realistic audio quality for which we are known. 

The tweeters are centered in the face of the casing, which immerses the whole room in sound. The subsystems provide maximum efficiency in lower ranges. Eight speakers stimulate an acoustic baffle, similar to a piano’s soundboard, to transmit sound. This enables a precise adjustment of bass frequencies, reaching all the way to 18 dB for explosive dynamics. 

 Visual and acoustic configurations are nearly limitless when planning new construction or a re-design. Whatever you imagine as an ideal listening experience, our designers can work directly with yours to create a solution for your home, business, or even your boat. The Brodmann Inwall speaker system. Where beautiful listening meets beautiful living.

HOME-CINEMA

Vienna Classic Inwall 
Luxury. Ultra Luxury. Pure Luxury. These are your options when you choose a home  theater with Brodmann equipment components. Our innovative Brodmann Inwall speakers can work in various combination to meet  your individual needs, or they can be unleashed as a team for a wildly extravagant listening experience. 

A modern home theater system installation requires a minimum of six speakers in a 5.1  surround sound configuration, meaning 5 full-range channels and one LFE (low  frequency) channel. The Brodmann Inwall series is the basis of a cinema system install that starts at a luxurious 5.1 configuration yet has the capacity to build into a  mind-blowing 7.1 or 11.1 surround sound installation. Imagine sitting in the middle of  that while watching a Bond film or listening to Beethoven’s Fifth. 

Many home theater systems are not ideal for use as home listening systems. The  Brodmann VC 7i and VC 7i Sub, however, are based on our heralded Vienna Classic  line and deliver dynamic, audiophile sound with no compromise when used in classical  stereo mode. The sound arrives as an audio hologram, surrounding the entire listening space with an accurate reproduction of the original recording. The result is pure  acoustic adventure. 

A Brodmann Inwall Cinema system is the perfect combination of high technology and  high style in an extremely compact design. The beautiful, hand-crafted speakers can  either enhance or discreetly blend into any decor. With groundbreaking acoustic  performance, power, aesthetic appeal and versatility, a Brodmann Inwall Home Cinema can transform how you view your options: Adventurous. Wild. Mind-Blowing.

Brodmann Loudspeaker - The Philosophy:

Our commitment to this great musical tradition has led to the development of the loudspeaker program, with which Brodmann sets another new standard in the world of quality sound.

At the heart of this development and listening experience is the active acoustic principle, the horn resonator and the plate resonator, which enable the optimised adjustment of sound to the space around it. The entire loudspeaker box is a single body of sound - the entire loudspeaker is an instrument. Similar to the strings of a piano that causes the entire grand piano to vibrate through a complex interaction of a steel frame and wooden case. Brodmann loudspeakers produce an unparalleled, authentic listening experience.

We have managed to build cabinets with fewer unwanted resonances in the first place, eliminating the need for practically any damping.

Loudspeakers in accordance with the Acoustic-Active Principle

The high-fidelity scene has not remained unaffected by technological advances; contemporary amplifiers, for instance, are built with an almost purist lack of superfluous filters and equalizers. And it is the simplest set-up in the best quality available that achieves a minimum of sound distortion. A new standard in fidelity has been set: less is more. As Brodmann acoustic researcher Hans Deutsch explains: “I have been working with this technology and applying this principle since the 1970s and it is in this spirit that I have developed my speaker systems. Brodmann loudspeakers made in accordance with the Acoustic-Active Principle mark the pinnacle of my career. The combination of state-of-the-art recording technology and the most modern techniques in amplifier construction used to produce these loudspeakers in conjunction with the appropriate cables, electronics and recordings, achieve the most breath-takingly true-to-life listening experience. This has been repeatedly confirmed, not only by journalists and specialist dealers, but first and foremost by the musicians themselves and connoisseurs of authentic performance world-wide.”

The heart of the matter

As a rule, conventional technology suppresses all resonances and overtones, linearizing the frequency curves by means of an overload of frequency filters, with little regard for the overall sound. No distinction is made between unwanted vibrations and essential sound resonances. Yet according to a basic principle of acoustics, resonances form the foundation for authentic sound. The sound produced by conventional loudspeakers fails to be lifelike because their resonances have all been overdamped. Brodmann, however, has managed to build cabinets with fewer unwanted resonances in the first place, eliminating the need for practically any damping. The “Acoustic Sound-Boards” on either side of the cabinet function as passive and therefore neutral resonators. These resonators or absorbers are activated only when connected directly to the tuners and set into vibration (a principle going back to H. von Helmholtz, inventor of the eponymous Helmholtz resonator). The “Acoustic SoundBoards” are large, distortion-free vibrating membranes by which Brodmann loudspeakers acquire the properties of a musical instrument. The reproduction of the authentic resonances of musical instruments and the human voice is one of the secrets of the life-like sound created by these outstan-ding loudspeakers. Air core coil and distortion minimizing construction of the frequency filters.

Authentic sound reproduction has its price

Brodmann loudspeakers, operating in accordance with the Acoustic-Active Principle, reproduce only the information actually registered on a music recording. Your ear will appreciate the absence of any “additional information” produced by the loudspeakers.

How do you benefit? 

A unique, true-to-life listening experience at "Greenslade House" in Hamilton and if you like what you hear then we can discuss an audition in your own home.    

                                                                        Audiophiles comments;

Submitted by Joseph: 

I listened to all three models they had, the VC1, the VC2, and the VC7. They sounded equally perfect playing both piano and violin music as well as vocals, jazz, and rock. In fact, out of everything I heard in the show, I liked these the best. However, it was clear to me that they needed a much larger room for the VC7 speakers.

Submitted by Arthur: 

From what I have heard, I would buy a pair Brodmann speakers before investing in anything else. The Brodmann speakers are equivalent sonically to the finest classical instruments resonating in just the perfect way. One could not hope for more.

Submitted by Morris: 

Actually I had the pleasure of listening to these speakers at the RMAF and I found them to be very responsive and gave the "being there" feeling. The "Acoustic Woofer" they spoke about seemed to work very well. No chest pounding and no fatigue, just a clean accurate reproduction. The one thing that I found interesting was the voice quality, the voices always seemed clear to me and natural, one of the guys there explained that it was the fact that the response of the tweeter was not cut off in the middle of the voice range. I was even able to tell the difference between a good microphone recording and one where the Mic was basically over driven.I can't wait to hear them in a better setting than the tiny room in Denver, by the way my wife voted them best looking speaker at the show, she also went back for a second piece of chocolate.br />

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BM 01 FS
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Book Shelf/Stand Mtg

BM 01 FS
NZ$ 5,995.00 pr (incl. GST)
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Book Shelf/Stand Mtg

Home Theatre

BM 03 FW
NZ$ 5,995.00 pr (incl. GST)
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BM 12 VCW B
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BM 12 VCW V
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Floor Standing

BM 05 F1
NZ$ 7,995.00 pr (incl. GST)
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BM 07 F2
NZ$ 10,995.00 pr (incl. GST)
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BM 14 VC1 V
NZ$ 16,995.00 pr (incl. GST)
Brodmann's smallest floor standing loudspeaker in the  Vienna Classic line. Two-way system with one treble speaker, one bass driver /mid-range speaker and one Acoustic Sound Board. The VC 1 may...
Floor Standing
BM 16 VC2 B
NZ$ 19,995.00 pr (incl. GST)
Brodmann's mid-sized Vienna Classic line floor standing loudspeaker. Two-way system with one treble speaker, two bass drivers /mid-range speakers and two Acoustic Sound Boards. The sound you’ll hear...
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BM 16 VC2 V
NZ$ 21,995.00 pr (incl. GST)
Brodmann's mid-sized Vienna Classic line floor standing loudspeaker. Two-way system with one treble speaker, two bass drivers /mid-range speakers and two Acoustic Sound Boards. The sound you’ll hear...
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BM 18 VC7 B
NZ$ 26,993.96 pr (incl. GST)
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BM 18 VC7 V
NZ$ 29,995.00 pr (incl. GST)
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BM 10 VCC B
NZ$ 4,995.00 ea (incl. GST)
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In-Wall / In-Ceiling

BM 20 VCC2I B
NZ$ 8,495.00 ea (incl. GST)
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In-Wall / In-Ceiling
BM 24 VC7I B
NZ$ 23,995.00 pr (incl. GST)
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Sub Woofers

BM 26 VC SUB
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Reviews

Never before have I heard such a reproduction in a unity of an orchestra, the instruments never appeared so real - I have never heard Diana Krell, Melody Gardot or other part sing so intimate - the Brodmann VC2 simply touch the soul.
André Rulle

little is likely to come as close to the original sound as the VC2.

Just last year I had my Dynaudio 1.3 MK II sold well after 10 years and replaced by a pair of audiophile cello. I had a number of speakers at dealers heard (including manufacturers such as B & W, Dynaudio, Lua, Linn, Audio Physic, Fischer & Fischer, Isophon, kudos to name a few). Most speakers did not make it up in my living room (for testing). Sometimes the speakers for my facility was not suitable because of its dimensions, were often the reasons but in the tone of the speaker, which did not appeal to me.
 
The speaker "Audiophile Cello," which was recommended to me by a musician, it was different. This refreshing rose from the mass of loudspeakers, played extremely fast, musical and captured my heart so. As stated in audiophile circles: "... and also beat much more expensive competitors" I had heard nothing like it so far and was on target. So it seemed to me, anyway.
 
Brodmann VC2
 
As regular blog readers, Accuphase lovers, professors Dynaudio and friend of Frank I got pointed ears, as he reported from the High End Show 2012 in Munich, which eventually earned him a couple Brodmann VC7. He separated it from its Dynaudio Confidence 5, which were the measure of all things for him to date.
 
No sooner was his report to the VC7 blog, a community of like-minded people reported with very extensive experience reports on Brodmann speakers. My curiosity was piqued so. I researched on the net where I came across a potpourri of opinions and assessments of Hans German-speakers, who were often to be found under "Bösendorfer".
 
Apparently there are two opinions on the speakers of Brodmann / Bösendorfer and also to Hans German. So it did not help - hear myself was the only way to calm my nervous state added. The opportunity, the speakers at this year's Munich High End or the VC7 short to listen to Frank, I unfortunately did not have. Therefore, I turned directly to Brodmann,  I got a reply from Mr. Christian Höferl. We conducted an honest word, and he could give me a listening appointment with his colleague Bernd Gruhn and a couple arrange VC2.
 
On Friday, 15.03.2013, it was time. Bernd Gruhn met with a couple VC2 in Macassar veneer with me. Our listening session lasted until late in the afternoon and was interrupted only by a few coffee. To anticipate the result - the VC2 stayed with me.
 
Why?
 
Honest: I do not think it German Hans-concept may be two opinions on that. Of course, I personally can now only report on the VC2, but when I look at the contributions of other blog readers, we have probably all a similar perception.
 
Never before have I heard such a reproduction in a unity of an orchestra, the instruments never appeared so real I have never heard Diana Krell, Melody Gardot or other part sing so intimate - except in the original. I would not presume to put myself into the ranks of professionals (sound engineer, music producer and musician), the corresponding reputations have made for that speaker - but the Brodmann VC2 simply touch the soul. I can only agree with the positive reviews for Vienna Classic series and really do without it on versions of how sound which sounds because the VC2 the music simply "neutral" reproduces.
 
There may be well-known manufacturers with other philosophies, use the diamond tweeter or tweeter, which make the heights appear brilliant, or mega bass membranes with a real "bang", but little is likely to come as close to the original sound as the VC2.
 
About the look and feel I do not write much. The quality requirements as well as the experiences from the piano are exquisite, although other manufacturers can build good and beautiful body. Tastes are just different: 
 
I would find very exciting at this point, when blog readers might describe a comparison or her own experiences with the Vienna Classic, Festival and Belvedere series closer. For a comparison of the VC7 of "big" Accuphase chain with Jorma Design speaker cable and the whole in "small" at my house I hope to win Frank. Summarize the common impressions in an interesting report and present it on the blog I like to leave him.
 
