Manufacturer Website: https://www.vienna-acoustics.com/speakers/concert-grand-series/theatro-grand/

Sorry, but due to the size and weight of the package, no shipping to Alaska, Hawaii, Puerto Rico, Guam, US Virgin Islands, or to PO boxes. Used condition, with minimal wear. Tested and working correctly. I’ve been told the veneer is either EBONY or ROSEWOOD. I don’t know, exactly. Please have a look at the photos to see if these will match your equipment. You will only receive the speakers, grills, and wire nuts. Please have a look at all the photos. I’m not the original owner, but I’ll be happy to answer any questions to the best of my ability. These will be wrapped in bubble wrap, and then double boxed. Insurance and signature confirmation will be included. Free shipping to the 48 states only. Sorry, but due to the size and weight of the package, no shipping to Alaska, Hawaii, Puerto Rico, Guam, US Virgin Islands, or to PO boxes.

VIENNA PAIR, HAND MADE BACH WITH HAND MATCHED ROSEWOOD FINISH, STUNNING IN BOTH BEAUTY AND SOUND. i AM THE ORIGINAL OWNER, THESE CAN BE FILLED WITH 20 LBS OF SAND OR SHOT, FOR BETTER BASE CONTROL, SHIPPED IN ORIGINAL BOXES. PART OF SECOND SYSTEM, EXTREMELY LITTLE USE, BARELY BROKEN IN. PET FREE AND SMOKE FREE HOME, HAVE OTHER VIENNA IN MAIN SYSTEM AND WILL KEEP FOREVER. KNOWN FOR EXTREMELY QUALITY BUILD AND GREAT BASS AND BUTTERY SMOOTH HIGHS. These are a detailed beauty sound and will improve with the better the gear you use, they can provide a great sound stage. Links to owners reviews:http://www.audioreview.com/product/speakers/floorstanding-speakers/vienna-acoustics/bach.html They will be shipped in original boxes and shipped individually, insured and ebay requires signature on delivery. Pictures are part of the description and sold in AS IS although beautiful there maybe fine marks etc. again look at pictures They sound crisp, musical and coherent with airy highs, intimate mids and awesome bass for the size. All drivers are working perfectly and cabinets are in great cosmetic condition with some extremely minor, blemishes from normal use. FEEL FREE TO ASK QUESTIONS AND THANK YOU FOR LOOKING. SHIPPING TO LOWER 48 US ONLY. NO PO BOXES SPECS:-Impedance: 6 Ohms-Frequency Response: 38 - 20000 Hz-Sensitivity: 90 dB-Recommended Amplifiers: 30 - 200 Watts-Drive Units:-7 Mid-Woofer Paper Cone, 3 x hand-coated-1 Dome-Tweeter VA Silk Dome-Bass System: Bassreflex-Bass Function :QB 3 (Quasi Butterworth)-Crossover Components:-MKP Capacitors Air Coils 0,7% tol.-Metal Film Resistors 2% tol., inductance free-Crossover Function: 2-way 6/12 dB Bessel-Weight: 34 Ibs (each speaker)-Dimension: 34 x 10 x 8 (each speaker)

Pair In excellent working and physical conditionHandmade in Austria original price $4500 You wont be disappointedDemo with high end amplifiers prior to sale. - Local pickup only - Theatro Center channel also available but not included in this auction

Two floor based Vienna Acoustic Speakers Bach model Serial no. 11478 and 11479 in excellent condition. Available for free pick-up in Boston.

Vienna Acoustics Theatro Grand Center Channel Speaker; Gloss Black Great working condition, sound amazing no issues, sings of used , minor scuffs as you see in pictures, no dents , cracks , or mayor scratches See pictures for more details.

Vienna Acoustics Haydn Grand Bookshelf Speakers; Gloss Black Pair.. Condition is Used. Shipped with USPS Ground Advantage.

High End Vienna Acoustics Webern 5 speaker Surround Sound system. Includes Wall Mount.

