Wolf von Langa ‚SON‘

... these loudspeakers play at an extremely high musical level and are masterfully crafted in the best of German traditions.

The system's immersive experience exceeded my expectations, virtually placing me in the middle of the performance.

Anyone who wants to buy a loudspeaker in even close to this price range should, need to listen to the SON. I'm keeping mine.

… it is as if I was sitting in the recording studio.... Frankly, I prefer to sit in front of the SON and rejoice... – it literally sucks me into the music. ... How this is going to happen from the SON, which dramaturgy it is capable of portraying, I think this is hardly gradable. Above all, the different depths of spatial dimensions provide a tension that makes me almost breathless…

To conclude, I would like to say that, in my opinion, Wolf von Langa did what is almost impossible – Son’s acoustics managed to pull off a performance that even much more expensive systems struggle to achieve. It created a sense of complete immersion into the music, allowing the listener to travel in time and space. Suddenly, the best concert halls of the world welcome you to meet the greatest artists of the past century. Read full article here.

I’ve liked Wolf von Langa’s speakers in the past, but this little number really grabbed me. It was by far the Best of Show combo for the money

Quote Jonathan Valin, The Absolute Sound, USA, 2018

Munich High End: JV on Loudspeakers $20k and Up

Here is the good news about the annual Munich High End trade show: If you go, you’ll get the chance to hear speakers and electronics and sources you won’t hear anywhere else, at prices that range from affordable to sky’s-the-limit – plus you’ll get to eat schnitzel and spargel in the bargain.

The Best

„Speaking of two-ways, though not in my price category the Wolf von Langa Son ribbon-and-12inch-field-coil-cone two-way, driven by Air Tight electronics (including the superb 3211 amp and new 3011 phono stage), was simply too good to ignore. Extremely neutral and immediate, the system produced one of the most natural sounds I heard on my Chet Baker LP. Despite some heaviness in the bass it was also superb on Satchmo and on a Rickie Lee Jones LP—just plain realistic in the midband, with terrific dynamics low-level and high. I’ve liked Wolf von Langa’s speakers in the past, but this little number really grabbed me. It was by far the Best of Show combo for the money, and in spite of its diminutive size it didn’t sound a bit miniaturized!“

SON @ HXOS Athen 2018, Review
SON @ High End München 2018, 
Review and Music Samples

To conclude, I would like to say that, in my opinion, Wolf von Langa did what is almost impossible – Son’s acoustics managed to pull off a performance that even much more expensive systems struggle to achieve.

More about our loudspeakers here.

Wolf von Langa ‚AFX‘ – AUDIO FRAME London

„Zitat Holger Biermann, LowBeats“ Aber es ging noch besser, viel besser. An der LowBeats Lautsprecher-Referenz Wolf von Langa Audio Frame in der London-Ausführung, ebenfalls bald im Test, zauberte der XXX Klangbilder von einer Schönheit und Authentizität, die ich mich nicht erinnern kann, so schon einmal gehört zu haben.

Am nächsten Abend nahm ich einen Freund mit, bekennender Lauthörer und Transistor-Verfechter. Ihm spielte ich den XXX an der WVL London vor und hörte erst einmal - ganz ungewohnt - gar keinen Kommentar. Und dann: „Mist. So gut habe ich das noch nie gehört. Können wir mal einen anderen Verstärker dagegen hören?"

Wir verglichen den XXX mit dem Fezz Audio Mira Ceti, einem 300B-Verstärker üblicher Machart. Vor dem Hintergrund seines farbigen, erstaunlich erwachsenen Klangbilds für knapp 2.500 Euro ist dieser kleine Röhren-Amp aus Polen fast schon billig zu nennen. Wenn man den Pegel nicht überreißt, spielt der Mira Ceti ebenfalls überragend natürlich…

wvl af london, wolfvonlanga audio frame london, wvl afx, Fezz Audio Mira Ceti, 300B-Verstärker

„Wolf von Langa London: The conclusion 

One can certainly criticize one or another aspect regarding Wolf von Langa loudspeakers: they are always big, never cheap, and their appearance is polarizing. But they are, both, in terms of construction, and also regarding their sound, some of the most exciting speakers the world market has to offer.

