The WVL field coil supplies use in-house, state of the art constant current sources. The range depends on the specific driver, but typically varies between 1 and 3 amps.
Wolf von Langa (WVL) Chicago Speakers - Dream Speakers
- Thread starter Moladiego
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WVL Chicago: Further Updates!
As I continue to seek the "ceiling" or apex of performance from the WVL Chicago's in my room I continue to simply find new heights of sound-staging, imaging, dynamics and the ephemeral "You are there" that is at the heart of what I most fundamentally seek in music reproduction.
All efforts feature the Scheu Das Laufwerk II, True Glider Arm, Hana Umami cart, VIVA Little Fono, and Cinnamon Galle DAC with Transparent Reference IC's and speaker wires seeing primary duty.
BACCH4Mac is also utilized, including the amazing ORC software suite.
First Effort: ARC LS 28SE preamp and VTL Deluxe 120 monos: Wall to wall laterally and NO WALL front to back. REMARKABLE depth. Tonally on the warm side, but oh-so-beautiful. Schubert's Winterreise leaves me in tears, literally.
Second Effort: ARC LS28SE/VTL Deluxe 140's (mids and tweets)/PS Audio Stellar M1200 (bottom): Very similar to the first set up, but FASTER. Required adjustments of the field coil energy to better control the top and "release" the bass (high damping factor of the M1200's?) Ultimately I felt there was a lack of complete continuity, and as an electrostatic and ribbon planar devotee, this I value greatly.
Third Effort: New Audio Frontiers Stradivari preamp and Stradivari 211 SE amplifier. Oh, so right! EVEN BIGGER SOUNDSTAGE Tonally, to die for. Female vocalists are IN THE ROOM with me. The image density is among the best I've ever heard, hard stop! It bumps up against my good friend @steindm McGary/NAF mono/Alysvox Tintoretto set up in that department. BUT a hum arose and I was not able (after 48 years in the hobby) to rid the system of it.
Fourth Effort: Classe CAM 600 monos. So, so fast. ENORMOUS. Layers and layers upon layers. Details arose from the mix. But alas, no "You are there magic".
Fifth Effort: VTL Deluxe 140's/CAM 600 monos. More naturally tonally, but the Chicago tells you there are too amps in front of it. That nagging lack of continuity, despite all the ever-so-good things it was doing.
Sixth Effort: ????? SW1X monos, Wagyu sub??
@gestalt
As I continue to seek the "ceiling" or apex of performance from the WVL Chicago's in my room I continue to simply find new heights of sound-staging, imaging, dynamics and the ephemeral "You are there" that is at the heart of what I most fundamentally seek in music reproduction.
All efforts feature the Scheu Das Laufwerk II, True Glider Arm, Hana Umami cart, VIVA Little Fono, and Cinnamon Galle DAC with Transparent Reference IC's and speaker wires seeing primary duty.
BACCH4Mac is also utilized, including the amazing ORC software suite.
First Effort: ARC LS 28SE preamp and VTL Deluxe 120 monos: Wall to wall laterally and NO WALL front to back. REMARKABLE depth. Tonally on the warm side, but oh-so-beautiful. Schubert's Winterreise leaves me in tears, literally.
Second Effort: ARC LS28SE/VTL Deluxe 140's (mids and tweets)/PS Audio Stellar M1200 (bottom): Very similar to the first set up, but FASTER. Required adjustments of the field coil energy to better control the top and "release" the bass (high damping factor of the M1200's?) Ultimately I felt there was a lack of complete continuity, and as an electrostatic and ribbon planar devotee, this I value greatly.
Third Effort: New Audio Frontiers Stradivari preamp and Stradivari 211 SE amplifier. Oh, so right! EVEN BIGGER SOUNDSTAGE Tonally, to die for. Female vocalists are IN THE ROOM with me. The image density is among the best I've ever heard, hard stop! It bumps up against my good friend @steindm McGary/NAF mono/Alysvox Tintoretto set up in that department. BUT a hum arose and I was not able (after 48 years in the hobby) to rid the system of it.
