from Listener
$3000 Loudspeakers
Five of them, in fact (or ten, if you think in mono) Survey by Steve Lefkowicz (complete article) 

Three thousand dollars? Can that be right? Good old budget-minded Steve playing around with $3000 speakers?! How'd that happen? Should I not limit my purview to only cheaper, affordable audio stuff? Has success and fame gone to my head? 

Nope. Same old Steve. Modest and humble and all that. It's just that last year I had so much fun reviewing those eight small speakers in one article that I just had to ask Artie to let me do it again. All that schlepping, carrying, setting up, and tweaking was just so much fun, the idea of doing it all over with a bunch of big, heavy speakers was irresistible. 

Really. 

Still, you might ask: What is Steve, the budget guy, doing with all these fairly ex- pensive speakers? I'll tell you, it took a bit of soul searching-but in the end I decided that, all things considered, even people outside the general circle of audio hobbyists can at least understand $3000 speakers. They might shake their heads in disbelief over $2000 turntables or CD players (especially since theirs, if they even have one, probably only cost $99 and sounds "just as good"). They'll laugh over tube amps and "old fashioned" two-channel electronics of whatever stripe that cost more than their 5.1-channel home theater receivers. But $3000 speakers? That will generate oohs and ahhs from a whole lot of people. 

This all really started last year as the small-speaker article was winding down. Bruce Kennett kept talking to me about the Reynaud Trentes that he reviewed, and we finally arranged for them to come my way on their way back to former importer Randy Bankert. I was initially very impressed with the Trentes, finding them to be more emotionally connected than anything I had heard before. But their bass response left me wanting. I just couldn't get them to couple to my room, which was a little hard to figure since my room is only slightly bigger than Bruce's. Then I realized that Bruce's ceiling is only about 7 feet high, and mine averages 11.5 feet. That gives me almost a third more volume than Bruce's room. A few quick emails to Reynaud in France led to the suggestion that the Evolution 3 would fit my room better. Randy arranged a set for me pretty quickly. This got me thinking that I'd better call Artie and pitch this Big Speaker Comparo idea. So, with all that in mind, we come here to a group of speakers that fit a particular category somewhat loosely. They are all within a few hundred dollars of three-grand (ranging from $2690 to $3299) and are all floor-standing designs. Basically, any similarity between them ends there. We have big, we have small; we have two-way, three- way, and four-way; we have cones, we have ribbons. Step right up. -  And how did these five particular speakers get to be the lucky ones? Pretty simple answers, actually. You already know how the Reynauds made it. I asked for the Von Schweikert and VMPS speakers because I have known their respective designers, Albert Von Schweikert and Brian Cheney, for many years (not close buddies or anything-I just know them from past audio stuff) and have generally felt that they make pretty nice speakers. The Krix were an easy choice: I was so impressed by their entry in our small-speaker article last year, I just had to hear their more expensive model. The Neat Elites? Rob Doorack uses Neat's smaller Petites and likes them a great deal, and he suggested I try the Elites. Neat importer Mike Pranka agreed and sent me a pair. 

To be honest, I had asked for a few other speakers first, but for various reasons they didn't work out. One manufacturer refused, being downright offended that I would ask to include their speaker in a mere comparison test; they demanded that we run a stand-alone article on their speakers. We declined. Another, whose speaker I was re- ally looking forward to, based on how great they sounded at CES, had to rescind their offer when they switched from direct distribution to a distributor/dealer network: To give their new dealers some "wiggle room," they raised the suggested retail price from $3000 to around $5000. Ouchy-ow. 