The worlds largest online retailer of pre-owned audio Product DescriptionWho we areWhat we doOur ProcessOur Policies Vienna Acoustics Haydn Grand Special Edition Bookshelf Speakers; SE; Cherry Pair Product SKU: 52848 Age: Unknown MSRP: $2995 Serial Number: 204201 # of Owners: 1 Cosmetic Description: Excellent condition with no notable blemishes.  What is Included: Pair of speakers, Manual, Factory packaging Other Notes: The Haydn Grand Symphony Edition’s deceptively simple driver complement of our patented 6” X3P Spidercone mid-bass driver and refined 1” triple stacked silk-dome tweeter centers around the groundbreaking airflow control wedge bass reflex port that serves to virtually eliminate port noise, allows for increased placement flexibility, and provides an extraordinarily compact driver configuration by positioning the tweeter on the front of the wedge. This combination of elements, housed in a beautifully compact cabinet, permits equally effective and effortless placement in either bookshelves or on speaker stands. A compact 2-way monitor, Haydn Grand Symphony Edition features exceptional imaging, resolution and linearity, challenging the performance of the finest floor standers. -Vienna Acoustics Functional Notes: Operational condition of this item is excellent, fully tested and no issues found. Shipping: Cost to ship this item within the contiguous United States is a flat rate of $65- including packaging and insurance. For all other locations including Hawaii, Puerto Rico and Alaska, please request a quote prior to purchase. Items with factory packaging will be double boxed. When factory packaging not available re-usable shipping box with custom injected-foam mold will be used. (for all items over 10 lbs). Note that all items valued over $750 will require a signature upon delivery. Your online source for the best value in new and used audio gear. Visit us online to Buy / Sell / Trade / Consign The Music Room is the largest online retailer of pre-owned HiFi equipment in the world. Headquartered in beautiful Boulder Colorado, The Music Room is a team of 17 strong (and growing) music lovers - all dedicated to one singular mission: delivering the very best online shopping experience in the audio industry - period. We specialize in well-cared for, previously used gear because that is what we are passionate about. We feel that there is nothing more fulfilling than creating a high-performance system on a budget with carefully selected used components, speakers and cables. Our program is safe, secure, fast, fair, hassle-free and highly effective. Visit us online to Buy / Sell / Trade / Consign Buy: Are you looking to get a fair price for your used home audio equipment without all the hassles, headaches, risks and fees? We will appraise your equipment and make you a quick, easy, fair cash offer. Just fill out our “get a quote” form on our homepage to start the process. Sell: We sell in multiple online venues with many (but not all) of our products available in our eBay store. Everything is quality-assured and backed by our best-in-class, satisfaction-guaranteed return policy. Trade: Make your budget go further with a generous trade-in allowance. Let us know what you have available, and we’ll get you the best possible trade-in allowance. We can even assist with shipping & logistics from anywhere in the USA. Just fill out our “get a quote” form on our homepage to start the process. Consign: We offer a hassle-free way for individuals and businesses to liquidate used gear. We’ll handle every step of the process from shipping to appraisals, customer service, fulfillment, and returns: Industry-low rates with no hidden fees Leverage our world-class reputation and get exposure in multiple sales venues - putting your product in front of over 570k monthly shoppers. Our program is Safe, Secure, Fast, Fair, Hassle-Free and Highly Effective. With 100% feedback ratings in every venue in which we sell, you can rest assured that we’ve got your back. Visit us online to Buy / Sell / Trade / Consign Quality Assurance: We offer 15-20 new product listings for sale daily. Each product undergoes an extremely rigorous quality-assurance and listening session by one of our qualified technicians. We understand that buying used audio equipment can be rife with uncertainty and unexpected headaches. Our quality assurance program is informed by a knowledge-base built through delivering over 30,000 used audio products to satisfied customers. We promise to deliver your product in good working order - exactly as described 100% of the time. Support: We don’t just make promises. We stand behind them - your satisfaction is guaranteed. Our support team is ready to help you with any questions you might have before and after the sale. Value: In the never-ending pursuit of high performance, it’s important to stretch your limited budget as far as possible. Used equipment sells for a fraction of new prices, and with a partner like The Music Room you can upgrade any time you like and get most of your money back. There’s simply no better way to maximize a limited audio budget. Packaging: We’ve invested thousands of dollars and countless hours into mastering our state-of-the-art packaging process. Our custom foam-in-place packaging system allows us to safely package almost any item regardless of irregular shapes or sizes. Most importantly, this system provides our customers with a re-usable shipping box which increases the resale value of the product and provides a shipping method for easy, secure returns. Be seen by over 70,000 monthly visitors. Visit us online to Buy / Sell / Trade / Consign Payment: Prompt payment is expected. Paypal is preferred but all forms of payment are accepted. Unpaid item case will be opened after 3 days if no payment received. Shipping Times: Most Domestic orders ship within 1 business day of purchase. For International orders or freight shipments, please allow 2-3 business days. In all cases, tracking information will be emailed to you at the moment the shipping label is created. If you cant find it or have other questions about shipping & logistics, please contact us. Shipping Costs: Flat rate shipping costs are applicable within the contiguous 48 States (USA). These rates are clearly posted on each product page. For an International or custom quote (including Hawaii, PR, AK) please contact us. Returns: Every purchase made on eBay carries a 30-day, satisfaction-guaranteed return policy. If youre not happy with your purchase for any reason or if youve simply changed your mind... no problem. Simply ship it back for a full refund or exchange (minus S&H costs). If you have received an item that is defective in some way, we will make it right. Let us know - we will pay for return shipping and repair the item or refund 100% of your original purchase price.

Factory Reset Good battery Picture is of actual phone. Experience the perfect blend of style and performance with the Vienna Acoustics Haydn Grand Bookshelf Speakers. These wired speakers come in a sleek gloss black finish and are designed to deliver exceptional sound quality. With the ability to connect to a range of devices, these speakers are ideal for any home audio setup. Built by renowned brand, Vienna Acoustics, the Haydn Grand model is a top-of-the-line option for any audiophile. Perfectly suited for smaller rooms, these bookshelf speakers deliver rich, clear sound with impeccable detail. Additionally, the pair comes with stands for added convenience and versatility. Enhance your audio experience with the Vienna Acoustics Haydn Grand Bookshelf Speakers today.

Vienna Acoustics Haydn - Paar, High-End Lautsprecher. Model: Haydn Farbe: Satin Schwarz Zustand ist gut bis sehr gut und Voll funktioniert. Optisch sehr guter Zustand. Minimale Gebrauchsspuren vorhanden aber normalerweise nicht sichtbar. Ohne Originalverpackung , kommt aber gut und sicher verpackt. Aus zweiter Hand. Nichtraucherhaushalt. Technische Daten: Abmessungen je ca. (B x H x T) 17,5 x 36 x 27mm Impedanz 6 Ohm. Privatverkauf. Fotos und Beschreibung werden aktualisiert. Festpreise. Fixed price! #vienna_acoustics_haydn #vienna_acoustics #vienna_haydn

Vienna Acoustics Berg Satellite Speakers Hi-Fi High End Audiophile SilverTested, in working conditionThey sound phenomenal Come with wall mounts and screws

High End Vienna Acoustics Webern 5 speaker Surround Sound system. Includes Wall Mount.