Epilogue
 
I would like to thank Christian Höferl and Bernd Gruhn of Brodmann, that they have given me the opportunity to be able to hear their extraordinary speaker. My thanks also to the developer of the Brodmann speakers, German Hans. Thanks also to Frank, without whose tip I had the Vienna Classic VC2 probably not met.
........André Rulle
I consistently found them both enjoyable and highly informative, despite their small size
Paul Messenger

Brief:
.... the FS has a whole slew of compensating strengths – notably superior imaging and dynamic expression, plus fine overall neutrality and low coloration, all put together in an exceptionally discreet and beautifully finished package. Ultimately, the Brodmann FS might appear to be a rather strange brew in several respects, but it actually works remarkably well sonically speaking, and is decent enough value for money to boot. +

Extended review:
Some eight years ago I had the considerable pleasure of playing around with some decidedly unusual loudspeakers designed by Hans Deutsch that had appeared under the famous name of veteran Viennese piano maker Bösendorfer. The trouble with famous names – and in the rarefied world of piano makers only Steinway arguably outguns Bösendorfer – is that the name can become more valuable than the operation itself, so I wasn’t particularly surprised to hear that Yamaha had purchased the Bösendorfer company at the end of 2007. Since Yamaha has long had its own loudspeaker division, the Bösendorfer loudspeaker range was quietly shelved.
 
Happily, Deutsch’s intriguing designs re-emerged a couple of years back, under the banner of another Viennese piano brand. Brodmann may not be as well known globally as Bösendorfer, but in fact the latter’s founder, Ignaz Bösendorfer, started out as Brodmann’s apprentice, so historical precedents are firmly in place. The Brodmann loudspeaker ranges certainly do show similarities to their Bösendorfer predecessors, but Deutsch has also taken advantage of the change to incorporate a number of detail improvements
 
My previous familiarity with Deutsch’s speaker designs had been two floorstanding Vienna Classic (VC) models, so on this occasion I decided it would be interesting to try the FS stand-mount. This is part of the Festival series, which costs rather less than the VC models previously encountered, and is effectively the company’s least costly model at £2,500/pair.
 
One key factor that distinguishes all of Deutsch’s designs is that wooden panels are deliberately attached to the enclosures in order to act as ‘sound boards’, reflecting the piano making heritage, while the undamped enclosure walls are also expected to add a degree of resonance to the overall sound. The FS design is different in other respects too, for example using a relatively small bass/mid driver mounted on the outward side panel.
 
Somewhat paradoxically, although the S in FS apparently stands for ‘shelf’, the brochure illustration in fact shows a partnering £349/pair stand, and this was supplied as an essential and integral part of the package. It’s also specific to this loudspeaker because the ‘sound board’ used in the FS is located in the base, so the underside ought to be left unobstructed. The stand is therefore an asymmetric affair. It consists of a modest size but substantially mass-loaded base tapped for 6mm spikes; a single 15x450x175mm (WxHxD) vertical pillar in folded pressed steel is used, offset to the same side as the main drive unit. The top consists of an open rectangular frame in shaped pressed steel, into which the speaker securely sits. Such a stand has fine fore’n’aft rigidity, but offers very little impediment to lateral movement, which is probably how it should be.
 
The tweeter here is mounted on a very slim front panel, and is left naked and visible. The side-mounted main driver is somewhat recessed and the speaker comes with a rather hefty grille, consisting of a series of diamond- section vertical slats that actually cover the face of the driver, and apparently have only a modest diffusing effect. The stand package contains some more grilles, similar in construction and appearance but here extended downwards in order to cover the outside of the stand’s vertical strut. These grilles are essentially cosmetic.
 
With its side-mounted bass/mid driver, the speaker proper has an unusual shape, and is beautifully finished in ‘real’ piano lacquer black on the four visible faces. It’s a very slim 202mm when viewed from the front, but is nearly a metre tall (actually 952mm, hence the modest stand height) and is 276mm deep. One might assume that the total height of speaker and stand might place the tweeter around seated ear height, which is usually desirable; not so here, as the tweeter is roughly halfway up (or down) the front panel, so sits rather low down. Due in no small part to the enclosure’s decidedly substantial build, I’d estimate the internal volume is a modest nine litres.      

Although initial inspection failed to reveal any kind of port, suggesting that the FS might be a sealed-box system, in fact the impedance trace indicates something very similar to port-loading, though Brodmann describes its particular arrangement as a ‘horn resonator’ rather than a port, and claims it has more of a low-pass than a resonant characteristic. Whatever, its output is exceptionally well hidden, and actually comes from the slot that separates the ‘sound board’ from the speaker proper. Presumably placing the speaker on a shelf will therefore completely block this output, while placing it on its stand also modifies its output somewhat, as the same slot is also used to locate the speaker on its top plate.

 
I took impedance traces under all three conditions, the stand-mount version showing nicely balanced ‘twin peaks’ either side of a dip centred on a relatively high 88Hz. The trace looks conventional enough, showing minima at a very respectable five ohms and a minor ‘wrinkle’ around 250Hz.
 
Like the enclosures, the two drive units are both apparently hand made in Austria. The main bass/mid driver uses a relatively thick paper/Manila cone roughly 100mm in diameter, while the tweeter here has a 25mm silk fabric dome. A solitary pair of high quality terminals feed what is presumably a very simple crossover network, as it’s quoted as 6dB/octave at 2kHz. The low-pass ‘horn resonator’ output rolls off at 4.5dB/octave above 130Hz.
 
Based on far-field in-room traces, the sensitivity measures around 87dB. There is no low (sub-50Hz) to speak of here, which is hardly surprising in view of the ingredients, but the overall response trend is rather unusual on two counts. First because it emphasises the upper bass (100-220Hz) rather than the mid-bass (50-100Hz), which is at least unusual; secondly because it doesn’t seem to follow the normal pattern of variation with positioning.
 
Best bass alignment under my conditions was arguably with the speakers well clear of walls, and while this still left the zone below 100Hz rather lacking and the octave 150-300Hz rather strong, above that frequency everything looks quite tidy and very well controlled, albeit a little lean through the upper midband (400Hz-2kHz), and a little strong (relative to the norm) through the main treble (2-7kHz). Despite the side-mounted main driver, integration between the bass/mid unit and the tweeter appears effectively seamless; an added bonus is that any unwanted above-the- crossover-point main driver output will be directed well away from the listening zone.
 
The story so far is certainly interesting enough, but it’s no substitute for actually listening to a loudspeaker, and here the FS really turns up trumps. Such a small loudspeaker is bound to have some limitations in bass weight and extension, and these are obvious enough in practice, but any upper bass excess does seem to be perfectly innocuous and acceptable, while the overall coherence and dynamic expression are both exceptionally impressive. And despite a balance and character that’s essentially ‘warm’, there seems to be no obvious voice ‘chestiness’, probably thanks to this speaker’s fine speed, timing and freedom from timesmear. Indeed, vivid and realistic voice reproduction is a major plus.
 
Imaging is notably superior, combining good central image focus with a fine impression of spaciousness and a complete freedom from boxiness. A degree of phase accuracy was demonstrated by their ability to throw phantom images well outside the front soundstage when replaying a movie stereophonically. The only thing that’s missing is the sort of deep bass weight that adds an impression of ambience and scale to the proceedings.
 
I spent some weeks listening to these Brodmann speakers, and I consistently found them both enjoyable and highly informative, despite their small size and limited bass. In my relatively large (4.3x2.6x5.5m) room their small size and limited bass extension did represent a significant limitation with some types of music, but that is really the only significant criticism. In a smaller room this might well be less obvious, and the FS has a whole slew of compensating strengths – notably superior imaging and dynamic expression, plus fine overall neutrality and low coloration, all put together in an exceptionally discreet and beautifully finished package. Ultimately, the Brodmann FS might appear to be a rather strange brew in several respects, but it actually works remarkably well sonically speaking, and is decent enough value for money to boot. +
– notably superior imaging and dynamic expression, plus fine overall neutrality and low coloration, all put together in an exceptionally discreet and beautifully finished package.
Paul Messenger

Breif summary:
Imaging is notably superior, combining good central image focus with a fine impression of spaciousness and a complete freedom from boxiness. A degree of phase accuracy was demonstrated by their ability to throw phantom images well outside the front soundstage when replaying a movie stereophonically. 

Expanded review:
Some eight years ago I had the considerable pleasure of playing around with some decidedly unusual loudspeakers designed by Hans Deutsch that had appeared under the famous name of veteran Viennese piano maker Bösendorfer. The trouble with famous names – and in the rarefied world of piano makers only Steinway arguably outguns Bösendorfer – is that the name can become more valuable than the operation itself, so I wasn’t particularly surprised to hear that Yamaha had purchased the Bösendorfer company at the end of 2007. Since Yamaha has long had its own loudspeaker division, the Bösendorfer loudspeaker range was quietly shelved.
 
Happily, Deutsch’s intriguing designs re-emerged a couple of years back, under the banner of another Viennese piano brand. Brodmann may not be as well known globally as Bösendorfer, but in fact the latter’s founder, Ignaz Bösendorfer, started out as Brodmann’s apprentice, so historical precedents are firmly in place. The Brodmann loudspeaker ranges certainly do show similarities to their Bösendorfer predecessors, but Deutsch has also taken advantage of the change to incorporate a number of detail improvements
 
My previous familiarity with Deutsch’s speaker designs had been two floorstanding Vienna Classic (VC) models, so on this occasion I decided it would be interesting to try the FS stand-mount. This is part of the Festival series, which costs rather less than the VC models previously encountered, and is effectively the company’s least costly model at £2,500/pair.
 
One key factor that distinguishes all of Deutsch’s designs is that wooden panels are deliberately attached to the enclosures in order to act as ‘sound boards’, reflecting the piano making heritage, while the undamped enclosure walls are also expected to add a degree of resonance to the overall sound. The FS design is different in other respects too, for example using a relatively small bass/mid driver mounted on the outward side panel.
 
Somewhat paradoxically, although the S in FS apparently stands for ‘shelf’, the brochure illustration in fact shows a partnering £349/pair stand, and this was supplied as an essential and integral part of the package. It’s also specific to this loudspeaker because the ‘sound board’ used in the FS is located in the base, so the underside ought to be left unobstructed. The stand is therefore an asymmetric affair. It consists of a modest size but substantially mass-loaded base tapped for 6mm spikes; a single 15x450x175mm (WxHxD) vertical pillar in folded pressed steel is used, offset to the same side as the main drive unit. The top consists of an open rectangular frame in shaped pressed steel, into which the speaker securely sits. Such a stand has fine fore’n’aft rigidity, but offers very little impediment to lateral movement, which is probably how it should be.
 
The tweeter here is mounted on a very slim front panel, and is left naked and visible. The side-mounted main driver is somewhat recessed and the speaker comes with a rather hefty grille, consisting of a series of diamond- section vertical slats that actually cover the face of the driver, and apparently have only a modest diffusing effect. The stand package contains some more grilles, similar in construction and appearance but here extended downwards in order to cover the outside of the stand’s vertical strut. These grilles are essentially cosmetic.
 
With its side-mounted bass/mid driver, the speaker proper has an unusual shape, and is beautifully finished in ‘real’ piano lacquer black on the four visible faces. It’s a very slim 202mm when viewed from the front, but is nearly a metre tall (actually 952mm, hence the modest stand height) and is 276mm deep. One might assume that the total height of speaker and stand might place the tweeter around seated ear height, which is usually desirable; not so here, as the tweeter is roughly halfway up (or down) the front panel, so sits rather low down. Due in no small part to the enclosure’s decidedly substantial build, I’d estimate the internal volume is a modest nine litres.      

Although initial inspection failed to reveal any kind of port, suggesting that the FS might be a sealed-box system, in fact the impedance trace indicates something very similar to port-loading, though Brodmann describes its particular arrangement as a ‘horn resonator’ rather than a port, and claims it has more of a low-pass than a resonant characteristic. Whatever, its output is exceptionally well hidden, and actually comes from the slot that separates the ‘sound board’ from the speaker proper. Presumably placing the speaker on a shelf will therefore completely block this output, while placing it on its stand also modifies its output somewhat, as the same slot is also used to locate the speaker on its top plate.

 
I took impedance traces under all three conditions, the stand-mount version showing nicely balanced ‘twin peaks’ either side of a dip centred on a relatively high 88Hz. The trace looks conventional enough, showing minima at a very respectable five ohms and a minor ‘wrinkle’ around 250Hz.
 
Like the enclosures, the two drive units are both apparently hand made in Austria. The main bass/mid driver uses a relatively thick paper/Manila cone roughly 100mm in diameter, while the tweeter here has a 25mm silk fabric dome. A solitary pair of high quality terminals feed what is presumably a very simple crossover network, as it’s quoted as 6dB/octave at 2kHz. The low-pass ‘horn resonator’ output rolls off at 4.5dB/octave above 130Hz.
 