The equipment used with these speakers is pretty much the same as I've used in all my articles before: LP playback is via a Linn LP12 (Valhalla, Ittok, Talisman S). CDs are played on a very inexpensive AMC CD8 player. I listen to a lot of radio using a Nikko Gamma Tuner. Preamp (and phono stage) is a PS Audio 4H. Power amps include a B & K ST-140, Antique Sound Lab MG-SI15ST-S integrated amp (used mostly as a basic amp in 15-watt pentode mode with the volume turned all the way up), a pair of ASL AV-8 Wave mono amps (only $99 each), an Audion ETSE 12-watt single- ended EL-34 amp, and a 50-watt 47 Labs Gaincard (with two Power Humpties). All cables are Nordost Solar Wind, unless I'm bi-amping: Then I use Nordost Flatline speaker cables for the bass amp. (I also had to use the Flatlines when I used the Gaincard, as the Gaincard doesn't accept the bananas on my Solar Winds.) Sound Organization stands support the Linn and CD player, and the tube amps sit on 24- inch Sound Org speaker stands. Everything is plugged into a Monster HTS2000 power line conditioner via their factory-supplied power cords. To clear my mind and relax, I would every so often hook up my Sound Dynamics 300ti speakers. (More and more I am convinced these are the best speakers under $1000 1 have ever heard. I've owned these more than four years now, and they always satisfy.) 

With that in mind, what would I be listening for in these fairly expensive speakers? What would I have to hear to make me feel these were worth more than six times the price I paid for my Sound Dynamics? To sum up in one word: more. I came to this very lengthy review simply wanting to hear more than I did through my 300tis. More bass, more detail, more emotional connection, more dynamic expression, more freedom from the constraints of knowing I am listening to electro-mechanically reproduced music. just more music, please. Pretty simple, eh? 

Let me get one thing out of the way right here, before I start talking about the individual speakers: If you're already hopping up and down with anticipation over who the "winners and losers" will be in the review, and you're just itching to check the ratings at the end, let me 

save you some time. All the speakers here are remarkably good. All offer a variety of strengths that generally outweigh their weaknesses. They do all sound different from each other, and as always you'll have to decide for yourself which of these speakers, if any, you feel the need to audition. I do like some of them better than the others, but that is very decidedly a personal taste issue. Some of these do what I want better than others. It's hard to describe personal taste, but, for example, my wife and I both like anchovies on pizza (ooh, and fresh garlic and jalapenos). I'll bet some of you don't. 

In alphabetical order, here they are: 

1. Krix Esoterix: $3299/pair 

Type: 3-way, bass-reflex, rear vented box 
Tweeter: 1.1-inch textile dome
Midrange: 5-inch polypropylene cone
Woofer: 8-inch polypropylene cone
Crossover: 340Hz and 2.2kHz, first- and third-order 
Nominal impedance: 8 Ohms/5 Ohms min. 
Sensitivity: 88dB/2.83 volts at 1 meter 
Stated frequency response: 30-20,00OHz +/- 3dB Termination: tri-wiring 
Dimensions: 37.6 by 10 by 17 inches (HxWxD) 
Weight: 66 pounds 
Cabinet: I-inch MDF, lacquered jarrah wood finish

After the fine showing in our small-speaker review of Krix's little Equinox, I had high hopes for the large flagship model of their line. Right out of the box, the Esoterix impresses with stunningly beautiful cabinetry and finish. These look and feel every penny of their $3299 price tag. 

Based on my experiences with the little Equinox last year, I anticipated wall-shaking bass, massive scale and grandeur, and startling dynamics. After all, the little Equinox did these things really well, so the big brother Esoterix would have to do all these things even bigger and better. Right? Well if the little brother was a high school football star, then the big brother went to prep school, graduated from Harvard, and is now a very successful doctor. If the Equinox produced a sound that surprised with its boldness and scale, the Esoterix makes do with refinement. 

The Esoterix, without ever stepping out of line, allows you to bathe in a sea of musical subtlety. They are 
speakers to listen to with the lights out, a few logs in the fire- place, and fine vintage cabernet. Sure, all the bass notes are there, clearly, cleanly, and ever so tunefully played (at least down to the low 30s), but they'll not muss up your hair or make you sweat. When Julie Lon- don tempts you with "Come on-a My House" you'll think it's for dinner and conversation but certainly nothing else (wink wink, nudge nudge). 