This is especially true for London with the Lowther head. Wolf von Langa has so cleverly improved the legendary fullrange speaker that it fits tonally as if molded into the concept. Anyone who has a soft spot for these gems in the British speaker history is hereby almost compelled to invest a lot of time into the London: at least I have not heard the Lowther better yet.

The Wolf from Langa London creates the inner homogeneity, speed and authenticity that classic speakers simply can not handle in standard MDF cases and with common drivers."

Wolf von Langa ‚AFX' – AUDIO FRAME Chicago

To say it right away: The Wolf von Langa Audio Frame Chicago is fantastic and one of the most constructively exceptional speakers currently on the market.

After spending some time with the AUDIO FRAME Chicago you’ll begin to understand how thoroughly deliberated this concept is. Clearly avoiding the mainstream Wolf von Langa opens completely new musical horizons. 

2018-11: According to all accounts, the Tchernov system demonstrated one of the best sound of the MHES exhibition and Chicago speakers were particularly noted. 

Cit. „I’m sure that reason for main advantages of the system are highest quality field coil speakers from Wolf von Langa."

mhes 2018 afx audio frame chicago

Ich möchte Sie zu Ihren hervorragenden Lautsprechern beglückwünschen und Ihnen für die gelungene Vorführung danken! Ich war am Freitag nachmittag bei Ihnen und fand eine Insel der Entspannung und des unprätentiösen Wohlklangs inmitten des Trubels vor. Ihre Anlage war dieses Jahr für mich die bestklingende der Show. Ihre geschmackvolle Musikauswahl war ebenfalls „outstanding“ – wo sonst bekommt man sonst auf der High End nach einer Neil Young Liveaufnahme John Zorn zu hören? Abseits vom Mainstream, in Form und Inhalt – das ist es, was ich meinen Kunden ans Herz lege. Gerne empfehle ich Sie weiter.

Die Wolf von Langa Audio Frame Chicago ist fantastisch und gehört zu den konstruktiv außergewöhnlichsten Lautsprechern, die derzeit den Markt bereichern.

Wolf von Langa ‚A4000‘

Last weekend I had the opportunity starting the drivers. Connection in series was unproblematic - by the way, the plugs are very good! - And also the parameters you describe regarding current, voltage and temperature are correct.

These are actually no longer drivers, but instruments. In my case the two A4000 replace a pair of JBL 2420 from the 70s, which are really not bad. But these field coil drivers convey the sound so realistically, that is undoubtedly the best in the world.

I've heard your loudspeakers on the High-End several times, but I could only guess how the impressions could be transferred to my own system. The purchase was thus in a way a leap into the unknown, which has now turned out to be a step into another musical life.

Wolf von Langa ‚Swing‘

The dipole loudspeaker Swing of Wolf von Langa is one of the most extraordinary and sonically impressive constructions that you can buy for money and good words.

... and we heard one hit after another. Was it the music or this incredibly open, direct-natural sound? I can't say.

All I know is that I’ve never before experienced canned music like this, and never before I felt so close to the recordings. That was just great.

All I know is that I’ve never before experienced canned music like this, and never before I felt so close to the recordings. Swing of Wolf von Langa.

Wolf von Langa A100i ‚Black & White'

... I heard the speakers on Thursday and am still totally excited. That was by far the best on the HiFi Deluxe and on the High End Show together!

Did I find anything about these speakers to criticize? Quite honestly, no. And by ‘honestly’ I mean this very seriously. I found absolutely nothing. Wolf von Langa, with the Black & White, has brought historical technology up to date. Its transducers drove me – and never has the term been so true for me – to the heart of the music.