Based on far-field in-room traces, the sensitivity measures around 87dB. There is no low (sub-50Hz) to speak of here, which is hardly surprising in view of the ingredients, but the overall response trend is rather unusual on two counts. First because it emphasises the upper bass (100-220Hz) rather than the mid-bass (50-100Hz), which is at least unusual; secondly because it doesn’t seem to follow the normal pattern of variation with positioning.
 
Best bass alignment under my conditions was arguably with the speakers well clear of walls, and while this still left the zone below 100Hz rather lacking and the octave 150-300Hz rather strong, above that frequency everything looks quite tidy and very well controlled, albeit a little lean through the upper midband (400Hz-2kHz), and a little strong (relative to the norm) through the main treble (2-7kHz). Despite the side-mounted main driver, integration between the bass/mid unit and the tweeter appears effectively seamless; an added bonus is that any unwanted above-the- crossover-point main driver output will be directed well away from the listening zone.
 
The story so far is certainly interesting enough, but it’s no substitute for actually listening to a loudspeaker, and here the FS really turns up trumps. Such a small loudspeaker is bound to have some limitations in bass weight and extension, and these are obvious enough in practice, but any upper bass excess does seem to be perfectly innocuous and acceptable, while the overall coherence and dynamic expression are both exceptionally impressive. And despite a balance and character that’s essentially ‘warm’, there seems to be no obvious voice ‘chestiness’, probably thanks to this speaker’s fine speed, timing and freedom from timesmear. Indeed, vivid and realistic voice reproduction is a major plus.
 
Imaging is notably superior, combining good central image focus with a fine impression of spaciousness and a complete freedom from boxiness. A degree of phase accuracy was demonstrated by their ability to throw phantom images well outside the front soundstage when replaying a movie stereophonically. 
 
I spent some weeks listening to these Brodmann speakers, and I consistently found them both enjoyable and highly informative, despite their small size and limited bass. In my relatively large (4.3x2.6x5.5m) room their small size and limited bass extension did represent a significant limitation with some types of music, but that is really the only significant criticism. In a smaller room this might well be less obvious, and the FS has a whole slew of compensating strengths – notably superior imaging and dynamic expression, plus fine overall neutrality and low coloration, all put together in an exceptionally discreet and beautifully finished package. Ultimately, the Brodmann FS might appear to be a rather strange brew in several respects, but it actually works remarkably well sonically speaking, and is decent enough value for money to boot. +
You must listen to it for it truly stands apart!
AVMENTOR

The imaging is not simply in front of you but it creates a spherical presence which changes the acoustics of the space and is truly impressive, ....

The FS sounds pleasant and soft on high with good speed and transparency. It does not tire and one can listen to hard recordings since its character veers to the light and pleasant side. The middle range is presented appropriately: it keeps its distances from the listener, providing sufficient details and the presence of the instruments and voices in this range are natural and pleasing. In other words there is nothing missing and nothing is projected beyond the necessary.
 

One of the reasons that the audio field has exceptional interest is the varied approaches that often hide the possibility for a new successful process of ideas far from the “conventional” approach. As an example, consider Hans Deutsch. He entered the field of sound almost half a century ago, and from 1964 is developing and implementing a package of ideas on the design of speakers which is completely innovative, even revolutionary, and exceptionally interesting. …..
It is difficult to evaluate if the choice of a piano maker such as Brodmann to implement Hans’ ideas is simply a chance or it is his preference for a designer of speakers, but look at it from the practical side. If there is someone that can construct the cabin of a speaker based on the principle of a musical instrument, it would be best for that someone to be a piano maker.
 
What is it that makes the speakers of Deutsch different? 
 
Basically two things. First the “charge” of the cabin is not according to classic procedures, but is based on what he names as a Horn Resonator, a variation on the Helmholtz principle.
The second differentiation that appears on most of the Brodmann line, is the use of a vibrating surface, which Deutsch calls SoundBoard (ASB: Acoustic SoundBoard)
 
Description of the Festival FS…
 
The speaker is a two way design, with the silk dome tweeter of 28 mm and amid/woofer of 130 mm of paper pulp reinforced with strands of carbon and cannabis, while the support is of a foam material. Brodmann itself produces the speakers in order to have better control of their characteristics. This allows it to come closest to Deutsch’s philosophy which dictates that the mid/woofer would function “in the highest possible frequency of cut off” and the function of the tweeter “ in the lowest possible frequency cut offpoint”. In the specific case of the FS the frequency cross is 2kHz with the use of a first order filter (6dB/oct).
 
While the SoundBoards of the FS do not show when the speaker is in its upright position of use, that which can be seen is another idea which is named SoundRods (ASR: Acoustic SoundRods). It is in effect a “heavy grill” which according to the company improves the distribution of the middle frequencies. This piece has attachments to the speaker as well as to its base and “ties” together from an aesthetic point of view.One of the many unique aspects of the speaker is that there is no use of damping material in the interior of the cabin. The company depends on the dimensions and the internal construction of the cabin for this effect.
 
The finish of the FS is, as one would expect, exceptional, even though it is a base model. The meaning of “piano finish” acquires new substance when the maker of the speaker has a history in the construction of pianos, and Brodmann uses the opportunity to show what can be done. The connection with the amplifier is by means of two terminals of high quality
 
The laboratory evaluation of the FS has specific difficulties which arise from its structural design. The anechoic measurement of the response in the middle/high frequencies with lower level the 400Hz (and splicing at 2kHz) has two aspects. The speaker appears sufficiently even up to 10kHz, within the boundaries of +/-2.5dB and then has a substantial upswing (about 6dB in relation to the median sensitivity with a center at about 12kHz) which is followed by a quite large downward turn. On the basis of the median sensitivity, the FS has an upper frequency cut off (-3dB) at approximately 15.8kHz and –6dB at 19.5kHz. Considering that the tweeter is designed and produced by the company, this must be a specific choice which is determines the voicing of the speaker.
 
The quasi-anechoic measurement substantiates the initial valuation that the FS is a speaker with relatively small variations since its curve is within +/-3dB, with the exception in the high frequencies (which have been mentioned) and a small emphasis low (at 160Hz). The lower frequency cut off (-3dB) is at approximately 70Hz and the point of –6dB is close to 60Hz. The angle of the curve is 12dB/oct. On the basis of this particular response, the median sensitivity of the FS has been calculated at 84.4dBSPL/2.83V a result which places it among insensitive speakers. Brodmann gives a much more lower figure of (81.1dBSPL/w/m) but with a different measurement norm (DIN). Very interesting is the space average response of the speaker, which results from a series of measurements both within and out of the axis and can be considered as much more representative of the actual response. In the charts below one can see that the emphasis on the high frequencies is smoothed out to a great extent.
 
As a load, the FS will not create difficulties for the amplifier which will drive it. The measure of minimum impedance in the lower frequencies is 5.2Ohm (190Hz) with the highest value reaching 23Ohm (63Hz). The phase of the impedance moves in the usual levels, minimally above 36 degrees (with an inductive character, 46 degrees at 48Hz).
 
Given that the units of the speaker do not project directly to the listener, it is not possible to obtain a full anechoic step response. For this reason we show separately the response of the mid/woofer which is quite even both during its initial excitement as well as its damping, and, also, for the tweeter that shows an even response with the exception of a second arrival which needs some clarifying. On the basis of the time delay (0.16mS after the initial impulse) it is very possible that this second arrival is caused by the diffraction of the baffle. This is supported by the fact that the width of the baffle is equivalent (by the width of the wave) to a frequency of 6.4kHz.
 
The CSD diagram of the tweeter (above 2kHz) shows a quite fast speaker with a maximum delay about 1mS at 3kHz. There are, also, see a series of resonances in the region from 4kHz to 10kHz, but they are quite smaller ( below 1mS), a result which must be considered absolutely satisfactory.
 
Finally the diagram of the polar response shows what is to be expected. The FS is a speaker which excites the space homogeneously, especially below 2kHz where midrange driver comes into play. Even in the high frequencies the directionality is very small with -6dB being more than 45 degrees off axis. On the basis of this, it does not seem necessary to turn the speakers toward the listener, even though Brodmann in its manual recommends it. The diagram is characterized by a lack of symmetry in the vertical axis which can be explained by the fact that the two units are placed at an angle of 90 degrees. The total response of the speaker on the issue of directionality shows that it is capable of creating a homogenous acoustic field which the listener should use if he wants to have best possible result.
 
The FS replaced the reference speakers and were driven by the Parasound amplifier HCA3500 with the rest of the system being the Teac Esoteric P70/D70 (upsampling 176k connected AES with cables DC-110 of Nirvana), the preamp Plus Series Line of Melos. One part of the listening was done with the use of digital acoustic correction Through the DRC-205 by Copland, in order to judge if the speaker and handle corrections in the lower frequencies. 
 
The design of the small Brodmann demands quite careful placement. The listener receives the largest part of the middle frequencies indirectly. One should make certain of a symmetry in the placement of the speakers as well as in the uniformity of the reflexions. Of course, the length of the waves that are below 2kHz are quite large, so in effect on should avoid extremes, but the impression that the speaker create during the test is that a bit of researching is always rewarded.
 
The first impression in listening to the FS is that one has before him a exceptionally well set up speaker, based on clear concepts on high fidelity which are then served with consequence. For example if one is looking for the sound of a monitor, they should search elsewhere. The FS is an uniquely atmospheric speaker, capable of creating a rich sound field within which the listener feels he is enveloped and which is the most complete that this reviewer has ever heard from a two channel stereo. 
 
The imaging is not simply in front of you but it creates a spherical presence which changes the acoustics of the space and is truly impressive, if one considers the size of the speakers. The focus of the sound field is not especially sharp , however the description of the total musical event usually does not necessitate such details and it is obvious the Deutsch belongs to the school that considers such sound more natural and a large percentage of demanding audiophiles agree with him. (This reviewer is not at all unhappy with such a result even though he systematically listens to speakers diametrically opposed on this issue!) On the basis of what I heard with the FS, it is not strange that the larger models of Brodmann (and the older ones of Bossendorfer) have garnered some amazingly enthusiastic reviews. The larger the sound field in a recording the better this speaker responds, and the large orchestras (where one distiquishes groups of instruments instead of individual organs) are truly impressive in presence (mind you that we are speaking of the mid/woofer of 130mm) 
 
In regard to the area of frequency response, the designer has his thoughts. The FS sounds pleasant and soft on high with good speed and transparency. It does not tire and one can listen to hard recordings since its character veers to the light and pleasant side. The middle range is presented appropriately: it keeps its distances from the listener, providing sufficient details and the presence of the instruments and voices in this range are natural and pleasing. In other words there is nothing missing and nothing is projected beyond the necessary. This is probably the reason that one can very easily exhaust this small speaker without feeling that it is tiring one. Brodmann gives a top level in constant use of 96dBSPL/1m which means that in a system where the listener is seated 2 meter away the real volume would be around 93dBSPL, a value which is perfectly satisfactory for most purposes. If you over push it the FS reacts with acoustic suppression (as anyone would expect) but again without it becoming unpleasant.
 
In the lower frequencies the limits are dependent on the speaker and the space of cabin, although the unique architecture of the cabin gives the speaker a bit more “air” in contrast to what one would expect from a traditional approach of a bass reflex. Truly, even though there are clear limits, the FS sounds balanced and well controlled with capable deleniation of the rhythmic part without showing “small” or insufficient. Clearly the very low frequencies are held back and lose a part of their impressive character, but this is expected and in the final analysis does not bother given the volume and dimensions of speaker.
 
Finally….
 
……the smallest Brodmann speaker is an interesting case: It is a economical, scaled-down, version of the large speakers of the company, and under this prism, it is a test of how much the ideas of Deutsch can come “down” to a lower price category
 
In practice, the FS is a very good small speaker, with a unique character and I have no doubt it will enthuse a a lot of demanding audiophiles. You must listen to it for it truly stands apart!
 
VC-7 is a Coup de foudre
Gerhard Sindelar..

Again and again, I discovered additional, previously hidden, details. I could now perceive the delicate reverb tails of drumbeats, individual voices were clearly distinguishable within very subtle background vocals, and the arrangement of a chamber music ensemble was vividly tangible in the room. The VC7 provides insight into the recording studio, practically transporting the listener there.