I was able to add a little excitement to the music by bi-amping (B & K on the bottom, either of the tube amps for mids/highs) or by running the Gaincard full range. But still, the nature of the Esoterix lies elsewhere. What the Esoterix do well, and in many ways exceptionally well, is present a musically coherent view of an LP or CD. All the details, all the notes, all the tunes are laid out before you in a luxurious, warm, and very comforting fashion. 

I think these speakers are a little better suited to classical and jazz than to rock. Playing something like The Who's Live at Leeds or Fear's The Record shows that the Esoterix slightly lack the overall dynamic punch that music like this needs. This seemed a little strange to me since they could produce the scale and power of an orchestra pretty nicely. Schoenberg's Verklarte Nacht JBerlin Phil., von Karajan, DG 2530 627), for example, was beautifully rendered. 

If you listen to jazz, folk, or other musical forms that are principally acoustic, especially if they include vocals, then these speakers can really warm your heart. I know I keep mentioning Katherine Whalen's jazz Squad in all my recent reviews, but that's because I just love this CD. Her voice (and the whole backing band) was downright beautiful through the Esoterix. Not terribly exciting, mind you, but beautiful, the way this music should come across. 

A few points regarding their "sound" need to be mentioned. The Esoterix do an extremely good job with imaging and sound staging. They are remarkably free from any boxiness and are very transparent. 

They are also a little picky about the amps to which they are mated. Neither tube amp on its own could really drive these satisfactorily. The bass characteristics especially varied from amp to amp, with the Gaincard full range giving the best results. These may just need more amp than I have to give their best results. 

All told, this is a very beautiful and generally musically satisfying speaker. It's not the bargain that Krix's little Equinox is, but it's still a worthy con- tender in this price range. 

2. Neat Elite: $2695/pair 

Type: 2-way, bass-reflex, rear and downward, staggered vented-box 
Tweeter: Emit ribbon 
Mid/Woofer: 6.5-inch treated paper cone Crossover: N/A Nominal impedance: 8 ohms 
Sensitivity: 89dB/2.83 volts at 1 meter 
Frequency response: N/A 
Termination: bi-wiring 
Dimensions: 34 by 8 by 7 inches (HxWxD) 
Weight: 31 pounds 
Cabinet: 0.59-inch NMF, cherry veneer finish 

At first glance you wonder what the Elites are doing hanging with this crowd. These little bitty towers only weigh about 31 pounds each, and most of that seems to be in the plinth to which they're fastened. They use the same drivers as the small stand-mounted Neat Petite [Vol.4, No.2] but in a dual-ported cabinet that's 32 inches tall. 

Each enclosure is screwed to a heavy plinth with 3/4-inch spacers to give a fixed distance for the downward firing port. (The other port aims out the back.) The 1-inch-thick plinth rests on four very sharply spiked feet. (I'm sure they use metric measurements for all this, but hey, this is America.) 

Right after I hooked up the Neats, but before I played any music through them, my doorbell rang. "Who is it?" I asked. The reply came through the door: "It's your pre- conceived notions of how little floor-standing speakers with big ambitions are likely to disappoint you." And they got me. There I sat, having not played a single note through the Elites, already expecting to dislike them. But I figured I might as well set them up and see what happens.

Compared to some of the other speakers in this group, the Elites are very easy to install. Set them on the floor about 4 inches from the wall, aim them straight at you, and listen. Maybe back off the toe-in a little if things sound too aggressive, and then listen some more. Move them in and out a little to tune the bass. All done. 

Preconceived notions are hard to shake, and I listened to these speakers for quite a while before I would admit to myself that I really liked what they were doing. In spite of their small size, they can do many things well enough to satisfy and they're exceptional in many regards. But it did take a bit to get the best out of them, and here's their story. I first tried my trusty B & K amp. This amp has served me well for several years and always sounded petty darn nice with every other speaker I used. But with the Elites, things sounded kind of thin and not very involving. The ASL MG-SI15DT-S sounded more involving, but it couldn't really delineate a bass line (something it normally does quite well) and also lacked any sense of dynamic punch. I was able to use a Naim Nait 5 for a while, and then I started to hear these speakers crank out some good tunes. This was, in fact, a dynamite combination, but still I began to think these speakers were capable of even more. Then the 47 Labs Gaincard arrived (50-watt version with two Power Humpties). 