Vienna Acoustics Haydn - Paar, High-End Lautsprecher. Model: Haydn Farbe: Satin Schwarz Zustand ist gut bis sehr gut und Voll funktioniert. Optisch sehr guter Zustand. Minimale Gebrauchsspuren vorhanden aber normalerweise nicht sichtbar. Ohne Originalverpackung , kommt aber gut und sicher verpackt. Aus zweiter Hand. Nichtraucherhaushalt. Technische Daten: Abmessungen je ca. (B x H x T) 17,5 x 36 x 27mm Impedanz 6 Ohm. Privatverkauf. Fotos und Beschreibung werden aktualisiert. Festpreise. Fixed price! #vienna_acoustics_haydn #vienna_acoustics #vienna_haydn

Very Nice pair of Vienna Acoustics Cello speakers. Cello is predecessor of very sucessfull model Haydn. One of the best monitor speakers in its size. Sounds like a big floor understanding speaker but it wants fit in your bookshelf.Retail they cost arround 2500 euros. Dimensiones 17,5 x 36 x 27mm No Warranty. No returns.

Up for sale are a pair of Vienna Acoustics Bach Grand floor standing speakers. These speakers produce high-end sound quality and feature a 2.0 channel system configuration with a 7-inch driver size. They come in a rectangular shape with banana jack audio inputs and a brown color. The speakers have been used and are in top-notch working condition. They have an impedance of 4 ohms and are wired for connectivity. These Bach Grand speakers are ideal for any music enthusiast looking for a top-notch audio experience.

High End Vienna Acoustics Webern 5 speaker Surround Sound system. Includes Wall Mount.

High End Vienna Acoustics Webern 5 speaker Surround Sound system. Includes Wall Mount.

Vienna Acoustics Beethoven Speakers. Condition is Used. Shipped with USPS Priority Mail.

Vienna Acoustics Haydn - Paar, High-End Lautsprecher. Model: Haydn Farbe: Satin Schwarz Zustand ist gut bis sehr gut und Voll funktioniert. Optisch sehr guter Zustand. Minimale Gebrauchsspuren vorhanden aber normalerweise nicht sichtbar. Ohne Originalverpackung , kommt aber gut und sicher verpackt. Aus zweiter Hand. Nichtraucherhaushalt. Technische Daten: Abmessungen je ca. (B x H x T) 17,5 x 36 x 27mm Impedanz 6 Ohm. Privatverkauf. Fotos und Beschreibung werden aktualisiert. Festpreise. Fixed price! #vienna_acoustics_haydn #vienna_acoustics #vienna_haydn