Sometimes you don’t know what you’re looking for, until you’ve found it. The French call this “Coup de foudre” and its meaning lies somewhere between “love at first sight” and “struck by lightning”. This is exactly what happened to me the first time I connected the Brodmann VC7 to my Accuphase system. Not that my expectations weren’t high: after all, I’d heard them at High End in May 2012 (see Exhibition Report here), albeit with a small Electrocompaniet amplifier and less than ideal listening conditions. Still, I was so taken with the sound that I could hardly wait to try out a pair at home. Admittedly, I had major doubts as to whether the Brodmann could compete with my beloved Dynaudio Confidence 5, the legendary speakers that set me back years financially but rewarded me with a level of performance superior to any other speakers. 
 
Then I was introduced to the Brodmann VC7. I connected them, positioned them correctly, sat down on my sofa to listen and could not believe my ears. This was it. This was the sound that I had always dreamed of for a hi-fi system: unconstrained, free, without a hint of distortion. As if the speakers were not even there. It was a long evening - very long. I experimented a bit with the settings and listened to one CD or SACD after another, especially those I knew well. I heard things I didn’t even know existed. Even my Sennheiser HD 800s, reference-class headphones operated on the excellent C-3800 headphone amp, do not even come close to the VC7 in terms of resolution. 
 
A speaker without attributes
 
It was as if I had been using a high resolution Blu-Ray player with a PAL screen for all these years - the Confidence 5 being the PAL screen in this case - and that’s really saying something. Again and again, I discovered additional, previously hidden, details. I could now perceive the delicate reverb tails of drumbeats, individual voices were clearly distinguishable within very subtle background vocals, and the arrangement of a chamber music ensemble was vividly tangible in the room. The VC7 provides insight into the recording studio, practically transporting the listener there. Even single CD tracks (no samplers!) can be distinguished in terms of their different spatial and tonal variations: where previously the voice of a singer on a CD always sounded about the same, the listener now hears manifold variations.
The VC7 is also damn fast. This may have something to do with the fact that the box is not muffled, but I’ve never heard such dynamic, free-sounding speakers before. We are familiar with this open sound and vitality from Electrostaten, though these have an inherent disembodied tone, not to mention the critical bass range. In contrast, the unbelievably full-bodied sound of the VC7 is based on a profound, completely natural and non-swelled bass, which even the Dynamo Sub 500 (which I ran with the Confidence 5) could not get close to. Keith Jarrett’s trio and quartet recordings are among the favourites in my record collection - and whether played by Palle Danielsson or Gary Peacock – a double bass has never sounded so realistic in my living room.
 
At first I thought that the spatial representation of the instruments was not quite as accurate when compared with my Dynaudio, but after prolonged listening it turned out that they have simply been shifted somewhat into the background - the VC7 have a much stronger three-dimensional soundstage. I realized how difficult it is to find adjectives to describe the VC7 sound, beyond "authentic" or "natural." Does the treble sound brilliant? Or silky? No, it sounds exactly like they sound in natural instruments - just right. In summary, this is perhaps the most striking attribute of the Brodmann VC7: it is a speaker without attributes, which does nothing more than transmit the source entrusted to it into perfect sound without loss of quality. 
 
The centre woofers
The underlying technical concept is fundamentally different from that of all other speaker manufacturers.
 
Hans Deutsch
Brodmann speakers were developed by acoustician Hans Deutsch, a pioneer in the development of German loudspeakers. They were originally designed for the Bösendorfer company, whose speaker division was taken over in 2009 by Brodmann, another Viennese piano manufacturer. The two most important elements of the “acoustically-active principle” are the patented, so-called horn resonators and the acoustic boards. The latter are wooden surfaces mounted onto the exterior that resonate (only the mounted surfaces resonate, despite erroneous claims on various forums stating that the actual speaker housing vibrates) and increase the bass range without delay. 
 
The amazing thing is: despite reaching down to the 27 Hz bass range, the VC7 has no extra subwoofer! In addition to the two prominently placed tweeters, each speaker has two 14 cm drivers on either side that are responsible for the entire remaining frequency range. Hard to believe, but it works - and how!
 
In my opinion, the most important factor contributing to the speaker’s exceptional performance is that it has no attenuation. No insulation mats, no foam, nothing. According to Hans Deutsch, any artificial interference - whether by means of insulation and electronics - impairs the natural sound. Even the use of crossovers is limited to only what is essential. As with all Brodmann speakers, amplifiers are not critical to the VC7. With an efficiency of 91dB, they also operate well with a tube or Class A amplifier.
 
Visual appearance
 
It is fortunate that Brodmann, another piano manufacturer, has taken over speaker maufacturing from the legendary piano-maker Bösendorfer, because the workmanship of Brodmann speakers is sensational. Like Bösendorfer, Brodmann treats its speakers as instruments, and they look like instruments too. Even the simplest design with black piano lacquer rises far above the standard of elite speaker manufacturers, but the beautiful veneers are the highlight. My test model has a spectacular Ziricote veneer (see photos), but I am also enchanted by the diverse burled wood veneers and the exciting Macassar. Brass-coloured spikes that blend seamlessly into the base plate are supplied as standard. On vibrating floors the company recommends "Black Diamond cones" that will also provide insulation.
 
The cost
 
The list price of the VC7 in the piano-black lacquer design is over 15,000 Euros (NZ$25,000) and well above 20,000 with the veneer options. That's a lot, but if you consider the costs of other top speakers that do not sound nearly as good (and certainly don’t look as good), then it seems almost a bargain.
 
Prospects
 
Since I haven’t had the VC7 very long, my experiences are still limited. I will update this article regularly over the coming weeks and hope to see postings by Brodmann or Bösendorfer owners who would like to share their experiences of these speakers - including other models, of course. I would be interested in comparisons between models, experiences with amplification, choice of cables, etc. It is mystifying that these speakers are virtually unknown in Germany; I too had no idea they existed before my visit to High End. This does not seem to be the case abroad, as there are test reports from every country, while AUDIO, Stereo & Co. are obviously keeping their distance, maybe they are afraid that their top references will be pulverised by a 15,000 Euro speaker? 
Various Brobmann forum comments
varuois
Bernd Frühauf 
I am very glad that there are other audio enthusiasts who are fascinated by the Brodmann speakers apparently. My partner and I each have a pair of VC1 in different veneer. We are in 2006 or 2007 met with the High End in Munich on the former Bösendorfer stand. Both the sound and the build quality immediately moved us under its spell. By switching to Brodmann some time went by. Then began the search for a dealer. We live in the Stuttgart area with affinity to Freiburg. Therefore, we visited there HiFi Müller, unfortunately voted the "personal chemistry" is not. So we bought the LS finally in Karben near Frankfurt. This sparse dealer network is certainly one of the reasons for the lack of awareness. We have not regretted the purchase (despite the sometimes abysmal bad comments in HiFi_Foren). Although the VC1 certainly not as perfect as the larger models, they conjure yet again brought fascinating soundscapes. We do not operate it in an exclusive Accuphase chain, but (for me) a Naim Supernait, bwz (my partner), even "just" a NAD receiver. Finally, it is still on the personal fun you have with his conditioning. We continue to visit every year the high end, as "Brodmann-dependent" but now we are no longer shown there LS many desirable (of course there are exceptions). 
I hope you continue to enjoy your perfect VC7.
 
Frank Armbruster 
Thank you for your comment. I am sure that my VC1 would also really liked, it still has the same principle and the same tonal character as the larger models. And that the Brodmann with smaller amps sound very good, I've heard on the show. Brodmann currently attempting apparently knit dealer network in Germany a bit tighter, but Stuttgart seems at the moment to be still a blind spot. Sorry. Have not you ever heard the VC2 compare? 
Best regards!
 
Hans Harrant 
I was invited by a friend at home. My friend is also music lovers and so the conversation turned to the fact that I wanted to set new speakers. He gave me a demonstration of the Brodmann VC7 and I was overwhelmed by the sound of them all the 
more when I even play the violin. The price I have not let me scare because good pit stop once are not cheap. 
 (my wife and me) are excited From the sound anyway.I can say such a pure sound quality I've never heard anywhere and find your Fromulierung a box without properties just super. My favorite music is classical PROFESSORS. 2 months ago my brother was with me icl with his 3 children, whose appendix. They wanted to hear the speakers, and I've played or modern rhythms. they have a favorite rock CD from fetched car. The reaction of the young people was: overwhelming or simply 
respect for the speakers.
 
Andreas Muhry 
As already in 2001! each pair bought VC2 and VC7. The VC2 were operated as Fundamentaltöner for VC7. After upgrading to the latest version of the VC7 the VC2 were superfluous, and we have passed them on to a friend. Sonically, the VC2 with the VC 7 are relatives, it's missing the deep bass and the power reserves. We as electronics also Accuphase (E450) and a CD player from Ayon (CD1sc). Our experience with your idendisch that VC7 are not determinable, the music fills the entire room. .... the musicians at home and the mouth (and ears) to stay open, it happens again and again. Music evenings with guests always end up only around 2 or 3 clock in the morning, then pull one the VC7 into the music.
Have fun with the VS7
 
Dr. Herbert Köstler
in my little private "concert hall" has been around a short time, VC 2, and the latest German bass Hans. 
The excellent acoustics of the room has never asked for sound amplification. Has convinced me to use the "acoustics" in comparison with conventional sound in two events. First "Arab love poems", presented by Bayer and Britta accompanied by Hossam Mahmoud with oud and vocals: The slightest nuances of voice and instrument were at each location in space and the exact source of the assigned place. Second "One to one", a demonstration of Brodmann, which has provided for invited guests on the basis of the performances of a guitar duo ("K2") and a jazz ensemble the successful proof that acoustically perceived not between live performance and reproduction of the recording difference can be seen.
 
Martin Reus 
I am very pleased to read here about this extraordinary speaker. Both my job and my vocation is a sound engineer and as such are good speakers a must. I myself am the proud owner of F1. From the festival series, but could also have the VC2 and VC7 hear from colleagues of mine. I want to describe you like to quote Mr. Armbruster to my personal listening experience with Brodmann loudspeakers: "totally unconstrained, free resolution to the smallest detail and without a hint of discoloration, as if the speakers do not actually exist." Only since F1 I can judge my shots relaxed and no longer ask me whether it would be the color of the speakers that I hear.
My experience in differences in Brodmann family is the smaller models, the large inferior in almost nothing. Of course they do not have the fullness of sound and not the reserves of larger models but in terms of purity and fidelity to your larger siblings can certainly hold a candle. The incredible transient response to the bass, which to me is clearly crucial for the realistic sound, is present in all models known to me.
I run my system with an amplifier of the company Electrocompaniet and delivered by Brodmann cables and think it is a very good combination.
 
Thomas Albertus Irnberger 
For years I have been an enthusiastic user of Bösendorfer-/Brodmann-VC7 speakers. With the wide variety of applications (in the recording studio as an accurate monitor in the living room as a sounding instrument, or when Endabhören (Mastering)) convinced me from the beginning of the natural sound that all the instruments and all the vocals brings so to advantage, that you think directly to sit in front of the musicians playing musicians. After mid-rehearsed, twenty of my CDs and SACDs for me the creations of German Hans are indispensable as a highly reliable, ästhethisch beautiful ensemble. Whether intended for the music lover or any musical direction for the professional user, with the purchase of a Brodmann speaker can not go wrong.
 
Gernot Reetz (one world music) 
I work in the studio with vc7, vc2 and by me at the time (to Bösendorfer times as freelance employees) center speakers (in this case as a near field monitor) and emfinde the sound realistic as very convincing and other so-called benefits ls-studio facilities am I mean while, got away, even if colleagues laugh at this. based on my experience in the production of music, including miking in premises such as eg the chamber music hall of the Philharmonic Orchestra Berlin, siemens villa berlin, etc., I can transparency designate in each frequency range as invariably clean and would recommend not only every music lover, this "music tools" . smallest error in the microphones are exposed mercilessly and thus already at the reception eliminated. and ... to the lover: 
 
Frank Armbruster
, I know the Confidence 3, not to take but not that they are so different from the C5.  I just know that in my VC7 chain incomparably better, that sounded more authentic than the Dynaudio. If you have the opportunity to listen to the VC7 at times. 
the incredible finish and natural sound, the Festival F2 shows us that there is another road in the design of a speaker…”
Fotis Fotiadis - HXOS Magazine
The speaker plays with natural elements, and our ears like this.  There are no “technicalities”, enlargements, excesses, or analysis that go beyond reality.  It is a speaker that we must listen in order to enrich our experiences, since it is not like the usual ones.  We liked the way it details, the immediacy of the interpretation, and the naturalness of its presence.  Those who are searching for extremes, dynamics and modern modalities will not find them here.  There are surreal speakers out there, which are difficult to find, and far too few, and one of those is the F2.  Give it a try.
 