Now the Elites were able to really strut their stuff. The Gaincard totally trans- formed the sound of this system to levels I hadn't anticipated. Did the small towers limit dynamics? Hardly. Music had a great sense of dynamic power and punch. in fact, these were great speakers for rock and big symphonic music. It wasn't just dynamic capabilities, but scale and grandeur as 
well. The Elites can fill a good-sized room with tremendous energy, and do so even when things get really loud. Yes, even in the bass. 

These are not romantic, warm, or kind speakers. Given a bad recording or inadequate amplification, they can sound rather relentless and harsh. But given any halfway decent recording and a respectable amp (they do seem to prefer solid-state, but maybe a more powerful push-pull tube amp would work), they sing with musical truth. The Elites are fun, exciting, and full of energy in a way that real music is. 

The Elites are what I tend to think of as "detail demons." This is not meant as a bad thing, but rather to indicate that you will hear things through them that might get glossed over or lost on other speakers. In many cases this is musically significant, as you hear subtle little details and gain appreciation for intricate interplay between instruments that otherwise might he missed. 

Warning time: If audiophile qualities like imaging and soundstaging are high on your priority list, look elsewhere. These speakers seem to have been designed with little regard to the "sound effects" side of things. It wasn't as bad as I expected based on a conversation with importer Mike Pranka before receiving the speakers, but things like imaging simply aren't a priority with the folks at Neat. 

But playing music is, and that's what the Elites do best. Regardless of style or type or choice of instruments, whether they're acoustic or amplified, the Elites play them all with honesty, integrity, and faithfulness.

3. Reynaud Evolution 3: $3295/pair 

Type: 2-way triangular transmission line 
Tweeter: 1.1-inch polyamide dome 
Mid/Woofer: 6.7-inch aerogel cone 
Crossover: I I OOHz and 390OHz, 6 and l2dB 
Nominal impedance: 4 Ohms/3.6 Ohms mm. 
Sensitivity: 88dB/2.83 volts at 1 meter 
Frequency response: 35-20,00OHz +/- 2dB 
Termination: bi-wiring 
Dimensions: 42 by 8.5 by 11.8 inches (HxWxD) 
Weight: 66 pounds 
Cabinet: 0.75-inch solid beech battenboard, natural wood finish

What can I say about the Evolution 3 speakers that we haven't already said about other Reynaud models over the past year or so? Go back and read the reviews of the Twin (Vol.6, No.41 and the Trente [Vol.6, No.31], then imagine adding greater bass power, more startling dynamics, and a more solid, room-filling sound. These are the speakers for people who like the Trente but whose room is too big for that speaker. The Evolution 3 uses the same drivers and cross- over as the Trente, but in a much larger cabinet. And what a cabinet! The Evo 3 uses the same butcher-block construction as the much more expensive Offrande. This both looks absolutely beautiful and seems to control resonance and vibration as well as anything else I have seen or heard. 

What we end up with is a speaker of absolutely stunning capability. Detail, tonal balance, and dynamics are all superb. it still startles me when I hear the bass capabilities of this speaker. After all, it is still just a 6.7-inch driver producing all that bass, but these things go low (measured into the low 30s in my room) and go there with power and precision. Even on purely electronic bass, like Propellerheads'

"History Repeating," there is tremendous, satisfying power in the low notes. Give them a well-recorded acoustic bass, like on David Johansen and the Harry Smiths or maybe some old Tom Waits (Foreign Affairs), and they'll show you it's not just bass, but actual music in those low notes.

The Evolution 3 is one of those speakers that go beyond breaking the sound down into individual parts. It sounds like a cliché but these are best described in terms of their overall ability to play music. There is a top-to-bottom coherence with these speakers that one usually expects from full-range electrostatics. Whatever characteristics they have are so consistent from top to bottom that they become irrelevant. I have only heard this from a few speakers over the years, including such designs as Quad, Stax, and a few Acoustat electrostatics.