Description and design This is a gorgeous loudspeaker. As audiophiles, devoted to the pursuit of high accuracy and musicality in sound reproduction, we may protest that sound quality is the only thing thats important. But the fact is that speakers are objects in the listening/living room that you have to look at even when theyre silent—appearance can be an important determinant of overall satisfaction. The Mahlers slim, backward-leaning cabinet and impeccable glossy finish on all sides (rosewood in the review samples) are elegant without being overly fussy. For a full-range speaker, the Mahler is of modest size, with a relatively small footprint and a narrow front panel, so its more likely to blend into a rooms d;aecor than to dominate it. According to John Hunter of Sumiko, Vienna Acoustics US importer, the design of the Mahler began with the selection of the Scan-Speak 7 midrange driver, felt by many speaker people to be the best unit of its type. This driver can cover a wide range, and I know of some designs in which its used to cover the bass as well as the midrange. (Scan-Speak calls it a mid/woofer.) However, Vienna Acoustics designer Peter Gansterer feels that using the Scan-Speak midrange to extend all the way down would result in impaired dynamics and transparency, so, after much experimentation (John Hunter says he participated in listening sessions that involved 73 iterative changes!), 70Hz was selected as the lower limit for the midrange drivers. The lower of the two drivers has a crossover that rolls off its response above 200Hz, using a simple 6dB slope, with additional crossover points at 400Hz (12dB/octave) and 800Hz (18dB/octave)—an approach intended to produce a smooth transition to the treble. The other midrange driver is crossed over to the tweeter at 3.6kHz, so that it covers about a 5½-octave range. Each midrange driver is in its own sealed subcabinet. The lower bass is handled by two side-firing 10 Eton woofers, a carbon-fiber honeycomb-cone driver preferred by Peter Gansterer for its high stiffness and speed. Each woofer has its subcabinet, with nonparallel walls, and is vented out the back. The woofers begin crossing over at 50Hz, and are filtered more at 100Hz, and again at 200Hz. The tweeter is a variant of Scan-Speaks D-29 1.2 silk dome, well-known for its smoothness and silkiness. To ensure that the tweeter is not disturbed by vibrations from the cabinet, its mounted with silicone gel injected into the cabinet recess. This effectively floats the tweeter, with no rigid mechanical connection to the cabinet—a clever bit of engineering. The crossover uses parts of the highest quality, including a $70 German MKP Select capacitor, chosen because it sounded best in listening tests. The Mahler uses only a single set of five-way binding posts, Peter Gansterer not being a fan of bi- or triwiring. A toggle switch allows the tweeters response to be attenuated by 0.6dB above 6kHz; another switch selects a bass emphasis of 2dB below 50Hz. The Mahler rests on a plinth that doesnt extend all the way to the front, giving the speaker a floating appearance while maintaining structural stability. Three screw-in metal cones are provided to improve coupling to the floor. These are beautifully made but only 5/8 high, and would not penetrate the heavy carpet and underpadding in my listening room. I ended up using German Acoustic cones, which have longer, pointed spikes. The cabinet itself is heavily braced, with 2.5-thick front and rear panels. The veneers (in addition to rosewood, the Mahler is also available in beech flame, so-called because of a flame-patterned burl within the wood) are matched and hand-selected by Peter Gansterer himself, who assigns precise locations for each panel of veneer. Talk about old-world craftsmanship! Setup Its fairly common for representatives of speaker manufacturers to visit Stereophile reviewers to assist in setting up the speakers being reviewed. Some readers question the appropriateness of this practice (Jim Thiel doesnt drop by to help set up my speakers!), but I think of this practice as equivalent to the normal post-sale service that any customer should receive from an authorized dealer of high-end audio equipment. Furthermore, its only fair that manufacturers/designers should have a chance to ensure that their products are performing as intended. Of course, reviewers must be careful during these visits to provide no clues about what they think of a products performance, but the mandatory training Stereophile reviewers receive at the International Academy of Poker is helpful here. In the Mahlers case, the visitor was John Hunter, well-known for his setup expertise and familiar with my listening room from his visit at the beginning of the Mozarts review period. He was quite confident that hed have speaker setup optimized in about half an hour—an estimate that turned out to be off by several hours. Shaking his head and, from time to time, muttering Difficult room..., Hunter listened, moved the speakers, listened again, tweaked the toe-in, adjusted the vertical angle, removed the array of RoomLenses I normally have in the room, then replaced and repositioned them. Finally, the sound was to his satisfaction. I normally set up speakers so that they form an angle of at least 60 degrees to the listening seat, toed-in to point almost directly at the listener. Johns setup subtended an even wider angle, with the speakers closer to the back and side walls than usual, and the woofers facing the side walls. The result was a huge soundstage with tremendous depth and very powerful bass. The sound was most impressive, but after Hunter had left, I came to feel that the bass was too powerful, tilting the tonal balance. I started to do some setup tweaking of my own, aimed at preserving the soundstage while getting better control over the bass. A bit of informal testing at the listening seat with Stereophiles Test CD 3 and the RadioShack SPL meter revealed a peak of about 9dB in the 50Hz region (footnote 1). I had observed similar peaks with some other speakers in this room, but not to this extent. (The smoothest bass response in my room has been with the Dunlavy SC-IV/A, which is probably a function of its over-and-under woofer configuration.) To tame the bass, I tried all sorts of tricks: stuffing one or both of the rear-facing ports with rolled-up socks (which reduced the bass extension without reducing the peak); placing ASC Tube Traps in the corners (which only reduced the midbass, in the 200Hz range); trying different spikes/cones (no effect); switching left and right speakers so that the woofers faced inward (impairment of bass extension, little effect on the peak); adding three more RoomLenses, two of them behind the listening chair (less room sound from the midrange up, to the point of dulling, but no effect on the bass peak); and, in time-honored fashion, moving the speakers around. My final setup had the speakers farther away from the walls and corners than in Hunters initial setup, with both treble and bass switches in the flat position, two RoomLenses forming a wing outside each speaker, and one near the wall between the speakers. (The Mahler is provided with a removable grille; it stayed removed.) The midrange driver of each speaker was 39 from the back wall and 34 from the side wall (all measurements from the center of the midrange cone), the speakers set up along the 16 side of my 16 by 14 by 7.5 listening room. The included angle was about 70 degrees; the speakers were toed-in so that they were pointing almost (but not quite) at the listening chair. The bass peak was still there, but its amplitude at the listening position was reduced by 2-3dB. Moving the listening chair forward from its usual nearly-against-the-wall position led to a further 2dB reduction of the bass peak, but impaired center focus. I moved it back. Sound The Mahler was at its very best when reproducing large-scale symphonic music, big-band jazz, opera, and musicals. The challenges in reproducing this type of material are formidable: the speaker has to be able to maintain the individual instrumental and vocal threads while allowing the blending that is characteristic of the real sound, and to retain its composure at the high levels that stress the individual speaker components. As the overall level rises, theres a tendency for a speaker to lose sonic details