Viennois
The speaker, as a concept, troubled Brodmann long before electricity and electro acoustics appeared.
 
The motion of electrons might have been conquered only in the last 125 years, at least in Greece, where electricity arrived in 1889, but the speaker, as a system, has been researched for centuries.  Long before electricity, in the ancient times we had the echoing vases in the ancient theatres, while later on the speaker was studied in the first musical instruments, with its greatest application being in pianos. Even today the acoustic study for the creation of a speaker continues, and this is a process that will never cease. The new tools for measurement provide significant help in this direction, as do the constant improvements in the technology of the materials. Hence the speaker is not something new, and surely during these centuries various techniques and technologies have appeared and then disappeared, becoming “lost knowledge”. With the appearance of electricity and then audio, speakers entered our homes and are now a necessary part of our daily life, especially when they belong to audiophiles and people who love nature and the senses, an element of which is sound.
 
Today we know of acoustic suspension speakers, bass reflex, line transfer and even panels. There are however, some different approaches to speakers, such as point source speakers, radiating 360 degree speakers, nanotechnology, and even patents such as the Brodmann ones that we are testing here. As a piano builder since the 17th century, the Austrian based Brodmann did not wait for electricity to appear before it started creating speakers. Brodmann had been working on the issue for a long time thanks to its pianos, and had studied acoustics extensively. So, when electro-acoustics appeared, it started to circulate speakers as independent units.  Inspired by the musical instruments that it was building, Brodmann made public its first electro dynamic speakers just a few years ago. The mind behind this creation is Hans Deutsch, who has approached the issue of “musical reproduction” by a “wooden box” from a different angle, based on the way the horn functions as a musical instrument.
 
Originally Hans Deutsch had provided his patent to another Austrian piano maker, Bosendorfer whose speakers we had reviewed at that time.  When Bosendorfer withdrew from the speaker market, Brodmann with the blessing of Hans took over.
 
The design of the speakers is so straightforward, that it impresses.  Practically without crossover, without exotic materials, without “insane” speakers, without  internal attenuation, and without hi-fi marketing bombast, the speakers are a surprise in the audio market.  They contain typical speakers, “hiding” their magic in the design of  their cabin.  The speakers impress by their twitter which is the only visible units on the cabin.
 
Brodmann in its catalogue has very expensive models, such as those of the VC series, as well as those of lower cost such as the Festival series.  The pair we had in the studio of the magazine the last weeks was the model F2, which is in the category of 6000 Euros.  It is a floor stander of three speakers with a height slightly more than a meter.  On the face of the speaker is a twitter while on the sides there is a panel on each side whose function is to reverberate from the low frequencies while the support of the speaker is a wooden board, leveled with spikes of brass.
 
As a maker of pianos, Brodmann is conversant with finish and, it is after all one of their strong cards.   They apply the same techniques of “presentation” to their speakers. The F2 is ”brilliant”, exactly like a piano’s finish, and creates a positive acceptance wherever it appears.  The pair comes in separate boxes, well packed, and their placement is extremely easy.
 
ECHOING SPEAKERS 
If we put aside their supreme finish, there is no exotic part for us to mention. They are so simple that it is frightening.  Inside there is total void.  Even though the cabin is from thick MDF, there are no subdivisions, no “clever” bindings or absorbing materials.  The only thing that one finds is a simple crossover with two elements (coil and resistor), quality wiring by Synergistic, and that is all.  Behind the left and right side panels there are mid/woofers of 6 inches from pressed paper.  In other words there are two speakers placed one on the right side and another on the left side.  These speakers “see” a special panel with five line openings and a cloth of about 1 meter height and 18cm width.
 
Each side of the F2 functions as a “sub speaker” , this is one of the elements of  Hans Deutsch’s patent.  The other is a long and narrow slit on the base of each unit.  The function is not as a bass reflex, but as a low frequency filter, hence the simplicity of the crossover.  The major work of the F2 is done by the opening of this slit.  The company mentions that it functions as a door.  When we play music in a room with a large door open we hear all the frequencies outside.  As we close the door the high frequencies do not pass through.  Having the door open very slightly, only the low frequencies will pass through, so the slit on the F2 allows only the frequencies below 130Hz to pass through, functioning as a filter with a 4.5dB slope.  It is absolutely true, that this idea works and it is impressive.
 
There is a reason finally why the inside of the cabin is so empty.  The air is compressed from the movements of the mid/woofers and functions as an additional speaker from 130Hz and below (36Hz).  The basic secret of the Brodmanns, in other words, is the opening slit at the base and the side panels.  Additionally, there are high quality speaker binding posts.  
 
In our tests the F2’s proved easy to drive and very pleasant to listen to.  We connected the speakers with the YBA Passion system and additionally with the integrated-revellation ModWright KW200.   Even though the F2 is not the top Brodmann speaker it proved that the unique design approach of Hans Deutsch is effective.  The sound we heard was natural and without colorations.  With many different pieces it was revelatory and impressive.  The low frequencies indicated that there was a subwoofer.  Even though the largest speakers in the F2 were 6 inches.  The stereo imaging had pin accuracy and the musicality was………as from a musical instrument.
 
The speaker plays with natural elements, and our ears like this.  There are no “technicalities”, enlargements, excesses, or analysis that go beyond reality.  It is a speaker that we must listen in order to enrich our experiences, since it is not like the usual ones.  We liked the way it details, the immediacy of the interpretation, and the naturalness of its presence.  Those who are searching for extremes, dynamics and modern modalities will not find them here.  There are surreal speakers out there, which are difficult to find, and far too few, and one of those is the F2.  Give it a try.
 
Comment
A speaker for those who loves truth, reality, and nature.  A speaker that is based on a musical instrument and a design that is like no other in the market.  Return to nature…. 
the incredible finish and natural sound, the Festival F2 shows us that there is another road in the design of a speaker…”
Brodmann VC7 - On the top , a speaker without properties
Frank Armbruster from Germany - (English translation)

(please excuse poor German / English translation, however I am sure you will get a good idea from this positive reiew)
For the first time in my more than 30 years striving for the best sound I have the feeling to be so gradually arrived at the destination. 

With each listen I discover new details again. The VC7 allows downright insights into the receiving space: every nuance in terms of formation, dynamics, sound can be reproduced with ease with, almost as if you were present at the recording. With drum beats I can perceive small redrawn reverb suddenly, even in very subtle background vocals, the individual voices are clearly distinguish the arrangement of a chamber music ensemble in space is nigh physically tangible. Individual tracks from a CD (! Any sampler) are clearly distinguishable in their different spatial and tonal differentiation: when previously always sounded the voice of a singer on a CD about the same, so now you can hear variations.

It was in May 2012 at the High End in Munich (see the fair report this) than I, one hour before closing randomly on BRODMANN passed listening room. Hard to say why I have calculated there still peeked because I was actually already quite exhausted from countless, often little erquicklichen demonstrations. Was it the logo that appealed to me because it gave tradition and quality? Anyway, I walked in and was immediately fascinated by what was there, even if only faintly heard. In short: This did not sound like hifi, that sounded like music. , it played the VC7 , the largest box of the Vienna Classic series, powered by a small amplifier from Electrocompaniet. D ie speakers were quite narrow and otherwise the listening conditions were not ideal, but the sound immediately drew me into its spell. Comparable I had not heard at the show. I fell into conversation with Bernd Gruhn, the CEO of Brodmann, who told me a lot about the technical background, he asked me schließllich even promised to get a pair for testing VC7 home. Although I was skeptical added: whether the Brodmann to my Dynaudio Confidence 5 got close, those speakers for their adequate electronics I had burnt myself out financially for years?
 
I made ​​my first time little thought. But then, after a few weeks, there were two packages from Vienna. This a pair of Brodmann VC7   in a dreamlike Ziricote veneer, already visually a stunner. I freed them from the packaging, took the fine plastic sleeve, with the high-gloss finish was sealed, screwed to the Diamond Cones. With a certain reverent respect I closed them, angled it up a little, put me on my Hörsofa. 
trust And first my ears. 
He was. That was the sound I had always dreamed of a hi-fi system: completely unconstrained, free, resolution to the smallest detail and without a hint of discoloration, as if the speaker actually does not exist. The evening was long. I experimented a little with the installation, and then listened to a CD or SACD after another. And was not a surprise out what had to hear all that. I noticed details that even my Sennheiser HD 800 , a reference-class headphones, operated at very good headphone amplifier   Accuphase C-3800 n ot mediated.
 
With each listen I discover new details again. The VC7 allows downright insights into the receiving space: every nuance in terms of formation, dynamics, sound can be reproduced with ease with, almost as if you were present at the recording. With drum beats I can perceive small redrawn reverb suddenly, even in very subtle background vocals, the individual voices are clearly distinguish the arrangement of a chamber music ensemble in space is nigh physically tangible. Individual tracks from a CD (! Any sampler) are clearly distinguishable in their different spatial and tonal differentiation: when previously always sounded the voice of a singer on a CD about the same, so now you can hear variations.
 
To the VC7 is damn fast, which is probably related to the fact that the box is not attenuated. We know such openness and light-off liveliness most of electrostatics, but which usually have a certain tonal disembodiment is intrinsically, not to mention the critical bass completely. The very sound of the corporeal VC7 contrast based on a thorough, completely natural and never bloated bass that is completely seamlessly connected to the middle register. Become the Leader in my record collection includes the trio and quartet recordings with Keith Jarrett, Palle Danielsson and whether or Gary Peacock - was a realistic bass is not in my living room.
 
First, my impression was that the positioning of the instruments in the stereo space compared with my Dynaudio would not be quite as accurate. After prolonged use, however, it turned out that the soundstage is simply pushed into more depth - the VC7 have a much stronger three-dimensional representation. However, the Brodmann are no monitor speakers, virtually expose the individual sound events with the dissecting: the details appear always inserted into a sound space.
 
It appears difficult to find attributes for the sound of the VC7 that go "authentic" or "natural" about. The blade heights brilliant? Or rather silky? No, they sound like they must sound with natural instruments, just right. If one puts it, this is perhaps the most striking of the Brodmann VC7 : it's a speaker without qualities, which does nothing else than the signal entrusted to implement lossless sound.
 
The center of the woofer
The underlying technical concept differs fundamentally from all other speaker manufacturers.
 
Hans German 
Brodmann speakers were developed by the acoustician German Hans , a pioneer of German boxing developers. Originally designed for the company Bösendorfer , the speaker division in 2009 Brodmann was acquired, another Viennese piano manufacturer. The two main elements of the "acoustically-active principle" are the patented, called horn resonator and acoustic boards . The latter are attached to the exterior wood surfaces, which are excited by the resulting air column inside and easily resonate (other than to read in various forums, swinging the body of the box is not) and thus increase the bass inertia. Unbelievable, namely: despite reaching down to 27 Hz bass range, the VC7 has no extra bass driver! In addition to the two tweeters prominently placed on both sides of each speaker has two 14-inch drivers that are responsible for all of the remaining frequency range. Hard to believe. But it works, and how!
 
Extremely important for the exceptional performance seems to me that the box has no damping. No insulation batts, no foam, nothing. By Hans German conception be compromised any artificial influence whether or electronic means of insulation, the natural sound. The use of crossovers is limited down to the essentials. The VC7 is how most Brodmann speakers, verstärkerunkritisch. With an efficiency of 91dB, they are also to operate well with a tube or class A amplifier. However, they need to demonstrate their qualities, a very good electronics - which is not purely comes to signal, can it be converted into sound.
 