Then there is that Reynaud sense of emotional connection. Bruce wrote about it in his Trente review, and we both described it in the Twin review. And it is here in spades with the Evo 3. 1 still don't have an explanation for it, but these speakers touch your heart and soul. I must have listened to the McGarrigle Sisters' "Mendocino" a hundred times through the Reynauds, and it left me both elated and drained emotionally every time.

These are also extremely easy speakers to drive. Most of the time I listened using the little 15-watt Antique Sound Labs amp or the 12-watt Audion amps. Both amps were able to fill my room with dynamic, powerful, and luscious music. But then, the Gaincard was a revelation with its ability to render details previously unheard while extending and tightening up the bass. But any of these amps (even my B & K) seemed to have no problem driving the Evo 3s, in spite of their nominal 4-Ohm load and 88-decibel sensitivity.

Do I like these speakers? You betcha. Will you like them? I don't know, but I think you'd have to have ice water in your veins not to be moved by them. 

4. VMPS RM 2 neo: $2690/pair

Type: 3-way, slot-loaded, passive radiator-box 
Tweeter: dual spiral ribbons
Midrange: dual 7-inch neodymium ribbons
Woofer: 12-inch woven carbon fiber cone, 12-inch passive radiator, variable damping
Crossover: 167Hz and 6kHz, 6 and 12dB
Nominal impedance: 4 Ohms/3.2 Ohms mm. 
Sensitivity: 92dB/2.83 volts at I meter
Frequency response: 22-30,00OHz +/- 3dB 
Termination: single wiring or bi-amp, switchable
Dimensions: 45 by 15 by 16 inches (HxWxD)
Weight: 130 pounds
Cabinet: I -inch MDF with I -inch oak outer shell

I have a feeling the VMPS RM 2 neo will be the "controversial" speaker in this group. There are already people, vocal as it were, on various Internet discussion groups who like to bag on VMPS and Brian Cheney. I think "colored boom boxes" is the term they use. These people are basically wrong though I can understand how they might have come to that opinion. I'll explain in a bit.

First of all, these speakers are very different from all the others in this group in several ways. They are very large and heavy (130 pounds each). They use ribbon midrange drivers for most of their output (167Hz to 6kHz I, coupled to a pair of small ribbon tweeters (that look very much like, but not identical to, the tweeters in the Neat Elites). There is a front-facing, 12-inch woofer and a slot-loaded, down-firing, 12inch passive radiator. My review pair had the $140 Megawoofer option, which is a very high quality carbon-fiber driver. My pair also came with the $150 Soundcoat optionan internal borosilicate coating that reduces resonance and further damps the cabinet. I don't know how much these improve the sound over the base ($2400) RM2, but even with these options, the RM2 is still the lowest-priced speaker in the group. (I did not get the $80 Satin Black finish option, which looks really nice in the brochure.)

The biggest difference, and the one that makes all the difference, is the "tuning" and setup necessary to make speakers work properly. It doesn't sound like much-adjustable woofer damping and separate level pots for the midrange ribbon and the tweeters-but in the end, the only way to get optimum performance from these speakers is to be patient and willing to spend hours, maybe even days, tweaking the setup until it sounds just right. Brian Cheney flew to sunny Southern California to show me how the setup process works, and it took us about four hours to get the system singing happily. Having re-tuned them several times since, I'm confident that careful and patient listeners can do this themselves, but I'm also pretty sure it will take most non-Brian Cheney people a lot longer.

Also, these were the only speakers in this review that I feel really need to be bi-amped. I used my B & K amp to drive the woofers and mostly the Antique Sound Labs or Audion amps to drive the 

ribbons and tweeters. I briefly tried the Antique Sound Labs new little AV-8 10-watt mono amps, but they weren't a good match. The ribbons are simply too demanding and revealing. Remember, every amp change requires testing the bass damping (if you swap the bass amp) or the mid and tweeter pots (to integrate the bass properly with the new midrange amp).