and for the sound to acquire a pushed, strained quality, like a singer whos trying to produce a big sound that is beyond his or her comfortable range. The Mahler was able to play at high levels with ease and smoothness, maintaining the level of detail that was characteristic of lower playback levels. In its ability to play at very high levels without sounding strained, the Mahler surpassed every other speaker Ive had for review. The Dunlavy SC-IV/ADunlavy SC-IV/A, my longtime reference loudspeaker, starts to lose focus and to acquire a bit of an edge at levels at which the Mahler was still sailing along comfortably. The SC-IV/A is an exceedingly fine speaker, and if you do your listening at more moderate levels, the Mahlers higher dynamic ceiling may not be of much importance. Most of my listening is at fairly low levels, but once in a while I like to let er rip (footnote 2). At these times, I was able to listen with the certainty that my ears were going to give up before the speakers would. At more normal levels, the Mahlers exceptional dynamic capability was evident in its communication of musics subtle ebb and flow, and in its ability to track transient peaks. The new La Bohème (London/Decca 466 070-2) seems to have been recorded expressly to test a systems dynamic capabilities: Roberto Alagna and Angela Gheorghiu at full tilt at the end of O Soave Fanciulla make an exciting, powerful sound, and maestro Riccardo Chailly keeps up a crackling pace in the Cafe Momus scene. The Mahlers took it all in stride, keeping up the pace and rising to the dynamic peaks. Opera fans who like to listen loud will love these speakers. Allied to this sense of dynamic freedom was a great sense of openness, a kind of see-through quality, with the speakers somehow getting out of the way as apparent sources of sound, leaving only the music behind. The speakers were able to create a soundstage of exceptional width and depth, with a specificity of vocal and instrumental images that rivaled the Dunlavy SC-IV/As. To check the Mahlers accuracy of depth information, I dug out Best of Chesky Jazz and More Audiophile Tests, Volume 2 (Chesky JD68), which has a clicker recorded in a large studio at various distances from the microphone. With most speakers, the audible differentiation of distances holds up to perhaps 50, the clicker sounding much the same at 60, 70, and 80. However, with the Mahlers, the sound of the clicker continued to recede into the distance, to the limit of the recording. In the General Image and Resolution Test (track 47) people are marching around the room, with a plausible illusion of them passing behind the listener. The height of the soundstage was projected to be somewhat above the speakers, which is just how I like it. The term tonal balance is an apt one, in that a speakers tonal quality represents a kind of balancing act, with plenty of opportunities for slipping. It goes without saying that a speaker should not emphasize any part of the frequency range, but consideration of on-axis frequency response is only the first step in designing a speaker that sounds lifelike. There are certainly speakers out there that have a flat on-axis frequency response, but other aspects of their performance (eg, polar-response irregularities, delayed resonances, nonlinear distortions) make them sound artificial, more like mechanical contrivances and less like live music. The skillful designer balances all aspects of speaker performance that have an influence on its sound; arguments about objective accuracy notwithstanding, there is always a degree of subjectivity in making these design choices, as indeed there is in the listeners evaluation of the results. To describe the Mahler as having a musical tonal balance—which is how I would describe it—is not to imply that it deliberately deviates from absolute tonal neutrality, but that the choices the designer made serve the music while adhering to the ideal of high fidelity. Instruments and voices reproduced through the Mahlers sounded much as they do in life, with a minimum of mechanical/electronic artifacts to remind me that I was listening to a reproduction. The midrange balance was just about ideal: neither unduly laid-back nor consistently in my face. The top end was smooth and extended, perhaps departing slightly from absolute neutrality in the direction of sweetness, making it easier to listen to what are otherwise harsh-sounding CDs. The Mahlers also managed the difficult trick of providing high resolution of musical detail without sounding clinical or overly analytical. Natural-sounding reproduction of voices has high priority for me, and this happened to be one of the Mahlers strong suits. A recording Ive been playing a lot lately is A Christmas Survival Guide (Car-Jam 2die4 99032, available from Car-Jam), a collection of Christmas songs—some traditional, some sharply satirical—tied together with a mock self-help narrative. The performers include some of Broadways best, including Christiane Noll, Marin Mazzie, Alice Ripley, and Emily Skinner. Listening to the CD through the Mahlers, I had a strong sense that I was hearing a good facsimile of what these singers sound like live, the distinctive quality of each voice preserved with a minimum of added mechanical resonances. As chronicled in Setup, optimization of the Mahlers bass response in my listening room was a difficult task, and I was able to only reduce, not eliminate, a peak in the 50Hz region. I suspect that the problem was mostly—perhaps entirely—a function of the speaker exciting standing waves that are a room characteristic; John Atkinsons measurements should shed light on the extent to which the peak represents the behavior of the speaker rather than the room. Subjectively, the bass peak was generally not intrusive, and sometimes lent a welcome sense of richness to the sound. But occasionally—with string bass or bass guitar recorded in a spotlit manner—the bass could get thumpy and not ideally tight. My listening room is on the small side; the Mahler would be a better match with a larger room in which the speakers could be placed farther from the side and back walls and still retain a wide soundstage. But even in my non-optimal room, the extension and power of the Mahlers bass was most impressive, reaching the low 20s with the sort of authority that is normally the domain of subwoofers and giant full-range speakers. Conclusion Vienna Acoustics stated goals in designing the Mahler were to produce, in a reasonably compact enclosure, a no-compromise loudspeaker capable of reproducing music on a completely convincing scale, and able to transform the listening room and transport the listener. In my view, they have succeeded admirably in meeting these goals. I have some remaining doubt about the smoothness of the Mahlers bass—a problem that may represent mostly, if not entirely, interaction with my listening rooms acoustics—but in every other respect the performance of the Mahler is state-of-the-art. In addition to having all the characteristics that audiophiles want in a loudspeaker—neutral tonal balance, transparency, expansive soundstage, precise imaging, high dynamic capability—the Mahler has the propensity thats perhaps the most important for long-term satisfaction: the ability to sound musical, and provide a rewarding listening experience with sources that vary widely in quality. The fact that the speaker is sufficiently compact to not dominate the visual environment is a welcome bonus. The Mahler uses components of the highest quality, and its appearance is enhanced by a level of cabinet finish found only on very expensive furniture. Ive been told that the costs of materials and labor are such that the Mahlers retail price represents a smaller-than-usual margin for the manufacturer and distributor, and I dont doubt it. Still, in my book, $10,000 is a lot of money for a pair of speakers—but for those who can afford it, the Mahler represents outstanding performance and value. Description: Three-way, floorstanding, reflex-loaded dynamic loudspeaker. Drive-units: 1.2 silk-dome tweeter, two 7 pulp-cone midranges, two 10 side-mounted honey-comb-cone woofers. Frequency range: 22Hz-25kHz (limits not specified). Sensitivity: 90dB/W/m. Impedance: 6 ohms average. Dimensions: 51.2 H by 8.6 W by 18.3 D. Weight: 150 lbs. Finishes: beech flame. Description and design This is a gorgeous