The optics 
The craftsmanship of Brodmann speaker is a subject in itself. Many like the look of their speakers not care, but who can inspire aesthetics, fine woods and Craftsmanship to the expected Brodmann speakers enable delight. As the Bösendorfer piano Sannino treated Brodmann its speakers as instruments. The areas are in high-gloss piano finish, eight coats of lacquer, the design of the corners and edges is perfect. Even the simplest type of speakers in piano black stands out from the usual standard, but the swarms are wonderful veneers. Such as the one shown Ziricote veneer, which was built only once, but also the various burl veneers or the spectacular Makassar. Supplied as standard are brass-colored studs that can fit perfectly into the bottom plate on the floor vibrates the company recommends the "Black Diamond Cones" that will provide additional decoupling.
 
The price 
Such quality has its price. To list a couple VC7 costs in piano lacquer finish around 15 000 euros, the veneer variants be in excess of Euro 20 000 (NZ$29,995/pr incl tax). That may seem a lot - but others cost a lot more that are not nearly as good sound (and look not nearly as good), sometimes significantly more.
 
Conclusion 
For the first time in my more than 30 years striving for the best sound I have the feeling to be so gradually arrived at the destination. I will try to explain this: If the sheet in Anton Bruckner's Third Symphony in D minor at the end of the fourth set ff blowing chords about life rumbling drums and tremolo violins, then this can be such a moment between heaven and earth in good performances: one thinks immediately lifted from the concert hall. I had long believed that such music in terms of representation, such a thing is like a natural limit to hi-fi systems. It remains, so I thought, just a difference if you are sitting in front of 140 musicians in a large hall or at home in front of two speakers. Since I have the Brodmann VC7 own, these limits have at least postponed. Bruckner's third in the live recording with the Munich Philharmonic under Sergiu Celibidache sounds on my investment in an authentic way that I would prefer in this case, the technical reproduction of most concerts. Now the BR engineers have also brought noticeable when shooting: well knowing that the concert recording after the death of Reproduction objector Celibidache would be an invaluable aural, the space here is just also captured excellent. 
Anyway, it fortune the BRODMANN , this recording in their bloodcurdling presence and force in my living room, without that I would have the feeling that in resolution, dynamics and bass force anything missing. More Hifi can not actually afford.
 
That these exceptional speakers in Germany are so little known, as I have noticed different reasons. Although German Hans decades successfully building speakers, its concepts, especially in the editorial offices of AUDIO, stereo & Co., quite controversial. In addition, Bösendorfer, as far as marketing, has probably undergone massive strategic mistakes that led, inter alia, that all sorts of misinformation circulating through the speakers. The company BRODMANN now trying to make up for lost ground by counting on the contact with the customer, the individual listening experience. This seems to me to be the right way: he who seeks natural sound and these speakers once heard, is for most of what the market offers so lost for now
..........
Frank Armbruster from Germany
...creating a full-range presentation, VC7 is the most extraordinary loudspeaker I’ve encountered. Its presentations possessed me, and it offered the highest level of tonal coherency, surpassing that as rendered by all speakers I’ve heard,
Constantine Soo

In addition, recreations of spatiality of instrument with intrinsic lower midrange to bottom-end contents, by the mid-cabinet positioning of the quadruplet of side-firing midrange/bass drivers on each VC 7, attained a mid-air dimensionality so utterly surreal, that the air above and around the speaker was infused with unprecedented level of energy, making it utterly conducive towards a fulfilling listening experience.

Bösendorfer (now Brodmann) VC7
Auditioning of the Bösendorfer (now Brodmann) VC 7 loudspeakers took place amidst the presence of amplifications as typified by the 100lb+, $79k Audio Note Ongaku integrated amplifier, the 3-chassis, $64k M10 preamplifier and a single-chassis, $34k M8 preamplifier. Combak’s $24k, Harmonix Reimyo PAT-777 300B stereo amplifier, Nagra’s $11k Pyramid Monoblock Amplifiers and Linn’s $9k Klimax Chakra 500 Twin also offered additional insights.
 
The single-wired Bösendorfer’s (now Brodmann) exhibited a lesser extent in extremity than the Audio Note’s. For while Audio Note’s $12k Sogon LX™ speaker cables accentuated the intrinsic beauty of each driver, Combak’s $3,100, single-wiring Harmonix HS-101 SLC “Sophisticated Listener’s Choice” speaker cables consolidated each driver’s output into a more coherent whole, albeit a dynamic stance slightly less so than that of the Sogon LX™.
 
Digital sources were headed by the $26.8k, 47 Laboratory PiTracer CD transport, in connection to either the $59k DAC5 Signature or the $34k DAC5 Special. Wadia’s $10k, 27ix v3.0 Decoding Computer served to provide perspectives from the angle of a high-computational-power, algorithm-based engine. Digital connection from the PiTracer to either DAC’s was via the Combak Harmonix HS-102RCADG “Harmonic-Strings” RCA digital cable. Audio Note’s Sogon™ interconnect provided primary analog linkage between the DAC and preamplifier, or the Ongaku integrated.
 
While both the Ongaku and the PAT-777 were plugged into the wall directly, AC filtering for the digital sources and preamplification via Furutech’s $980, 6-outlet, e-TP609 AC Director yielded appreciable increase in low-level details and dynamic contrasts.
 
In positioning, as is the case with speakers equipped with side-firing drivers in my 12-foot wide room, the Bösendorfer’s  (now Brodmann) require particular attention to its interaction with side walls, and more particularly so when those of Bösendorfer’s  (now Brodmann) side-firing mid-woofers operated between 130Hz and 2,500Hz.
Rather than resorting to a proliferation of unsightly acoustic treatments alongside the sidewalls, I positioned the VC 7’s into the approximate distances of 26 inches from each sidewall to a VC 7’s rear outer edge, 52 inches away from the front wall to the same outer edge, and a distance of 69 inches from the left tower’s tweeters to the right tower’s, plus applying a virtually complete toe-in in which the tweeters were firing almost directly at the listening position. This reduced considerable levels of sidewall interaction with the side-firing drivers, correlating to a dramatically enforced spatial and tonal definition.
 
Designer Hans Deutsch’s unique, narrow baffle concept on the VC 7 worked undoubtedly to address and alleviate much of front-baffle reflection in the application of the two tweeters, not to mention the accompanied, stunning level of décor-friendliness. Yet, because of the toe-in measure, the two 1-inch, front-firing silk-dome tweeters on each tower, despite the minimal front-baffle diffraction, began to exhibit a slight but audibly more pronounced magnitude of energy within the listening distance.
 
Solution came in the form of the oval-shape, neoprene ring of Audio Ideas Guide Imagers II from Andrew Marshall. According to the AIG website, each self-adhesive soft ring is to be attached over a tweeter for absorption of front-baffle reflection. The AIG Imagers II can also be removed easily with no residue. Fitted around each VC 7 tweeter, the black, oval AIG Imagers II were unobtrusive visually, and regulated the on-axis output of the Bösendorfer  (now Brodmann) tweeters to definitive performances in the confines of my 12-foot wide listening room. For a total cost of $30, these little amenities represent an ingeniously passive solution for tailoring a certain degree of a loudspeaker’s dispersion pattern and output to the listener’s preference.
 
The original solid brass spikes of the speakers proved too short for anchoring the structure on my thickly carpeted listening room, thus impairing the speakers’ ability to reconstruct sounds of instrument. The result was an overbearing bass response and a crippled transient. Placing two $430, quadruplet sets of Combak’s metal top, cherry wood-base RF-909X “Base X” Harmonix Tuning Feet underneath the speakers’ spikes countered the ill effects of carpet-coupling and allowed the speakers to perform colossally.
 
From The Top
Of the 6 drivers in each VC 7, only the two tweeters were mounted on the front baffle, at mid-height, and the spectral coverage of these tweeters was expansive beyond belief. Responsible for the daunting frequency range of above 2,500Hz to 27,000Hz, the two small 1-inch front-firing tweeters produced some of the most coherent and dynamic portrayal of all instruments I’ve thrown at it, from the airy triangles to awe-inspiring tympanis, and from a powerful solo piano to the picturesque full orchestra.
 
While I am not aware of any speaker manufacturer seeking to mimic the sound of ribbon speaker technologies with dome tweeters of any variety, the Bösendorfer’s  (now Brodmann) twin acrylic-permeated silk domes posed a collective sparkle and tone so balanced and colossal in outputs and seamless in transition, they have surpassed what the ribbons had offered me.
 
Not silver-wired like the $20k Audio Note AN-E SEC Silver’s silk-dome, the Bösendorfer  (now Brodmann) tweeters possessed less of the hyper-detail character of the AN, but were resplendent with a consistent manifestation of a ribbon-like clarity and spaciousness, on top of a liquid tonality married to one of the liveliest dynamic transients ever produced by silk domes.
 
Yet, these silk dome tweeters did far more than the afore-mentioned. My dazzled affair with these drivers stemmed not merely from the astonishing dynamics that no other 1-inch silk dome’s have ever displayed, nor from the fact that the Bösendorfer  (now Brodmann) tweeters could traverse such an unheard-of range, but from the persistently clear and superbly-defined textural and tonal delineation these acrylic-permeated silk dome tweeters provided unswervingly. Whether it was the striking transients of a piano or the lingering staccato of a solo violin, the Bösendorfer (now Brodmann) tweeters produced each sound with a virtual tangibility that was utterly mesmerising to behold.
 
Each Bösendorfer’s (now Brodmann)  four 5-inch low-midrange drivers were charged with providing support to the front tweeters from the cutoff frequency of 2,500Hz down to 130Hz, and what feat these little drivers accomplished. If the front tweeters broadcasted the beauty of the music, then this quadruplet of wonder conveyed the subconsciousness of the sound thus transduced. For every note of a piano generated by the tweeters, an enveloping ambience of complimenting scale and matching transients, the likes and scale of which I never experienced from any speakers, would permeate along.
 
These four miracle drivers’ characteristics are hard to fixate upon not merely because their role in ambience support were of such refinement and seamlessness, but also because of the fact that their very function entailed considerable integration with the bottom-end. In a design when 6 small-diameter drivers of minimal crossover correction were chosen to fully depict any instrument whenever called for, the invention of the HornResonator with Acoustic SoundBoard marked an act of utter ingenuity in preserving the musical and operational integrity of the drivers while delivering the seemingly impossible bottom line.
 
Bass reproduction of the Bösendorfer (now Brodmann)  was via two precision-manufactured and strategically situated piano boards primarily, called Acoustic SoundBoard, each fastened to the main cabinet via 6 bolts at 75cNm of torque, flanking the sides of the speakers toward the rear. What can two piano boards do?
 
The high-precision positioning of the said piano boards in relation to the cabinet formed such shred of an air gap that, when the air in between is excited by the first burst of bass energy from the port, the force of propagation would coerce the tuned piano boards into creating such bass outputs as to qualify as a most elegant implementation of the fabled bass horn, sans the unwelcome physical dimensions.
 
All speakers I’ve used in the past all employed large woofers to recreate bottom-end’s; one exception was the Apogee Duetta Signature, which utilization of a full-height woofer ribbon panel would flood the listening space with a most surreal sense of bass. Yet, this ribbon technology of the 80’s as displayed by the Apogee was no comparison to the efficiency, extension, force, transients and variance achieved by the Bösendorfer (now Brodmann) .
 
In fact, the Bösendorfer’s (now Brodmann)  slender profile concealed its most potent aspect: its bottom-end prowess. For the “HornResonator with Acoustic Soundboards” technology of the Bösendorfer  (now Brodmann) reproduced the Cantate Domino (Proprius) church organ’s bottom-end in mind-boggling definition and depth as I have never heard from any other speakers. The force with which the rumbling notes being churned out carried incredible speed and the most surreal display of output variance.
 
The Bösendorfer’s (now Brodmann)  prowess in bottom-end tonal distinction was also realized most effective and effortlessly via the fundamentally and tonally passive Acoustic Soundboards. For the musical experience from the combined factors of the amplification magnitude of the speaker and tonality passivity of the Acoustic Soundboards was such that the church organ was reproduced in the most contrasting and the most powerful manners I’ve experienced. To this day, I continue to be startled each time the VC 7’s flexes their muscles as driven by the 7Wpc Harmonix Reimyo PAT-777, and the degree of differentiating tonal layers of the church organ gave way to the idea that perhaps these Bösendorfer’s  (now Brodmann) were made to reproduce a church organ in the most truthful manner in a home.
 