Before I get into describing how music sounds through these speakers, let me tell a little story. I had been swapping speakers in and out for almost six months while working on this article. Although my wife enjoys the system and listens to music and all that, she rarely talks about any of this stuff. Usually if she's working around the house the TV, rather than the stereo, will be on. I asked her to take five minutes to listen to the RM2 speakers. She played "Ese Momento" from Luis Miguels' CD Amarte es un Placer, which is usually her first pick for getting to know something new in the system. As soon as that ended, it was Ricky Martin's Sound Loaded-then more Ricky Martin, then Groupo Mania, then the Gypsy Kings, then a little bit of Lou Bega, then more Ricky Martin. And we're talking complete CDs for the most part, not just one or two songs. All day with the TV off! And at pretty respectable volume, too. No audio talk, just listening to music.

"We should have a party before these have to go back," she finally tells me.

That more than anything else I'll say here describes the VMPS RM2 neo. But in case you want more, here goes.

In music and audio terms? These are the most extended, full-range speakers I have ever had in my home in over 20 years of playing this game. I have to start with bass response, because that's largely what makes these speakers so special on first listen. Using Stereophile's Test CD2 and an SPL meter, I was actually up 2dB at 25Hz, and only down 4dB at 20Hz! But far more important was the weight and impact these speakers imparted on bass lines. Without any "boominess" or obfuscation of bass lines, these speakers simply handled all the low notes with a clarity, tunefulness, and ease I have not heard from other speakers. This isn't "subwoofer bass," as the bass integrates into the music as coherently and seamlessly as I could hope for-and in a way I haven't heard from systems using separate add-on subs.

But you have to work really hard to get this bass response. Adjusting bass damping consists of getting on your knees and reaching into the slot at the bottom of the cabinet to remove itty little bits of putty to reduce the damping until it sounds right. Of course, you have to overshoot and take too much out to realize when you've reached that magic damping mass-and then you reach in and put a little bit back. We're talking scraping just a pinch with your fingernail here, a tenth of a gram or less, to really fine-tune it. Make any changes in your system (positioning or bass amp), and you have to do it again. Seriously.

This is a lot of work, but well worth it in the end. Otherwise these speakers can turn into "highly colored boom boxes."

Of course, once you're done with all that, you have to adjust the midrange and tweeter levels again. Figure another bit of time to do it right. And if you change anything in the system-yap, you know what's coming.

In spite of the emphasis put on generating really top-drawer bass, I think the heart of these speakers really lies with the ribbon midrange drivers. Though only 7 inches tall (each), the pair of ribbons (per speaker) operates from 167Hz all the way to 6000Hz. They are efficient enough that with the 15 watts of the ASL amp, my ears will give out long before the speakers or the amp, but even when played louder than I would normally listen, there is no compression or restriction of the dynamic contrasts in the music. Even then, when something goes "pop" it is a big-ass pop! And if it's all the subtle dynamic shadings that add so much to the emotional impact of music you're concerned about, these get that right, too. All told, from a standpoint of reproducing the dynamics of music (all types), these are simply the best speakers I have auditioned at home, and among the best I have heard anywhere else.

In fact, over the whole range covered by the ribbons, these speakers are as open, transparent, uncolored, detailed, and dynamic as anything I have heard. The coherency of using a single driver over such a wide range is evidence of the RM2's ability to sound "right" regardless of the type of music being played. I even dug out my 10 inch RCA LP release of the Hollywood String Quartet's premier recording of Schoenberg's Verklarte Nacht from 1950; in spite of 50 years of abuse, it sounded wonderful over the VMPSs. I was able to listen around all the snaps, crackles, and pops and really enjoy the piece. (I listened to several other recordings of Verklarte Nacht, both string sextet and fall orchestral versions. Pelleas and Melisande, too. just on an early-Schoenberg kick, I guess.)