loudspeaker. As audiophiles, devoted to the pursuit of high accuracy and musicality in sound reproduction, we may protest that sound quality is the only thing thats important. But the fact is that speakers are objects in the listening/living room that you have to look at even when theyre silent—appearance can be an important determinant of overall satisfaction. The Mahlers slim, backward-leaning cabinet and impeccable glossy finish on all sides (rosewood in the review samples) are elegant without being overly fussy. For a full-range speaker, the Mahler is of modest size, with a relatively small footprint and a narrow front panel, so its more likely to blend into a rooms d;aecor than to dominate it. According to John Hunter of Sumiko, Vienna Acoustics US importer, the design of the Mahler began with the selection of the Scan-Speak 7 midrange driver, felt by many speaker people to be the best unit of its type. This driver can cover a wide range, and I know of some designs in which its used to cover the bass as well as the midrange. (Scan-Speak calls it a mid/woofer.) However, Vienna Acoustics designer Peter Gansterer feels that using the Scan-Speak midrange to extend all the way down would result in impaired dynamics and transparency, so, after much experimentation (John Hunter says he participated in listening sessions that involved 73 iterative changes!), 70Hz was selected as the lower limit for the midrange drivers. The lower of the two drivers has a crossover that rolls off its response above 200Hz, using a simple 6dB slope, with additional crossover points at 400Hz (12dB/octave) and 800Hz (18dB/octave)—an approach intended to produce a smooth transition to the treble. The other midrange driver is crossed over to the tweeter at 3.6kHz, so that it covers about a 5½-octave range. Each midrange driver is in its own sealed subcabinet. The lower bass is handled by two side-firing 10 Eton woofers, a carbon-fiber honeycomb-cone driver preferred by Peter Gansterer for its high stiffness and speed. Each woofer has its subcabinet, with nonparallel walls, and is vented out the back. The woofers begin crossing over at 50Hz, and are filtered more at 100Hz, and again at 200Hz. The tweeter is a variant of Scan-Speaks D-29 1.2 silk dome, well-known for its smoothness and silkiness. To ensure that the tweeter is not disturbed by vibrations from the cabinet, its mounted with silicone gel injected into the cabinet recess. This effectively floats the tweeter, with no rigid mechanical connection to the cabinet—a clever bit of engineering. The crossover uses parts of the highest quality, including a $70 German MKP Select capacitor, chosen because it sounded best in listening tests. The Mahler uses only a single set of five-way binding posts, Peter Gansterer not being a fan of bi- or triwiring. A toggle switch allows the tweeters response to be attenuated by 0.6dB above 6kHz; another switch selects a bass emphasis of 2dB below 50Hz. The Mahler rests on a plinth that doesnt extend all the way to the front, giving the speaker a floating appearance while maintaining structural stability. Three screw-in metal cones are provided to improve coupling to the floor. These are beautifully made but only 5/8 high, and would not penetrate the heavy carpet and underpadding in my listening room. I ended up using German Acoustic cones, which have longer, pointed spikes. The cabinet itself is heavily braced, with 2.5-thick front and rear panels. The veneers (in addition to rosewood, the Mahler is also available in beech flame, so-called because of a flame-patterned burl within the wood) are matched and hand-selected by Peter Gansterer himself, who assigns precise locations for each panel of veneer. Talk about old-world craftsmanship! Setup Its fairly common for representatives of speaker manufacturers to visit Stereophile reviewers to assist in setting up the speakers being reviewed. Some readers question the appropriateness of this practice (Jim Thiel doesnt drop by to help set up my speakers!), but I think of this practice as equivalent to the normal post-sale service that any customer should receive from an authorized dealer of high-end audio equipment. Furthermore, its only fair that manufacturers/designers should have a chance to ensure that their products are performing as intended. Of course, reviewers must be careful during these visits to provide no clues about what they think of a products performance, but the mandatory training Stereophile reviewers receive at the International Academy of Poker is helpful here. In the Mahlers case, the visitor was John Hunter, well-known for his setup expertise and familiar with my listening room from his visit at the beginning of the Mozarts review period. He was quite confident that hed have speaker setup optimized in about half an hour—an estimate that turned out to be off by several hours. Shaking his head and, from time to time, muttering Difficult room..., Hunter listened, moved the speakers, listened again, tweaked the toe-in, adjusted the vertical angle, removed the array of RoomLenses I normally have in the room, then replaced and repositioned them. Finally, the sound was to his satisfaction. I normally set up speakers so that they form an angle of at least 60 degrees to the listening seat, toed-in to point almost directly at the listener. Johns setup subtended an even wider angle, with the speakers closer to the back and side walls than usual, and the woofers facing the side walls. The result was a huge soundstage with tremendous depth and very powerful bass. The sound was most impressive, but after Hunter had left, I came to feel that the bass was too powerful, tilting the tonal balance. I started to do some setup tweaking of my own, aimed at preserving the soundstage while getting better control over the bass. A bit of informal testing at the listening seat with Stereophiles Test CD 3 and the RadioShack SPL meter revealed a peak of about 9dB in the 50Hz region (footnote 1). I had observed similar peaks with some other speakers in this room, but not to this extent. (The smoothest bass response in my room has been with the Dunlavy SC-IV/A, which is probably a function of its over-and-under woofer configuration.) To tame the bass, I tried all sorts of tricks: stuffing one or both of the rear-facing ports with rolled-up socks (which reduced the bass extension without reducing the peak); placing ASC Tube Traps in the corners (which only reduced the midbass, in the 200Hz range); trying different spikes/cones (no effect); switching left and right speakers so that the woofers faced inward (impairment of bass extension, little effect on the peak); adding three more RoomLenses, two of them behind the listening chair (less room sound from the midrange up, to the point of dulling, but no effect on the bass peak); and, in time-honored fashion, moving the speakers around. My final setup had the speakers farther away from the walls and corners than in Hunters initial setup, with both treble and bass switches in the flat position, two RoomLenses forming a wing outside each speaker, and one near the wall between the speakers. (The Mahler is provided with a removable grille; it stayed removed.) The midrange driver of each speaker was 39 from the back wall and 34 from the side wall (all measurements from the center of the midrange cone), the speakers set up along the 16 side of my 16 by 14 by 7.5 listening room. The included angle was about 70 degrees; the speakers were toed-in so that they were pointing almost (but not quite) at the listening chair. The bass peak was still there, but its amplitude at the listening position was reduced by 2-3dB. Moving the listening chair forward from its usual nearly-against-the-wall position led to a further 2dB reduction of the bass peak, but impaired center focus. I moved it back. Sound The Mahler was at its very best when reproducing large-scale symphonic music, big-band jazz, opera, and musicals. The challenges in reproducing this type of material are formidable: the speaker has to be able to maintain the individual instrumental and vocal threads while allowing the blending that is characteristic of the real sound, and to retain its composure at the high levels that stress the individual speaker components. As the overall level rises, theres a tendency for a speaker to lose sonic details and for the sound to acquire a pushed, strained