Fourth Effort: Classe CAM 600 monos. So, so fast. ENORMOUS. Layers and layers upon layers. Details arose from the mix. But alas, no "You are there magic".
Fifth Effort: VTL Deluxe 140's/CAM 600 monos. More naturally tonally, but the Chicago tells you there are too amps in front of it. That nagging lack of continuity, despite all the ever-so-good things it was doing.
Sixth Effort: ????? SW1X monos, Wagyu sub??
@gestalt
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Well, just when you think the WVL Chicago couldn't possibly reach greater heights.....it does! 
With the Hum Demons now dispatched and the New Audio Frontiers Stradivari preamp paired with the Stradivari 211 SE stereo amp, enter the Cinnamon Galle II DAC, displacing its older brother, the Galle, on the digital throne of my system. With the Galle II in place there is an (and please know, I don't say this lightly) organicity, realism, and visceral presence to all of the individual images which are themselves layered in distinct space and yet in a completely natural way mesh to create an enormous soundscape. The likes of this I have exclusively historically experienced only with (the very best) analogue.
Yes, I am smitten............And yes, the Galle II is a very, very special device.
With the Hum Demons now dispatched and the New Audio Frontiers Stradivari preamp paired with the Stradivari 211 SE stereo amp, enter the Cinnamon Galle II DAC, displacing its older brother, the Galle, on the digital throne of my system. With the Galle II in place there is an (and please know, I don't say this lightly) organicity, realism, and visceral presence to all of the individual images which are themselves layered in distinct space and yet in a completely natural way mesh to create an enormous soundscape. The likes of this I have exclusively historically experienced only with (the very best) analogue.
Yes, I am smitten............And yes, the Galle II is a very, very special device.
We're so happy to be part of your amazing journey. Thank you!Well, just when you think the WVL Chicago couldn't possibly reach greater heights.....it does!
With the Hum Demons now dispatched and the New Audio Frontiers Stradivari preamp paired with the Stradivari 211 SE stereo amp, enter the Cinnamon Galle II DAC, displacing its older brother, the Galle, on the digital throne of my system. With the Galle II in place there is an (and please know, I don't say this lightly) organicity, realism, and visceral presence to all of the individual images which are themselves layered in distinct space and yet in a completely natural way mesh to create an enormous soundscape. The likes of this I have exclusively historically experienced only with (the very best) analogue.
Yes, I am smitten............And yes, the Galle II is a very, very special device.
Update on the WVL Chicago Journey:
As one full week has now passed since I installed the Cinnamon Galle II DAC, each moment has found me eager to return at day's end to my "Listening Lair" (as my lovely and every-so-patient wife, Amy, calls it! ) to find what new magic the Cinnamon Galle II will reveal in these resolving, yet unfailingly musical, Wolf von Langa Chicago speakers.
Haunted by the uncannily natural sound from a particular pair of absolutely stunning vocal performances heard on the system while bi-amping with the VTL 140/Classe CAM 600 mono amps, I returned to this pairing, using my trusty ARC LS28SE as the preamp and Galle II as source. (See attached photos and listen for yourself! ) But on this occasion I took more even more than my usual ample time and careful efforts to fine tune the FC energy to "free" the woofer appropriately from the "Iron Grip" of the CAM 600 wpc SS amps while tuning the VTL/midrange tandem in kind. I can't state strongly enough just how important this is to elevating the performance of the WVL Chicago to its best and highest. I'll leave it to those more technically accomplished (Heir Von Langa?) to explain the "whys and hows", but for now simply suffice it to say it is paramount the FC energy be optimized to the amp/amps being utilized for the very best results to materialize.
With the FC's properly adjusted on all three drivers, the strike, richness of timbre, and perfectly sustained decay of the piano at the outset of the "The Last Recital: In Memoriam Maria Callas (Live) grabs the mind and ear in a way few recordings can, and the female vocalist's passion is present as if in the far righ and rear recesses of a concert hall magically materializing outside any boundary of the speakers or the confines of my 22.24.9.5 room. Schubert's "Winterreise" is even more emotionally moving as Peter Schreirer summons "Gute Nacht" in a way that evokes joy and melancholy in a single moment.