Wolf von Langa, with the Black & White, has brought historical technology up to date. Its transducers drove me – and never has the term been so true for me – to the heart of the music.

Wolf von Langa A100i ‚Decorator‘  … please use a translator for this chapter.

Wie einige vielleicht gelesen haben, benutze ich in meiner Altec VOTT Basslautsprecher des deutschen Entwicklers Wolf von Langa, der sich seit längerer Zeit mit dem Thema Feldspulenlautsprecher - also ein Elektromagnet mit eigener Spannungsversorgung statt Permanentmagnet - beschäftigt. 

Da ich nach anfänglichen Schwierigkeiten mit der Raumakustik und der Lautsprecheraufstellung nun bei mir ein Klangbild erreicht habe, welches mich sehr zufrieden Musik hören lässt, wollte ich auch einmal hören wie ein kompletter Lautsprecher mit Feldspulentechnik wohl klingen mag und natürlich auch die zahlreichen anderen Modelle mit selbiger Technik begutachten. 

Nach sechsstündiger Fahrt bei bestem Wetter kam ich dann endlich im Frankenland an. Nach kurzer Erholungspause ging es dann in den Hörraum, in dem Wolfs neusten Konstrukte standen, die 820i. Ich versuche sie im Folgenden kurz zu beschreiben, für tiefer gehende Information empfehle ich aber Wolf direkt zu kontaktieren, er ist sehr hilfsbereit und kann das Ganze auch viel fundierter ausdrücken. 

Diese Lautsprecher haben das Altec 820 Cabinet als Inspirationsgrundlage, sind jedoch kein Konzept mit geschlossenem Gehäuse, sondern ein Dipol mit Hornvorsatz. Das relativ leichte Gehäuse ist aus Fichte gefertigt und führt laut Wolf im Zusammenspiel mit asymetrischer Versteifung zu minimalen Energiespeichereffekten und sehr kurzer Ausschwingzeit für ein solch großes Gehäuse. Wobei es ja im Grunde kein Gehäuse im herkömmlichen Sinne ist, sondern eine offene Konstruktion. Als Treiber fungieren Kilimanjaro-Series A284WVL (Feldspulenversion der frühen Altec 288 Treiber) und im Mittelton und Bass Kilimanjaro-Series A515WVL (Feldspulenversion auf Basis der Altec 16 Zoll Bässe). Es handelt sich um ein drei Wege Konzept wobei die beiden Basschassis mit jeweils unterschiedlicher Feldstärke betrieben werden. Das kann man mit dem Netzteil ganz einfach und reproduzierbar einstellen. Die Feldstärke kann man im Betrieb dann noch auf den Raum und das eigene Hörempfinden hin optimieren. Diese Möglickeit möchte ich auch bei mir in der VOTT nicht mehr missen. 

Dieser Lautsprecher stand in einem relativ kleinem Raum, mit knappen 20m². der Hörabstand betrug ca. 2.5m, wir haben im Laufe des Hörens etwas variiert . Trotz dieses eher kleinen Hörabstandes, zerfiel das Klangbild nicht, die einzelnen Chassis waren nicht heraus zu hören, was ich so nicht erwartet hätte. Hier macht die VOTT mehr Probleme, wobei man natürlich anführen muss, dass die VOTT nicht für kurze Hörabstände entwickelt wurde. Das 820i Cabinet von Wolf macht hier aber eine sehr gute Figur. 

Den Lautsprechern war eine exquisite Kette voran gestellt. Als Quelle diente ein Well Tempered Amadeus, an dem ein großes Lyra System montiert war. Die Verstärkung übernahmen ein Vorverstärker von Philipp Kemna, eine Eigenentwicklung mit einer neuen Schaltungstechnologie, von der ich als Laie allerdings nichts weiter berichten kann... Endstufe war eine optimierte Sun Audio SV-300B Endstufe mit Philips Eingangsröhren, KR Audio 300B und Western Electric 274-B Gleichrichtern. 

