• Liszt

    "Music is the heart of life."

    Franz Liszt

    Perhaps the most technically advanced pianist of his era, Franz Liszt was noted for astounding improvisations and innovating new forms of music.
    Like its namesake, the Imperial Series LISZT is a marvel of technical command ­– the latest improvisation upon a revolutionary Vienna Acoustics design that sets a new standard in sound.

    The Music Company

    Vienna Acoustics products are inspired by people and place.
    We have always been motivated by the dramatic difference a great speaker can deliver; and when building a product by hand, as we do, it is always the people and their teamwork that determine that difference.
    Our people – our team – share a passion for music that derives from the ambience of our home, the “City of Music,” with its renowned classical and contemporary music venues. Music is the culture of Vienna, permeating every aspect of life, and musicians from around the world flock to the city to play in its celebrated, acoustically magnificent concert halls. Vienna Acoustics speakers reflect this heritage: like the great Großer Musikvereinssaal, they enable any style of music to be fully realized. The sound is rich, authentic, detailed, and unfailingly musical.

    The Liszt Speaker

    The pinnacle of Vienna Acoustics’ Imperial Series, the LISZT is an ingenious three-way loudspeaker system using an all-new version of the patented Flat-Spider-Cone™ coincident driver technology first seen in our flagship Klimt Series™. This driver is set in a separate rotating, vented enclosure, supported by a sophisticated bass cabinet featuring three of our patented Spider-Cone woofers.

    The Music Center

    The heart of the LISZT design is the new 15cm Flat-Spider-Cone coincident driver; the result of an intensive development project conducted over the course of many years to further advance our patented system. This second-to-none driver assembly, which perfectly marries an astonishing new midrange with an equally remarkable tweeter, was solely developed by Vienna Acoustics and is skillfully manufactured by ScanSpeak.
    The midrange portion of the system employs a flat driver using our proprietary self-damping X3P polymer material strengthened by the introduction of glass fibers, which further gains structural rigidity from its twelve large 16mm reinforcement “Spider” ribs. The result of this patented technology is not only unparalleled stiffness with true pistonic behavior, but also exceptionally low mass, resulting in ultra-fast transient response and resolution. Precisely and effortlessly controlling this driver is a huge, high-force neodymium magnet assembly, built around a massive 50mm voice coil.
    Installed in a perfectly time-aligned position at the center of the midrange driver is our new Vienna Acoustics–designed, hand-coated silk dome tweeter, driven by a neodymium magnet motor assembly. With over two years of development, this new tweeter ranks as one of our best drivers to date.
    The cabinet designed to house this unique driver system makes the most of its remarkable technology. The Flat-Spider-Cone driver is housed in a separate top unit that is decoupled from the bass enclosure by a high-tech, aluminum pivoting mechanism, facilitating optimal tuning by permitting minute toe-in adjustments of the Music Center.
    While this basic configuration is similar to that found in the Klimt Series of speakers, unique to LISZT is the porting of the midrange cabinet. This newly VA researched suspension system allows for unsuppressed dynamic delivery and resolution.

    The Bass Array

    While the Music Center handles high and middle frequencies, three 7 inch Spider Cone bass drivers, with cones composed of our proprietary ribbed X3P polymer material, perform in a separate and elaborately devised enclosure. 
    The bass cabinet housing the drivers utilizes seven braces that divide the cabinet into two different chambers, one with a single woofer and the other with two woofers, each vented and uniquely tuned. The two lower units produce the lowest bass, working in parallel, while the single driver provides ideal transition to the midrange driver.
    This configuration results in tremendous bass extension with speed and liquidity.

    The Fit and Finish

    As with all Vienna Acoustics speaker systems, LISZT is meticulously handcrafted to the highest standards of quality in Vienna, Austria, with each finished speaker matching the reference within 0.3 dB, to ensure the most effortless and natural performance from every speaker that leaves our factory.
    Available in true Piano Black and Piano White, as well as in sustainably sourced Cherry and Premium Rosewood veneer finishes.

