SNEAK PEEK: Lansche 4.1 Loudspeaker


My little 10-watt Berning Seigfried single-ended OTL amplifier just got a new playmate: Lansche 4.1 speakers

$50,000.00/pair USD

DISCLAIMER: I've received my first two pairs of this speaker as their appointed North American distributor. One pair has been shipped off to one of my dealers, the other you will read about below.

Specs: 99dB sensitive, 20Hz to 150kHz performance, can sustain 115dB with low distortion.

This pair is in a finely finished in high-gloss lacquer, gorgeous maple cluster veneer. The 4.1 radiates elegance without pretension or vanity. (it is also be available in other wood finishes). At 12" wide x 20" deep x 45" high, it won't overtake the real-estate in your listening area but will compliment your environment as a piece of exquisitely-crafted furniture might.

Feel free to break out the flea-powered tube amps or "First Watt" style solid state amps for this one, you won't need much to make the 4.1 come alive. My Seigfried's max output is 10 watts, and I doubt that I'm using half of that capacity to hit big sound pressure levels.

In my listening area (19' long. 14' wide, 20' high), which isn't huge but it's not too small, either, I can't get the volume control on the Seigfried more than halfway up before this becomes really loud. Initially I wasn't able to tell how loud it had gotten until I left the room and realized - whoa! That's pretty loud! I think I'll use an SPL meter to set volume in order to ensure that I protect my hearing. The sound is so clean that you want to crank it up to concert levels ... no signs of distortion at any point so far.

The plasma tweeter and midrange have been sewn together seamlessly in the crossover. This was my major concern as I anticipated the speaker's arrival, as it would live or die on that aspect alone. Moving up the scale on piano, pipe organ, vibraphone, cymbals, etc. evidenced no audible transition between the mid driver and the tweeter. Overtones on strings, brass, woodwinds, cymbals shimmer and glow beautifully, naturally. Snaps and slaps on acoustic bass didn't sound disembodied from the main of the instrument, but were rather entirely and organically integrated. Air and breath around brass and woodwind instruments were also properly attached to the instruments, with no sense of artifice. The speed of the midrange driver Lansche has developed seems to match extremely well to the lower registers of the corona tweeter.

I had my wife sit down and listen to a track from Arthur Grumiaux, one of her violin heroes. After listening she looked at me in astonishment ... she was saying that she could hear fingerings much more clearly, and that details of his technique were more apparent now. I can't say that I was able to hear THAT far into the recording, but then again - she's the violinist. To my ears, the violin's tone and presence are remarkably correct. Both string and body are lent a natural and effortless authenticity, with gorgeous shimmering harmonics creating an aurora radiating from the instrument but never detached from it.

Mind Blower: Paquito D'Rivera + United Nation Orchestra : "A Night In Englewood" - Track 1: Snow Samba:
This is a mammoth big-band sound with monster percussion. Regardless of the loudspeaker I've played this on, there are times at which the band sounds like one giant instrument instead of a coordination of a group of instruments. In the huge passages it becomes difficult to distinguish separate musical lines happening behind the main thrust of this massive brass ensemble. Not so with these loudspeakers. You can pick out everything, and it all seems very natural and unrestrained. The explosions from all the horns are startling, and you'd think when that mass of brass musicians are all blasting at once that some details might get obscured. Not so. The speakers offer all the detail and nuance you care to pick out of the soundscape, even when the whole band is trying to tear your head off with huge brass tuttis.

Vocal dynamics and nuances are even more thrilling. From Cantus singing in ensemble, "What Shall We Do With The Drunken Sailor," to Ricky Lee Jones swinging on "Up From The Skies" - dynamics, inflections, detail ... all adding an extra dimension to the music I hadn't really appreciated before. Vocal textures are exposed more clearly, revealing character that seems to have been previously masked. As well, the guitar work on the Ricky Lee Jones track is opened up and more alive while the acoustic bass walking alongside has power and detail, body and weight, and you can hear the minute abrasions of the bassist's calloused fingers as he plucks the strings.

Full symphony is treated with equal aplomb. One of my favorite tracks is from Joaquin Turina's "Danzas Fantasticas" CD, recorded by Bamberger Symphony/Antonio de Almeida. The track, "Orgia," has a fantastic dynamic range and nice bouquet of musical expression. This may not be the definitive performance or recording, but it's not chopped liver by any means. The orchestra whips up into a heroic whirlwind theme with the same kind of aggressive rhythmic authority you get from a proper Holst's 'Mars' vignette (and by "proper" I don't mean von Karajan's - I prefer Steinberg's BSO recording for its aggressive tempo and accent ). The loudspeakers really liberate the orchestra, which had, in hindsight, seemed to have been encumbered by the weight of a heavy winter coat. Aspects of separate musical lines become once again more obvious from within the whole symphonic organism. This is the kind of transparency I expect from ribbons, but the problem with ribbons has always been with loud and complex passages - where they can tend to lose control of the picture. The 4.1's show to me what is possible in that regard - lending that level of utter transparency to even the most complex and powerful passages without "losing it in the corkscrew" - (for you Laguna Seca fans).