Nachdem schon viel zu viel Zeit mit technischen Erklärungen, Nachfragen und sonstigen Unterhaltungen verstrichen war (), ging es dann ans Hören. Hier einige Beispiele der Schallplatten, die gespielt wurden: 

Pentangle – Solomons Seal
Johnny Cash – VI
Kings Of Convenience – Declearation Of Dependence
Buffalo Springfield – Last Time Around
Lykke Li – Youth Novels
Trees – The Garden of Jane Delawny
Braziliana – Bonfa, Jobim, Gilberto
Ray Charles – Genius loves company
King Crimson – Starless and Bible Black
Grover Washington – Mr. Magic
Livin Blues – Wang Dang Doodle

Die Erwartungen waren hoch, zum einen aufgrund der übrigen Kette, zum anderen, da ich bei mir zuhause jetzt auch ein sehr hohes Niveau erreicht habe. Ich bin jemand, der relativ schnell weiß, ob mir eine Kette gefällt oder nicht. Nach den ersten Takten von Buffalo Springfields „I Am a Child“ war klar: So gut habe ich Musik bis dahin noch nicht gehört. Neil Youngs Stimme war frei von jedweder Resonanz –und gerade bei diesem Stück ist die Stimmlage und Direktheit der Aufnahme kritisch- und wurde wunderbar entspannt dargestellt. Diese absolute Mühelosigkeit und Entspanntheit führen zu einer sehr natürlichen Wiedergabe. Dieses Gefühl von Selbstverständlichkeit im Klangbild hatte ich bisher nur bei dem großen Western Electric System (W15A), welches ich bei Peter Paul in Hamburg hören konnte. 

Doch darüber hinaus fiel die tolle Auflösung des Klangbildes auf, z.B. bei Pentangles „High Germany“ und dem Stück, was danach kommt konnte man die Musiker förmlich greifen und Triangel- und Glockenlaute perlten herrlich. Diese Plastizität war aber nicht auf den Hochton beschränkt, auch Mittel- und Tiefton wurden gut aufgelöst und ich habe einige Details neu entdeckt. Die Stimmenwiedergabe war klasse und hatte die richtige Größe, wie auch die gesamte Raumabbildung in sich schlüssig wirkte. 

Hervorzuheben ist, dass der Lautsprecher auch bei schlechteren Aufnahmen dieses Verhalten beibehält, deshalb habe ich extra ein, zwei Platten von Undergroundbands der 68er dabei gehabt. Auch bei dieser schlechter aufgenommenen Musik, versprüht der Lautsprecher Charme und macht auch teils nervige Aufnahmen gut anhörbar. Manchmal hat man ja instinktiv das Gefühl, dass es „genau so richtig klingt“, was viele wohl unter „Neutralität“ formulieren. Dieses Gefühl war hier Dauerzustand, ich hatte nicht das Gefühl, dass der Lautsprecher die Musik verfärbt oder ihr einen typischen Sound aufzwingt. Vielmehr konnte man hören, wie unterschiedlich Musik aufgenommen wird, diese Feinheiten sind ganz einfach herauszuhören, ohne dass man sich groß konzentrieren muss. 

Dass es neben akustischem Gezirpe auch mal richtig zur Sache gehen kann und der Lautsprecher auch Impulsschnelligkeit und Druck im Bass beherrscht, zeigte Lykke Lis Elektropop-Titel „Break It Up“. So ging es durch die Plattenauswahl, die ich mit hatte, es war wirklich ein Genuss und rasch waren einige Stunden vergangen. Zum Abschluss hatte ich auch eine CD von Patricia Barber und Diana Krall dabei, um ein paar audiophile Klischees zu erfüllen, versteht sich. Denn ich wollte testen, ob der famose Klang nicht hauptsächlich auf die analoge Quelle zurück ging. Doch auch mit CD –abgespielt keinem speziellen High End Gerät- brach der Klang nicht in sich zusammen, sondern die Eigenschaften wurden erstaunlich gut konserviert. Patricia Barbers Stimme wirkte bei „Autumn Leaves“ frei von störenden Resonanzen und der Bass geriet farbreich und konturiert, dabei wurde sehr laut gehört, man merkte dies aber immer erst dann, wenn man sich unterhalten wollte... 