quality, like a singer whos trying to produce a big sound that is beyond his or her comfortable range. The Mahler was able to play at high levels with ease and smoothness, maintaining the level of detail that was characteristic of lower playback levels. In its ability to play at very high levels without sounding strained, the Mahler surpassed every other speaker Ive had for review. The Dunlavy SC-IV/ADunlavy SC-IV/A, my longtime reference loudspeaker, starts to lose focus and to acquire a bit of an edge at levels at which the Mahler was still sailing along comfortably. The SC-IV/A is an exceedingly fine speaker, and if you do your listening at more moderate levels, the Mahlers higher dynamic ceiling may not be of much importance. Most of my listening is at fairly low levels, but once in a while I like to let er rip (footnote 2). At these times, I was able to listen with the certainty that my ears were going to give up before the speakers would. At more normal levels, the Mahlers exceptional dynamic capability was evident in its communication of musics subtle ebb and flow, and in its ability to track transient peaks. The new La Bohème (London/Decca 466 070-2) seems to have been recorded expressly to test a systems dynamic capabilities: Roberto Alagna and Angela Gheorghiu at full tilt at the end of O Soave Fanciulla make an exciting, powerful sound, and maestro Riccardo Chailly keeps up a crackling pace in the Cafe Momus scene. The Mahlers took it all in stride, keeping up the pace and rising to the dynamic peaks. Opera fans who like to listen loud will love these speakers. Allied to this sense of dynamic freedom was a great sense of openness, a kind of see-through quality, with the speakers somehow getting out of the way as apparent sources of sound, leaving only the music behind. The speakers were able to create a soundstage of exceptional width and depth, with a specificity of vocal and instrumental images that rivaled the Dunlavy SC-IV/As. To check the Mahlers accuracy of depth information, I dug out Best of Chesky Jazz and More Audiophile Tests, Volume 2 (Chesky JD68), which has a clicker recorded in a large studio at various distances from the microphone. With most speakers, the audible differentiation of distances holds up to perhaps 50, the clicker sounding much the same at 60, 70, and 80. However, with the Mahlers, the sound of the clicker continued to recede into the distance, to the limit of the recording. In the General Image and Resolution Test (track 47) people are marching around the room, with a plausible illusion of them passing behind the listener. The height of the soundstage was projected to be somewhat above the speakers, which is just how I like it. The term tonal balance is an apt one, in that a speakers tonal quality represents a kind of balancing act, with plenty of opportunities for slipping. It goes without saying that a speaker should not emphasize any part of the frequency range, but consideration of on-axis frequency response is only the first step in designing a speaker that sounds lifelike. There are certainly speakers out there that have a flat on-axis frequency response, but other aspects of their performance (eg, polar-response irregularities, delayed resonances, nonlinear distortions) make them sound artificial, more like mechanical contrivances and less like live music. The skillful designer balances all aspects of speaker performance that have an influence on its sound; arguments about objective accuracy notwithstanding, there is always a degree of subjectivity in making these design choices, as indeed there is in the listeners evaluation of the results. To describe the Mahler as having a musical tonal balance—which is how I would describe it—is not to imply that it deliberately deviates from absolute tonal neutrality, but that the choices the designer made serve the music while adhering to the ideal of high fidelity. Instruments and voices reproduced through the Mahlers sounded much as they do in life, with a minimum of mechanical/electronic artifacts to remind me that I was listening to a reproduction. The midrange balance was just about ideal: neither unduly laid-back nor consistently in my face. The top end was smooth and extended, perhaps departing slightly from absolute neutrality in the direction of sweetness, making it easier to listen to what are otherwise harsh-sounding CDs. The Mahlers also managed the difficult trick of providing high resolution of musical detail without sounding clinical or overly analytical. Natural-sounding reproduction of voices has high priority for me, and this happened to be one of the Mahlers strong suits. A recording Ive been playing a lot lately is A Christmas Survival Guide (Car-Jam 2die4 99032, available from Car-Jam), a collection of Christmas songs—some traditional, some sharply satirical—tied together with a mock self-help narrative. The performers include some of Broadways best, including Christiane Noll, Marin Mazzie, Alice Ripley, and Emily Skinner. Listening to the CD through the Mahlers, I had a strong sense that I was hearing a good facsimile of what these singers sound like live, the distinctive quality of each voice preserved with a minimum of added mechanical resonances. As chronicled in Setup, optimization of the Mahlers bass response in my listening room was a difficult task, and I was able to only reduce, not eliminate, a peak in the 50Hz region. I suspect that the problem was mostly—perhaps entirely—a function of the speaker exciting standing waves that are a room characteristic; John Atkinsons measurements should shed light on the extent to which the peak represents the behavior of the speaker rather than the room. Subjectively, the bass peak was generally not intrusive, and sometimes lent a welcome sense of richness to the sound. But occasionally—with string bass or bass guitar recorded in a spotlit manner—the bass could get thumpy and not ideally tight. My listening room is on the small side; the Mahler would be a better match with a larger room in which the speakers could be placed farther from the side and back walls and still retain a wide soundstage. But even in my non-optimal room, the extension and power of the Mahlers bass was most impressive, reaching the low 20s with the sort of authority that is normally the domain of subwoofers and giant full-range speakers. Conclusion Vienna Acoustics stated goals in designing the Mahler were to produce, in a reasonably compact enclosure, a no-compromise loudspeaker capable of reproducing music on a completely convincing scale, and able to transform the listening room and transport the listener. In my view, they have succeeded admirably in meeting these goals. I have some remaining doubt about the smoothness of the Mahlers bass—a problem that may represent mostly, if not entirely, interaction with my listening rooms acoustics—but in every other respect the performance of the Mahler is state-of-the-art. In addition to having all the characteristics that audiophiles want in a loudspeaker—neutral tonal balance, transparency, expansive soundstage, precise imaging, high dynamic capability—the Mahler has the propensity thats perhaps the most important for long-term satisfaction: the ability to sound musical, and provide a rewarding listening experience with sources that vary widely in quality. The fact that the speaker is sufficiently compact to not dominate the visual environment is a welcome bonus. The Mahler uses components of the highest quality, and its appearance is enhanced by a level of cabinet finish found only on very expensive furniture. Ive been told that the costs of materials and labor are such that the Mahlers retail price represents a smaller-than-usual margin for the manufacturer and distributor, and I dont doubt it. Still, in my book, $10,000 is a lot of money for a pair of speakers—but for those who can afford it, the Mahler represents outstanding performance and value.  Description: Three-way, floorstanding, reflex-loaded dynamic loudspeaker. Drive-units: 1.2 silk-dome tweeter, two 7 pulp-cone midranges, two 10 side-mounted honey-comb-cone woofers. Frequency range: 22Hz-25kHz (limits not specified). Sensitivity: 90dB/W/m. Impedance: 6 ohms average. Dimensions: 51.2 H by 8.6 W by 18.3 D. Weight: 150 lbs. Finishes: beech flame.   Get images that make Supersized seem small. THE simple solution for eBay sellers.