  • Impedance 4 Ohms
    Frequency response 28 Hz – 25 kHz
    Sensitivity  91 dB
    Recommended Amplifier  50 – 400 Watts
    Tweeter  1.2in / 30mm Handcrafted, Hand-Coated Neodymium Center-Vented Silk Dome
    Midrange  (1) 6in / 152.4mm Flat-Spider-Cone™, High-Power Neodymium Motor 
    Woofers  (3) 7in / 177.8mm X3P Spider-Cone™
    Bass System  Bass Reflex
    Crossover System  Three-Way. 6dB and 12dB Bessel
    Crossover Components  MKP Capacitor, 1% Tolerance; Air Coils, 0.7% Tolerance
    Metal Film Resistors  Tolerance, Inductance Free
    Weight per Pair  198 lbs / 88 kg
    Dimensions (W x H x D) inches 7.8” x 45.2” 17.2” without base assembly / mm 198 mm x 1148 mm x 435 mm
    inches 11.6” x 47.6” 17.2” with base assembly / mm 295 mm x 1210 mm x 435 mm
    Finishes Cherry, Premium Rosewood, Piano Black, and Piano White

  • LISZT Technical Sound Background

    by Peter Gansterer

    What is the Nominal impedance and its low?

    LISZT is a 4 ohm speaker with a minimum of 3.1 ohms at around 100 Hz.

    What are the crossover points?

    bass-mid: about 280 hz. a little higher than usual, soundtested
    several points from 100up
    mid-tweeter: about 2700 hz

    What are the crossover types?

    bass: 12 dB
    midrange: high-pass: 12 dB bessel, very soft, supported by bassreflex 2 octaves below crossover therefore non-recognizable increase of falloff
    low-pass: 9dB modified first order
    tweeter: 9dB modified first order plus natural falloff (tweeter housing)
    - again 2 octaves - below crossover point

    Why porting the midrange?

    The initial idea came up when I was testing coaxes with different suspension stiffness'. 
    When listening and then evaluating I thought how even the hardest suspension pales against the air resistance of the closed and usually small midrange enclosure. Try how hard you must push on a midrange-airtight Mahler or other midranges; same when the driver has to expand the air when pushing out. But when you open it, it's no resistance other than the driver's suspension. 
    So I was testing the sound consequences in comparison, with the majority of tracks it was clearly better (with others no difference, but no harm). more speed, and resolution improvements. I think some of electrostatics' sound (the positive sides) comes from non-enclosure, their moving mass itself, often cited for their effect, isn't that low.
    The other reason is that in loudness real-testing with music the midrange cracks about 2 dB later (meaning it has 2dB higher max. loudness). I always look for that, it increases ease.

    Is the bass configuration like The Music with all three drivers wired parallel with cabinet tuning altering performance or are there components too?

    All 3 drivers are working in parallel.
    The bass cabinet is split into 2 sections against standing waves (plus thedivider angled) and for rigidity.
    New method (positioning) of bracing the cabinet multifold via finite elements method. the bass cabinet has now 7 bracings, the musiccenter 2.
    A technical insight regarding cone behaviour, a method of judging any cone's break-up. our cone is behaving like a true piston: there is a law which states fmax=c/d   (d=diameter of cone); 
    I realized with superstiff cones that this is something where you can get a general clue: drivers which go higher or even only near to fmax are producing their upper midrange by breaking up (and thereby weak to zero control), partial parts of the cone producing higher frequencies, plus resonances. therefore we know, a cone must not go higher than fmax, otherwise ther reason is it's breaking.
    LISZT's midrange: 0.1 m, theoretical max = 3400 hz. our midrange reaches 2750 then simply stops; this shows it is extremely rigid by coming close to 3400, and at the same time showing inner damping by not completely reaching 3400. this the optimum musicality tradeoff, by generous inner damping via the polyprop/tpx/glassfibre-mixture, but ultra-stiffness via the rips-framework.

We use cookies on our website. Some of them are essential for the operation of the site, while others help us to improve this site and the user experience (tracking cookies). You can decide for yourself whether you want to allow cookies or not. Please note that if you reject them, you may not be able to use all the functionalities of the site.