Von Schweikert VR.Thirty

The VR.thirty is the latest addition to the VR series of full-range loudspeakers and is the fullest expression of our price-to-performance paradigm. Affectionately referred to as the “Mini Seven,” after our ULTRA.seven model it resembles, the VR.thirty is our second design utilizing three ultra-fast ceramic honeycomb woofers; it also features a low-mass, high-definition ceramic midrange driver, our signature beryllium dome tweeter, and a rear-mounted ambient retrieval ribbon driver.

Hand-built point-to-point crossovers wired throughout with MasterBuilt Reference cabling, the VR.thirty is available in either a passive or Foundation Hybrid Bass Management System. Powerful, deep, and nuanced bass, see through to the midrange, and detailed, extended high-frequency response are the VR.thirty’s hallmarks that every discerning music lover will find compelling.

Like all VSA loudspeakers, the VR.thirty has no discernible sweet spot and can be enjoyed anywhere in the room.

Foundation Hybrid Bass System

In the Von Schweikert way, the optional 800-watt Foundation amplifier powers the woofers. Unlike other active DSP designs, the full range of the signal passes entirely through the analog crossover network. This allows the tonal characteristics of the customer's preferred power amplifier without compromise yet offers the increased dynamics and precise adjustment of your in-room bass response. 

Triple-wall Quiet Cabinet

Developed in 1994 by Albert Von Schweikert in association with lab partners from Cal Tech, Von Schweikert cabinets are fabricated using a proprietary triple-wall laminate construction technique. Despite inventive efforts by other makers using aluminum and sheet extruded composites, this triple-wall method remains the gold standard of non-resonant enclosure design.

Rear Soundfield Creation

Albert Von Schweikert's earliest research led to the development of an adjustable ambiance retrieval system radiating from the speaker's rear to recreate a natural soundfield of space & depth using a concert hall recording method known as the spaced omni method. This system replicates the effect when microphones used for recording encode the musical signal with overlaying pickup response patterns.