In all fairness, I have not heard the 11s in a properly configured and acoustically treated listening space, one of the key privileges I enjoyed during my trip to visit Greg in Goshen. So, it may very well be the case that in the right space, with the right room treatments, and more familiar sources, the 11s would speak to me in much the same way that its baby brothers did at Casa Weaver. Of course, Damon and Leif could always invite me to California to hear what the 11s can do in a dedicated space so that I can make a truly informed assessment of the two speakers under optimal conditions.
Parting is Such Sweet Sorrow
All of which raises a series of very big questions for me, namely, how does the VSA design team get all those drivers, especially when composed of different materials, to cohere into a sonic whole, and how do they keep those big boxes from vibrating away a good portion of the life, speed, focus, and bloom that allows one to suspend disbelief and imagine that s/he is hearing the real thing? Pulling off this not inconsiderable sleight of hand represents a major accomplishment for the Von Schweikert (as in Albert and Damon)/Swanson (as in Leif) team.
I'll leave it to Greg to discuss the technical aspects of the ULTRA 9 design that make these sonic results possible in his upcoming review of that product, and the VAC integrated amp for that matter. In the here and now, let me say unequivocally that the ULTRA 9 validates, in no uncertain terms, the effectiveness of VSA's Version 2.0 Aktive Cabinet Vibration Control system and triple-wall cabinet construction technology, and Albert von Schweikert's proprietary crossover designs to stunningly realistic effect. It, along with what I consider to be its natural partners in crime, Kevin Hayes and VAC's superb Statement-level electronics, represent the current state of the art in high end musical reproduction, and serve as a bewitching counterargument to the various alternative approaches employed by other manufacturers of top-flight gear.
Kudos, gentlemen!