In addition, recreations of spatiality of instrument with intrinsic lower midrange to bottom-end contents, by the mid-cabinet positioning of the quadruplet of side-firing midrange/bass drivers on each VC 7, attained a mid-air dimensionality so utterly surreal, that the air above and around the speaker was infused with unprecedented level of energy, making it utterly conducive towards a fulfilling listening experience.

Summary

 
The Bösendorfer (now Brodmann) VC 7 loudspeakers displayed their mastery in creating enormous spatial scaling that befitted their status as the piano maker’s crowning achievement in its first foray into the audio industry. While the Bösendorfer’s (now Brodmann) weren’t the smallest speakers creating the weightiest bottom-end and scale, they were the first speakers with the smallest footprint in creating a full-range presentation, the likes of which surpassed every make and model I’ve heard. And the fact that the VC 7’s displayed equal aptness in reproducing classical piano and vocal, as well as the force of electric bass and drumming in American heavy-metal, was an iron-clad testament to their agility and finesse.
 
Perhaps because the Bösendorfer (now Brodmann) loudspeaker was born of a classical lineage, its attention to and delivery of the p iano sound was beyond immaculate. In resolution, while few speakers could reproduce the tonal complexity of instruments than the Audio Note, or the scale in immensity of the Tannoy, the Bösendorfer (now Brodmann) VC 7 emerged as a virtual melding of the two, taking the classical piano listener to a new dimension of virtual realism, fully resplendent in a consummate portrayal of the instrument’s scales and tones. Having this Bösendorfer (now Brodmann) in my listening room playing piano music vanquished my longstanding fancy of hiring a pianist to play on the actual Bösendorfer (now Brodmann) piano in front of me.
 
And what bottom-end the Bösendorfer’s (now Brodmann) conveyed. I’ve never heard a loudspeaker pumping such bottom-end definition and weight before as driven by a 7Wpc SET (will respond better to more serious power) amplifier, with a level of dynamic variance as I’ve never seen from any speakers. The piano maker’s loudspeaker achievement in this criterion alone warrants a raving recommendation.
 
The Bösendorfer (now Brodmann) reenacted the most aurally enveloping and layered top to bottom-end tonal variations, so surreal that the varying outputs and pitches of the piano made me realise how little of the CD’s cache of richness I have experienced until now. Energies and loudness of a myriad of orchestral and instrumental pieces featuring the most superfluous of playing of instruments were reproduced by the Bösendorfer’s (now Brodmann) accurately and unswervingly, as if all excessive sibilance as seen by other speakers I’ve used to date was now cleanly transferred for the first time by the Bösendorfer (now Brodmann).
 
Of all the classical instruments, the violin is the other solo instrument capable of speaking into the listener’s heart with its lamentations, and the Harmonix Reimyo-driven Bösendorfer’s (now Brodmann) refined portrayal of the string showcased an extremely well-balanced persona in recreating instruments in their utmost persuasiveness. The breathtaking contrasts that the Bösendorfer (now Brodmann) cast between a violin and a piano accorded the listener an appreciation of the frailty of the violin and the piano’s communicative fluidity.
 
The US$25,000 pair of ultra-slim Bösendorfer (now Brodmann) VC7 is the most extraordinary loudspeaker I’ve encountered. Its presentations possessed me, and it offered the highest level of tonal coherency, surpassing that as rendered by all speakers I’ve heard, delivering a degree of spectral wholeness the likes of which denotes a musical integrity and sonic purity that is immediately arresting. They are the only speaker available that allowed audiophiles to enjoy full range, hugely diversified tonalities from an SET-friendly, unmistakably full-size and extremely décor-friendly package.
The Acoustic Active Principle - An Introduction to the Principles, Techniques, Philosophy and Background of the Loudspeakers developed by the Austrian Acoustic Researcher Hans Deutsch
1.1 APPLICATION OF THE ACOUSTIC ACTIVE PRINCIPLE 
Technological advancement has undoubtedly changed the field of high-fidelity reproduction for the better – at least for companies who care about sound. 
 
Purist construction without equalizers or other tone controls has become the norm for highend amplifiers. 
 
Simplicity and premium quality of construction lead to minimum distortion and new standards of audio reproduction. ‘Less is more’. 
 
Hans Deutsch comments, “I have been developing loudspeakers based on this technology and this philosophy since 1970. My crowning achievement is the Brodmann loudspeaker series based on the Acoustic Active Principle. Modern recording methods, amplifier technology and musical-sounding cable, combined with Brodmann loudspeakers create a breathtakingly realistic sound experience, attracting countless journalists, hi-fi dealers, musicians and connoisseurs of authentic sound around the world.” 
1.2 OUR BASIC PREMISE 
The main goal of conventional technology is the elimination of resonances by heavy damping and flattening of the frequency curve by powerful crossover filtering. This pays surprisingly little regard for the sound itself. Unfortunately, no difference is made between undesirable and desirable resonances. 
 
The basic acoustic principle remains: Without resonances, there cannot be lifelike sound. Music is played by instruments; hence authentic sound reproduction must also require instruments featuring harmonious resonances. While conventional loudspeakers produce illusions, they fail to sound lifelike, since all resonances have been eliminated. 
 
Brodmann loudspeakers are instruments in themselves. Of course they don’t employ active resonators with instrument-specific sounds, as musical instruments do, but instead they use passive resonators, creating a neutral sound. 
 
It is only through this coupling that the resonators or absorbers are brought to vibration (after Hermann Ludwig Ferdinand von Helmholtz, inventor of the “Helmholtz Resonator”). Reproduction of essential resonances is one secrets of the lifelike Brodmann Acoustics sound. 
 
1.3 MUSICAL INSTRUMENTS AS THE BASIS FOR TRUE-TO-LIFE SOUND REPRODUCTION INSTRUMENTS 
The sound produced by musical instruments can only be authentically reproduced by instruments of the same kind. The difference between musical instruments and loudspeakers is that musical instruments produce their own characteristic sound in the form of specific sound patterns, while the loudspeaker’s task is to reproduce a perfect, true-to-life copy of this characteristic sound. 
 
Take string instruments as an example: the resonance stimulators, in this case the strings, are firmly attached either to the soundboard or the instrument’s body – stretched over the metal frame on the piano and over the bridge and tailpiece (between the ƒ-shaped sound-holes) on members of the violin family. An instrument’s soundboard, which produces its characteristic sound, is considered to be an active diaphragm.
 
The drivers in loudspeakers are resonance stimulators; they produce longitudinal waves thereby creating one front and one rear sound field at opposite phase locations. These two sound fields must be kept isolated from one another to prevent acoustic short-circuits as frequency decreases. Sufficiently large sound walls or cabinets must house the bass drivers; they behave like strings in string instruments – like resonance stimulators. Loudspeaker cabinets which authentically reproduce the sound characteristics of an instrument are passive diaphragms themselves.
 
The performance of both passive and active diaphragms depends on their composition (wall thickness, stiffness, specific weight and internal density of the material) as well as the energy level produced by the resonance stimulator. 
 
Since Brodmann VC loudspeakers feature low-vibration bodies and tunable Acoustic Sound Boards, they represent the best solution for true-to-life sound reproduction. 
 
1.4 THE CONFLICTING CONDITIONS REQUIRED FOR PERFECT SOUND REPRODUCTION: THE ACOUSTIC ACTIVE SYSTEM 
Minimal acoustic distortion: while cabinet damping absorbs over-resonances, the damping material produces non-linear effects (the lower the frequency the less effect is achieved). 
 
Minimal electronic distortion: while fine-tuning of the sound may be accomplished by frequency filters, the overall frequency curve must be kept as linear as possible. 
 
Optimal bass range adaptability to the listening room: Large diaphragms reproduce delicate sounds rather imprecisely and require overly large cabinets. Reproduction of the original resonance, or the original timbre: minimal damping, yet adequate absorption of over-resonances. 
 
Absorption of unwanted floor and room resonance (low-frequency footstep noise and standing waves) 
 
Sound field with original radiation pattern, frequency-dependant 
 
Faced with all these conflicting conditions, conventional technology is incapable of addressing all of them simultaneously. 
 
Therefore HD’s comprehensive concept has found new approaches.
 
2.1 THE HornResonator 
HD developed his patented HornResonator from the ‘Helmholtz Resonator Principle’. This principle states that a loudspeaker drives the air mass in the cabinet like a spring; this ‘springy’ air mass is attached to a resonator tube containing air equal in weight to the bass diaphragm. The disadvantages of this construction are A) that the opening created is quite small and B) that the resonance point falls on the fundamental resonance frequencies.
 
The HornResonator, however, has many advantages: It is horn shaped and extends from the resonator tube; there is a narrowing, ‘deep bass filter’ at the horn’s small end, which becomes proportionally larger all the way to the large end. 
 
This allows the total bass projection area in the listening room to be increased with a minimum of sound distortion. The ‘deep bass filter’ at the beginning of the resonator tube ensures the correct frequency range, preventing sound coloration caused by the horn. 
 
To prove that the air mass in the HornResonator truly functions as a diaphragm, and not just as an air funnel, one may simply hold a flame in front of it and observe how it waves in time to the usic. Only actively vibrating particles can cause other media to vibrate. Furthermore the angle of the HornResonator’s form enables the production of not just one fundamental resonance tone, but of many varied resonance tones spread across the entire bass spectrum. 
 
Finally, a natural acoustic frequency division takes place at 130 Hz. Frequencies above 130 Hz are projected by the low mid-range’s front sound field, while the bass driver’s rear sound field drives the HornResonator. 130 Hz are located in the critical fundamental tone area where it is especially important for sound to be as distortion-free as possible (see 3.2 ‘The Acoustic Active Crossover’). 
 
Minimal bass distortion is the basis for producing natural sound. No matter how well constructed a loudspeaker is, it will fail to produce a natural sound without the HornResonator’s high precision level. 
 
2.2 THE SECOND-GENERATION HornResonator WITH Acoustic SoundBoards 
 
The second-generation HornResonator has ushered in a new era in sound reproduction and clearly outperforms the first generation in quality as well as in bass and mid-range reproduction. 
 
Instruments are made up of small sound stimulators (i.e. strings, mouthpieces, reeds, etc.) coupled with large resonators and projection surfaces for projecting the sound into the room. Singers make an extremely poignant example of the necessity of resonaters, for only after learning how to mplement their resonator through years of training, do they find their true voice. 
 
Using musical instruments and human voices as models, our loudspeaker research and development has moved away from bass drivers with large diameters to significantly smaller and more powerful designs. Bösendorfer loudspeakers now employ powerful 130 mm bass drivers coupled with large Acoustic SoundBoards of the second-generation HornResonator. 
 
SOUND PRODUCTION AND SOUND PROJECTION 
 
The Acoustic SoundBoards feature a ‘double output’ function: Air floats between the cabinet and the board (see APPENDIX A). The boards function as active sound-producing diaphragms with no over-resonances. The normally passive Acoustic SoundBoards vibrate thanks to the defined distance from the cabinet. 
 
The advantage of Acoustic SoundBoards compared to ‘passive radiators’ is the increase in impulse dynamics, and thereby the decrease in after-vibrations. This effect is caused by their acousticpneumatic coupling with the bass drivers. 
 
Acoustic SoundBoards are freely vibrating diaphragms which are capable of expanding their diameter. Their amplitude can be modified by adjusting the clamp bolts, creating an effect similar to stiffening the sound board of a Bösendorfer Grand Piano. Both the natural sound field’s projection at the original performance as well as the acoustic characteristics of the listening environment are taken into consideration by the different sound projection of the tonal ranges: 
 
Bass tones naturally form spherical waves and are projected on a large scale by the Acoustic SoundBoards, driven by the bass driver‘s rear sound field. 
 
With midrange tones, the spherical radiation waves of the original sound can be fully taken into account. The placement of the low mid-range drivers on both sides allows mid-range frequencies to be reproduced in spherical waveform via the front sound field. In this way the sound is formed by direct sound and reflection. 
 
High frequency tones are club-formed, which makes direct positioning of the tweeters an absolute necessity. If broader radiation patterns were used, unwanted reflections in the listening room would lead to phase errors, since in most cases the listening room is smaller than the place of the original recording, e.g. a concert hall, an opera house or a jazz club. 
 
2.4 ARRANGEMENT OF THE LOW MID-RANGE SPEAKERS 
 
In case the mid-range drivers are directed straight forwards, there will appeare too high sound boundels in the presence area. The consequences are: 
 - too direct sound 
 - thereby a little bit bundled hardness in the sound 
 - coarser undifferentiated, more unsensitive sound 
 
(Such an effect can also appear if you use LS- and NF cables which do not open the sound enough.) 
 