I will continue to update my travels with the WVL Chicago (part of the fun for me and I'm STILL not sure I've found the absolute ceiling!) but I can say with confidence that if you are in the market for true "Super Speakers", the WVL Chicagos deserve a serious listen. I am a passionate hobbyist with 48 years in this wonderful, often wacky, pursuit, In my room now are Pipedreams, Sound Lab U1 PX's with Consummate bi-amp backplates, Leonard 8's (Daniele Cohen's predecessors to the Alsyvox Botticelli) and Sonus Faber Guanieri Homage monitors. The WVL are right at home in this rarified air and company. They are made to the very highest standards mechanically, with proprietary drivers and crossovers, beautifully finished, relatively diminutive and unobtrusive, easy to position, and 95db efficient (allowing for their use with the most pure, musical, low power 300B, 211, and 845 triode amps). And most importantly, paired with both analog and digital sources, and the Cinnamon Galle II DAC in particular, they make music come alive in a way few speakers ever accomplish. Is that not the point?
As one full week has now passed since I installed the Cinnamon Galle II DAC, each moment has found me eager to return at day's end to my "Listening Lair" (as my lovely and every-so-patient wife, Amy, calls it!
) to find what new magic the Cinnamon Galle II will reveal in these resolving, yet unfailingly musical, Wolf von Langa Chicago speakers.Haunted by the uncannily natural sound from a particular pair of absolutely stunning vocal performances heard on the system while bi-amping with the VTL 140/Classe CAM 600 mono amps, I returned to this pairing, using my trusty ARC LS28SE as the preamp and Galle II as source. (See attached photos and listen for yourself!
) But on this occasion I took more even more than my usual ample time and careful efforts to fine tune the FC energy to "free" the woofer appropriately from the "Iron Grip" of the CAM 600 wpc SS amps while tuning the VTL/midrange tandem in kind. I can't state strongly enough just how important this is to elevating the performance of the WVL Chicago to its best and highest. I'll leave it to those more technically accomplished (Heir Von Langa?) to explain the "whys and hows", but for now simply suffice it to say it is paramount the FC energy be optimized to the amp/amps being utilized for the very best results to materialize.With the FC's properly adjusted on all three drivers, the strike, richness of timbre, and perfectly sustained decay of the piano at the outset of the "The Last Recital: In Memoriam Maria Callas (Live) grabs the mind and ear in a way few recordings can, and the female vocalist's passion is present as if in the far righ and rear recesses of a concert hall magically materializing outside any boundary of the speakers or the confines of my 22.24.9.5 room. Schubert's "Winterreise" is even more emotionally moving as Peter Schreirer summons "Gute Nacht" in a way that evokes joy and melancholy in a single moment.
I will continue to update my travels with the WVL Chicago (part of the fun for me and I'm STILL not sure I've found the absolute ceiling!) but I can say with confidence that if you are in the market for true "Super Speakers", the WVL Chicagos deserve a serious listen. I am a passionate hobbyist with 48 years in this wonderful, often wacky, pursuit, In my room now are Pipedreams, Sound Lab U1 PX's with Consummate bi-amp backplates, Leonard 8's (Daniele Cohen's predecessors to the Alsyvox Botticelli) and Sonus Faber Guanieri Homage monitors. The WVL are right at home in this rarified air and company. They are made to the very highest standards mechanically, with proprietary drivers and crossovers, beautifully finished, relatively diminutive and unobtrusive, easy to position, and 95db efficient (allowing for their use with the most pure, musical, low power 300B, 211, and 845 triode amps). And most importantly, paired with both analog and digital sources, and the Cinnamon Galle II DAC in particular, they make music come alive in a way few speakers ever accomplish. Is that not the point?
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