I've given these speakers an unfair bit of extra copy here, but I think they deserve it. In spite of all their qualities and complexities, they are both tremendously good speakers and a tremendous value.

5. Von Schweikert VR-3.5: $2995/pair

Type: 4-way, triple-chambered transmission line
Tweeter: 1-inch silk dome and 1-inch fabric dome, rear-firing ambience dome Midrange: 4-inch aerogel cone
Woofer: two 5.5-inch aluminum cones
Crossover: 40OHz and 3kHz, fourth-order 
Nominal impedance: 6 Ohms/4 Ohms min. 
Sensitivity: 89dB/2.83 volts at I meter
Frequency response: 35-20,000Hz +/- 1.5dB 
Termination: bi-wiring
Dimensions: 42 by 7 by 14 inches (HxWxD)
Weight: 78 pounds
Cabinet: 1 -inch MDF with 2-inch front baffle, cloth wrap finish with solid cherry end caps

The Von Schweikert VR-3.5 is the lowest priced full-range speaker in Von Schweikert's new lineup. A brief history: After years of proving that he really knew how to design good speakers-mostly for other companies-Albert Von Schweikert opened up shop in Watertown, New York, and achieved great success with his VR line of speakers. He managed the difficult task of appealing to both traditional audiophiles and music lovers alike. Then in all of one day, nature took its course and flooded the Von Schweikert factory. (What, you expect a drought in Watertown?) The insurance company called it a natural disaster or act of God or something, so they didn't cover the losses. This put Albert out of business.

A move to San Diego (trading floods for earthquakes) and faith in his abilities led to new investors and a reopening with a new product line. (A man of principal, Von Schweikert's new company is apparently covering all outstanding warranties on previous Von Schweikert speakers.) The VR3.5 is the entry-level model of this new line.

A tall, very slender cabinet fully enclosed in black cloth except for wooden top and bottom caps, the VR-3.5 offers an elegant and simple alternative to the more imposing-looking speakers in the group. In spite of their size (and weight), they are remarkably non-intrusive (physically) speakers. They are also fully shielded for use in home theater systems.

In fact, the VR-3.5 is primarily designed as a home theater speaker, but Albert believes they can find a happy home in two-channel music systems, too. If your 

view of music reproduction coincides with his, then this might very well be the speaker of choice. Von Schweikert has a more traditional "high-end" view of stereo sound than what Listener usually goes for. Reading his literature, talking to Albert, or, most important, listening to his speakers, you realize that the main emphasis here is on the big three of high-end: imaging/sounds t aging, neutrality, and transparency. The VR-3.5 does these things remarkably well.

The VR-3.5s set up a huge, incredibly detailed soundstage, with remarkable palpability to individual instruments and vocalists. Quite honestly, none of the components in my system are really designed or optimized with "imaging" in mind, so hearing this level of image creation was quite remarkable. I can only imagine how good it could get within a system otherwise geared toward that end.

The same goes for the "transparency" thing. The way these speakers simply disappear and get out of the way is top notch. If I were to try to demonstrate the characteristic of transparency to someone, I would do well to use these speakers for the "done right" part of the demo.

Neutrality? Well, I usually don't go there, and I'm not here to re-ignite the whole "What is neutrality?" debate. But I will say that the way these speakers clearly showed up the tonal differences in all the other equipment upstream in my system led me to conclude: These may be as close to neutral as most listeners are likely to get.

But unlike many other "high-end" speakers I've heard, these do not succeed in these "audiophile" areas at the expense of being able to play music. The VR-3.5 played tunes with great precision. There was a wonderful sense of pace and rhythm that made all types of music very enjoyable-especially on things like Johnny Cash's Solitary Man CD. The combination of great musical characteristics along with the superb imaging and transparency made a song like the title track one great bit of listening.