However, the optimal musicality is reached by the lateral arrangement of the low mid-range drivers - also in the reproduction.
 
The low mid-range drivers are arranged symmetrically for each pair of loudspeakers. Even if a loudspeaker pair is placed symmetrically in the listening room, there will be differences in the distance between each driver and the surrounding walls. Acoustically, compensating for such irregularities requires an excellent distribution of resonances. The distance between the low mid-range drivers and the tweeters is precisely defined to keep phase distortion between the two systems at an absolute minimum. 
 
3.1 OPTIMAL CABINET DAMPING 
 
Cabinet damping is often misunderstood. Typically cabinets are literally stuffed with damping material in order to muffle resonances. Resonances, however, may easily be brought under control by other means such as intelligent cabinet structure, angled or specially-shaped walls and use of alternative materials. In this way all non-linearity in the damping can be avoided since the effectiveness of any kind of damping material decreases at lower frequencies. This creates non-linear damping relationships (a fundamental law of acoustics). 
 
Brodmann loudspeaker cabinets contain no additional damping material; their proportions are CADCAM-designed before being acoustically and empirically optimized. In this way, the cabinet proportions themselves are a major factor in sound reproduction. The result is a sound of unbelievable lightness and airiness. 
 
3.2 THE ACOUSTIC ACTIVE CROSSOVER 
 
The Acoustic Active Crossover was developed by HD in 1973. Until then, acoustic pressure as a function of frequency had been the main factor in loudspeaker and crossover design. The correlation between crossover design and resulting sound was negligible. Once phasemodulated distortion was taken into account by the design, the results were striking. 
 
In the following years, amplitude, frequency, intermodulation and pulse-modulated distortion were additionally taken into consideration. Although these individual types of distortion may be easured separately, they actually act simultaneously, multiplying their effects. Modulation istortion greatly affects sound, its emotion and its very feeling. For example, a violin’s vibrato is itself a modulation; the lower the modulation distortion is, the more convincingly it is reproduced. 
 
Only crossovers up to the first order produce linear distortion. When higher order filters are used, pronounced positive effects are offset by non-linear distortion. This was the beginning of the Acoustic Active Crossover, where cabinet and drivers are so perfectly matched together that minimal correction using only a purist crossover filter is required. In Bösendorfer VC loudspeakers, bass drivers operate over their entire frequency range and achieve the desired frequency on their own; the tweeter is marginally corrected. 
 
The transition between bass and mid-range is accomplished by ‘Acoustically Active‘ control alone. Whenever possible, the bass driver is left unfiltered; if this is unavoidable, a small coil is used. The tweeter is delicately corrected at its lower end. Together, these make up the complete frequency filter system. 
 
With the Acoustic Active Crossover a stunning three-dimensional sound is possible. 
 
3.3 ‘The Pure Voice’-system (developed 2010) 
 
By ‘The Pure Voice’–system (TPV) HD130 Midrange-Woofers are working nearly without mass – are swinging free in space. TPV support so the marvelous dynamics and splendour of singers and instruments in the direction of originally sound patterns. Electrically they are working in a full range manner but acoustically the effect of the acoustic short circuit lets reach a highpass filter function free of any distortions! So the system include also a phase-shifting function. 
 
4.1 CONVENTIONAL SPEAKERS VS. BRODMANN SPEAKERS 
 
Brodmann loudspeakers are typical two-way systems combining low and mid-range drivers and tweeters to produce as little distortion as possible. Impedance corresponds to the number of speakers used. 
 
We use electro-dynamic speakers since these are best suited to satisfy a variety of criteria. No other system can move the air mass so homogenously through the diaphragm. Neither ion drivers, ribbons, nor electrostatic or magneto static designs can achieve such balanced results. These designs all face non-linearity in dynamics, which at lower frequencies leads to insufficient amplitude in relation to the moving surface area, causing uneven airflow. 
 
In electro-dynamic speakers, the voice coil operates within a permanent magnetic field, converting the induced tension into mechanical vibrations. These vibrations then move through the diaphragm homogeneously and with little inertia loss, stimulating the air to vibrate. 
 
Reproduction of the full audible spectrum 
 
The maximum audible frequency range is 20 Hz – 20 kHz (a wave-length of 16 m to 1.6 cm). Apart from hearing loss of higher frequencies in the elderly, the human ear remains capable of distinguishing fine nuances within its hearing range for quite some time. 
 
To reproduce the full audible spectrum with as little distortion as possible, both low mid-range and high-range drivers are required. Especially at lower frequencies, implementation of the ideal diaphragm area becomes increasingly difficult. Sound waves of 16 meters would require an equivalent 16 m diaphragm diameter! As compensation, special sound guiding is necessary. 
The lower the frequency and the larger the wavelength, the more sound guiding will be required (and vice-versa). 
 
Following this thesis, HD developed the HornResonator with Acoustic Sound Boards to act as an additional sound guide for lower frequencies, achieving inertia-free surface area enlargement for unhindered dynamics. The upper frequencies are of course unaffected, operating without the use of sound guides. 
 
One of the Acoustic Active Principle’s fundamental goals is distortion minimization, as opposed to distortion correction by crossover filters, which actually produce new distortion. So we had to create speakers which, by correct dimensions and design, were capable of achieving all the desired frequencies. 
 
Bass Drivers 
 
Magnet size, voice coil power and heaviness or lightness of diaphragm alone is of little importance for optimal loudspeakers – rather a balanced combination of these variables is the primary factor for ideal loudspeaker construction. In addition, Brodmann bass drivers are extremely powerful in order to drive the Acoustic Sound Boards.
 
Basket: 
The basket must be as rigid as possible in order to adequately complement the speaker’s kinetic energy. Steel, and not magnesium as found in many speakers, is best suited to this task. Diaphragm movement creates opposing forces corresponding to kinetic energy in proportion to amplitude. These forces must be suppressed, which requires use of rigid, sturdy baskets, featuring steel joints and correspondingly strong sound walls (bass speaker mounting surfaces). That’s why our sound walls are so massive and why we don’t use ‘flexible’ cardboard or plastic inserts between the speakers and the mounting surfaces. 
 
Magnets: 
Air-gap focused magnets featuring smaller air gaps are clearly preferable to sintered ‘artificial magnets’ with their relatively large air gaps. This is because magnetic performance decreases with increasing air gap size at an exponential rate. 
 
Voice Coil: 
We primarily use Kevlar voice coil mounts, a material which is rigid yet linear-damped. It’s typical of our commitment to quality that we use 6-ply voice coils featuring maximum electrical conductivity as well as custom-made, flexible voice coil connecting wires. 
 
Diaphragm and  Suspension: 
The paper-maché method has proven itself to be the best for bass diaphragms, with linear resonance characteristics and harmonious damping qualities. Our diaphragms are created like fine hand-made papers: they are soft inside, for optimal damping, and hard outside on the radiation surface, for optimal sound projection. These dual benefits are made possible by a sophisticated contactform technique – easily visible in the hard, structured diaphragm surface of the 130 mm low mid-range drivers. 
 
Our diaphragms contain carbon fiber for high rigidity and Alaskan hemp for smoothness. The suspension isn’t made of rubber, but rather of UV-resistant Styrofoam, which is practically free of self-resonances. Plastic diaphragms are not used at all due to their non-linear resonances – just 
imagine a plastic violin! 
 
Tweeters 
While consciously ignoring the recent fashion for metal, Brodmann was one of the first speaker manufacturers to use silk fibers soaked in acrylic. The advantage is a diaphragm which is rigid for fast impulses and soft against unwanted resonances. The 4-ply voice coil delivers extremely fast attacks which are required to keep pace with the HornResonator’s bass tones. The slender voice coil connecting wires are reinforced and very flexible. Both the bass drivers and the tweeters employ magnets with tiny air gaps for optimal flow. This leads to maximal conversion of energy into acoustic pressure instead of a substantial loss of energy as heat, as with conventional speakers. 
 
4.2 OPTIMIZING CABINET FREQUENCY FOR A WELL-MODULATED SOUND 
 
First of all the bass drivers should run at as high a frequency and the tweeters at as low a frequency as possible. In this way the ‘cut-off‘ frequencies and thereby the modulation distortion are both kept to an absolute minimum. 
 
In practice we are confronted with certain limits: approximately 2 kHz is the ‘sound barrier’. But this isn’t feasible with conventional loudspeakers, neither with respect to frequency nor to load rating. Therefore Brodmann makes use of sophisticated diaphragm technology as well as specially-made voice coils and voice coil mounts. 
 
5.1 FINE FINISHES ON CABINETS AND Acoustic SoundBoards 
 
Brodmann, the manufacturer of world-famous grand pianos, treats its loudspeakers like instruments. The same premium quality is used for the cabinets, Acoustic Sound Boards, drivers and every other component. 
 
The cabinet walls are made of high--density, specially coated wood – the same wood used for piano lids. The fine art of hand-crafted piano construction goes into their finish. The cabinet body is first sealed either in standard black or a custom color and then numerous coats of polyester-based piano varnish are applied. Finally, the surface is polished to satin finish or high-polish using a special ‘wobble’ technique. 
The Acoustic SoundBoards (the side-mounted diaphragms radiating sound in the lower frequencies) are available in classic black finish or in one of the finest veneers from our grand pianos – in aged Tibetan pomele, birds-eye maple, burl walnut or burl birch, for instance. The Brodmann wood specialist carefully selects each fine veneer by hand. 
 
Veneer application is a Brodmann speciality. Only a handful of experts are proficient at this technique. Veneer application encompasses more than precise side-by-side placement of veneer strips; the veneer’s grain creates harmonious surface ornamentation that is as natural looking as wood itself. The veneer design unites each speaker pair to create individual harmonies. 
 
After the veneer is glued to the Brodmann Acoustic SoundBoards, the edge work egins, followed by polishing. Finally, piano varnish is applied to the veneered boards. The process is the same for the front components. 
 
6.1 SUBJECTIVE AND OBJECTIVE HEARING 
 
It is simply untrue that ‘everyone hears differently’. The truth is that we hear ‘digitally’ rather than ‘analog’, since from birth onwards, we have been storing acoustic signals in our ‘computer‘. We analyze these stored signals using criteria such as pitch, volume, color, pulse, etc. as well as psychological impressions such as warmth or coolness and feelings of fear or joy. All of this is accomplished by our modulation perception. 
 
Although fingerprint and ear shape differ from person to person, our aural recognition faculty compensates for this. Otherwise it wouldn’t be possible for different people to recognize someone’s voice. 
 
Good taste is actually objective, the prerequisites being training and a little practice. Only when errors occur do our impressions tend to be more subjective, ultimately leading to individual evaluation – what one likes or dislikes. 
 
Therefore we can confidently claim that a good sounding loudspeaker, properly demonstrated, will please music lovers everywhere. 
CES 2014 SHOW REPORT: LOUDSPEAKERS $15-$25K - BRODMANN VC7: Seamless Beauty and Sound, say hello.
Spencer Holbert
BRODMANN VC7:
The VC7s (US$24,999/pr excl tax - NZ$29,995/pr incl GST) are probably new to most people, and follow in the footsteps of Brodmann’s original enterprise as a piano manufacturer with beautiful finishes that will appeal to those who want speakers that are also furniture. With 91dB sensitivity and 25Hz-27kHz frequency response, these sleek speakers sounded sublime in all regards.

BRODMANN VC2:

Not to make a show-coverage faux pas, but the VC2s (US$19,900/pr - NZ$21,995/pr incl GST) are also worth mentioning because they ultimately sound like a slightly younger version of the VC7s, with just a little less of everything. Though not new to hi-fi shows, the VC2s offer an attractive alternative and save you five grand without sacrificing much.

..…TAS - Spencer Holbert - Jan 22nd, 2014

Testimonials

For once my Naim gear makes music and not hifi!

Hi Terry & David,

All installed (Brodmann FS stand mtg speakers) and sounding absolutely, ridiculously, beautifully, natural. 

For once my Naim gear makes music and not hifi! 

You will need to come and hear them another visit. 

Thanks again, I'm totally thrilled. 

Regards,
Peter Roband

http://www.audioreference.co.nz/product/brodmann-festival-fs-stand-mtg-speakers-w-custom-stands-piano-black

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