Vienna Acoustics Beethoven Speakers. Condition is Used. Shipped with USPS Priority Mail.

Factory Reset Good battery Picture is of actual phone. Experience the perfect blend of style and performance with the Vienna Acoustics Haydn Grand Bookshelf Speakers. These wired speakers come in a sleek gloss black finish and are designed to deliver exceptional sound quality. With the ability to connect to a range of devices, these speakers are ideal for any home audio setup. Built by renowned brand, Vienna Acoustics, the Haydn Grand model is a top-of-the-line option for any audiophile. Perfectly suited for smaller rooms, these bookshelf speakers deliver rich, clear sound with impeccable detail. Additionally, the pair comes with stands for added convenience and versatility. Enhance your audio experience with the Vienna Acoustics Haydn Grand Bookshelf Speakers today.

With Vienna Acoustics Webern Stereo Pair, experience a high-quality sound system for your home. These Front Right and Left Speakers are perfect for any home setup. The 2.0 Channel System Configuration ensures a balanced audio output. The rectangular shape and silver color of the speakers add a touch of elegance to your interior. Featuring Banana Jack Audio Inputs and Wired Connectivity, the Webern model is easy to install and connect to any system. The 4 Ohms Impedance ensures optimal performance and sound clarity. This package includes Two Webern Wall Mounts with Grill, making it easier to set up your speakers and enjoy a complete audio experience.