I do have a few concerns with the VR3.5s. Their bass response, though quite extended, doesn't move a lot of air or sound too powerful or physical. The bass is "tight" in an audiophile sense. This may be due to the use of two small (5-inch) bass drivers, or it might be intentionally designed in as part of their home theater heritage. Although I didn't try any subwoofers with them, I get the sense that it would be very easy to match these up to a good sub to get that bass oomph back. I did bi-amp them and tried to balance the bass more to my liking that way, but that still didn't make them sound any more powerful.

I think these might also appeal to people thinking of small stand-mounted monitors, thinking that's the way to go to get great imaging. Here you get all the benefits of small monitors without worrying about the stands.

All told, Von Schweikert has once again shown he can tread the line with a speaker design that can satisfy both the hard-core audiophile and those of us more interested in listening to music than sound effects.

There you have it. Months of listening, moving, changing, setting up, and doing it all over and over again. And for what? Are any of these speakers really worth $3000? I think so. I've tried to listen to as many lower-priced speakers during this time, and I think, though some come very close, it takes about $3000 to get this level of performance. I've also heard quite a few systems using much more expensive speakers that I wouldn't want to spend any more time with, so don't think that the price/ performance thing is all that clear.

Do I have preferences amongst this group? Would I spend my money on any of these?

If I were going to spend this kind of money on one of these right now, I'd probably buy the VMPS RM2 neo. Their stunning dynamics and incredible bass response alone are enough to make me want them. They are at or near the top of this group in virtually every category of music and sound reproduction, and haven't a single glaring weak point. So why might I not go for these? If I were on your side of the page (reading instead of writing) I would be more tempted. But to get their best you really need to be patient and persistent with their setup (and bi-amp them). As a reviewer, I simply move things around in my system too often. And, weighing 130 pounds apiece, just thinking about moving them around one more time makes my backache. If I pass on these, it's purely for my own convenience as a reviewer. Otherwise, I think they are great speakers and represent unbelievable value.

The Reynaud Evolution 3 would be next on my list. They were not necessarily the "best" at everything here, but their combination of pace, flow, and emotional connection combine with their deep powerful bass and stunning dynamics to win me over. That they are the easiest speakers in this group to drive means a lot to me, too. Although the differences in the many amps I used were clearly evident, they were all able to drive the Evolutions to the best of their own abilities. Add in a beautiful harmonic richness, excellent imaging, and a high degree of transparency, and you get a speaker that can completely satisfy all my criteria. They also don't impose much on my living room and are light enough that I can carry them (bad back and all).

The big surprise to me in this review is, the little Neat Elite. In spite of being the most demanding of the bunch with regards to amplification, once mated up to an appropriate amp they sing with the voice of honesty and authority. The give a superb, crystal clear view of everything that is happening in the music-and they're great fun, too.

As I pointed out in the review, the Von Schweikert VR-3.5 sets the standard in this group for soundstage reproduction, transparency, and neutrality. Those aren't the things that are on the top of my personal list, but if they are more important to you, then these move to the top of the heap. Their lack of bass weight and impact (but not depth) left me wanting more, but again, these would be the easiest of the bunch to mate up with a subwoofer. Also, in spite of their size, they are the least imposing on the room.

The Krix sound big and beautiful, and some of my guests over the past few months felt these were their favorites of the whole group. I can understand that, and think that if there is a Krix dealer in your area, they deserve a serious listen. For me, well, I'll hold out for the anchovies and jalapenos.

There you have it: Five pairs of speakers, $14,974 worth of drivers, cabinets, and crossovers. I know quite a few people who seem to think that that would be an understandable price for one set of speakers rather than for a whole collection like I have here. Not me. From where I'm sitting and listening right now, you'd have a hard time convincing me that musical satisfaction should cost any more than around $3000.

Krix Esoterix - $3299
Quality: ****
Value: $$

Neat Elite - $2695
Quality: **** + 1/2
Value: $$$

Reynaud Evolution 3 - $3295
Quality: **** + 1/2
Value: $$ + 3/4

VMPS RM 2 neo - $2690
Quality: **** + 3/4
Value: $$$+

Von Schweikert VR-3.5 - $2995
Quality: **** + 1/4
Value: $$ + 1/2