General comparisons/impressions - first blush:

Vs. "Dynamic" speakers, the 4.1 soundly trounces every single one I've ever heard, bar none. They are no match for the transparency and dynamic acceleration and contrast possible with the 4.1 speaker. As well, there is a sensitivity offset that lands the 4.1 well ahead of that pack. Coherence is on a par with the very best examples of dynamic speakers.

Vs. ribbons and electrostats, the 4.1 matches or exceeds in transparency, microdynamics, and surely exceeds them when it comes to holding it all together in complex and loud passages.

Vs. horns, it matches dynamic contrast, acceleration, and sensitivity without that ultra-uvular and shouty midrange that horns seem to impart.

The Lansche 4.1 seems to be throwing down a formidable gauntlet and daring all comers to take their best shot. With the 4.1's sensitivity, speed, transparency, seamlessness, and overall authority ... challengers shouldn't take up the glove with anything less than grave respect and a meticulously prepared Last Will and Testament.

So far, I'm decidedly impressed with the out-of-the-box performance and strongly suspect that this loudspeaker has the potential set the performance-bar considerably high. How high I have yet to find out, but it is sufficient to say at this point that the sky may be the limit. After all, with a 20-Hz-150kHz bandwidth, it remains a singular example of extremely extreme performance. I haven't yet gotten the special burn-in CD from Lansche, said to further improve the performance of the midrange especially. I can't imagine what that will be like, but I look forward to finding out!
csommovigo
So - Here's the deal:

I'd like to know who thinks that it's somehow dishonest of me to post to the forums, considering that I've put - in my opening post, and in capital letters:

DISCLAIMER: I've received my first two pairs of this speaker as their appointed North American distributor. One pair has been shipped off to one of my dealers, the other you will read about below.

If you think that my post or posts like this don't belong in the forums, I'd be happy to read your explanations as to why and discuss.

If I've stepped over an invisible line, I didn't mean to. I thought that - by fully disclosing my position - I was being up front and honest about my relationship to the product. I hope that I was pretty clear, but if I wasn't ... my apologies. My intention was to be perfectly, clearly up front about my relationship to the product and then share my experience and enthusiasm for it. As well, I hoped that I would then make myself publicly accessible to anyone who had questions, concerns, comments about the product and to answer them here - publicly - so that everyone could benefit from the information.

Chris
I think we walking a very fine line here. The further up the disclaimer is the more comfortable I am with this type of thread. Perhaps the disclaimer should actually be in the "question box". On the other hand, I wouldn't be surprised if the moderators felt that they were due an advertising fee.
I wouldn't want to discourgae designers and manufactures from posting their thoughts on their own designs and products, but I'm not so sure where distributors fit in with that logic.
While I see Bill's point, I think Chris correctly repells the "shill" tag.
Audiogon provides only one method to all of us to have interactive conversations about the products we enjoy. We all share the hobby, I just happened to have made a career out of it. Still, it doesn't diminish my love for what i do - and my desire to share it with others.

So here in the forums, I wanted to share my thoughts about the Lansche speaker. I thought that I did my level best to disclose my association with the product as their North American distributor, perhaps I should make that disclaimer even more prevalent.
Csommovigo there will always be a plurality of opinions as to whether it is acceptable or not. I enjoyed your post because at least I know there is someone out there who knows about a speaker which has intrigued me. If you have more to say, please don't stop posting on account of a couple of naysayers.
Well I received the wisdom from up on Audio high that it's ok to post to the forums so long as I disclose my interest in the business/industry - I was also told that I *had* done that, so no worries.

Thank you, Amfibius, for sharing your opinion on the matter. I had hoped to start a conversation about the speaker and the technology, answer questions or concerns, and talk about the "extreme performance" category, generally.

With regard to Lansche: One concern that had been voiced to me awhile back what about the production of ozone from the tweeter. The temperature of the flame is so high that it burns off the ozone - no inherent danger there.

As well, someone once raised with me the possibility that the tweeter produced too many positive ions. The company tested for ion emission and found nothing of consequence - it actually happens that the output of their laptop fan emitted a much greater amount of positive ions.

Chris