So wurde es eigentlich viel zu spät, da ja die Rückfahrt noch anstand. Um 1 Uhr war ich dann zuhause. Doch die Reise hat sich voll gelohnt und ich konnte viele neue Eindrücke erfahren. An dieser Stelle noch mal danke an Wolf von Langa, es hat sehr viel Spaß gemacht. 

Ich hoffe mit der relativ langen Ausführung keinen gelangweilt zu haben, aber ich selbst lese solche Berichte immer gerne und vielleicht geht es ja einigen hier genau so.

Wolf von Langa A100i ‚Decorator‘

Wolf von Langa 606i 

First of all I have to thank you for the first class demonstration on Saturday and to congratulate you on the loudspeakers. That was really gorgeous!

The first work of Wolf von Langa’s that I encountered was in the form of a pair of heavy horn loaded speakers that looked suspiciously like a chest of drawers from a 1960’s US living room. 

Not so the sound. From which was simply no escape.

The immediacy of the three instruments, the penetration of their presence in the stuffy, fully occupied hotel room, the acoustic freshness of half a century old record – it was an experience.

Kilimanjaro-Series A1624WVL 

I got them today, I applied it and made some listening to the units without any enclosure and with approximately 2.3T. They are extremely good sounding, something like a low-fullrange. The sound is warm, full, open, super crisp but relaxed and has not the shouting tendencies of the 515 type of units in the upper range. The human voice is better than anyting I have heard before and even better than the TAD TM1201 midrange that I had as a reference in this department. Even the "s" sounds are enjoyable and homogeneous with the rest, though a bit rounded due to the high frequency roll off. I must say that that they are unconditionally on a higher level from everything I have heard uptill now. 

There are three factors that can be at play: 
1. No dust cap 
2. The new type of doping of the diaphragm 
3. And of course, the ultra homogeneous field with totally saturated gap and the underhung coil (there is no way that I will glue the dustcaps on them) 

Anyway, as you can guess, I am very happy for the result, they sound so interesting and in control, that I am considering to use them as direct radiators without horn, but with some kind of equalization to counter act the rising frequency responce. I have not heard what they can do in the low end, but probably they will be totally stunning there as well.

Kilimanjaro-Series A1624WVL

Kilimanjaro-Series A604WVL 

I have now listened to the A604WVL drivers for a while and what can I say, it's in another kind of league than my old drivers. I really enjoy it. This is marvelous. The sound is so much better in every aspect and it takes me in to the music. Gives it a whole new meaning to listen to music. I know understand how superior the field coils are.

I have done a lot of upgrades during the years but this is presumably (what I can remember) the best upgrade I ever done so I thought, why not go for a system with field coil all the way.

Kilimanjaro-Series A515WVL 

Nice to meet people with similar interests now and then. Anyway, regarding the impression of the woofer, I can say as much that it has the most articulate and nuanced low- low-mid reproduction of all woofers I have tried, including the TAD 1602 and the TAD 1601C.

Kilimanjaro-Series A515WVL

Kilimanjaro-Series A284WVL 

Haven’t heard much yet, but what I can already say is that it plays extremely well! Resolution, sound colors, and the native treble is much better! 

AM excited:-) I've listened all day yesterday. This is really lace!

Your mid and high frequency transducers are the best I’ve heard ever! (owner of TAD and GOTO speakers).

Kilimanjaro-Series A2000WVL

Kilimanjaro-Series A2000WVL

Kilimanjaro-Series A515WVL 

I have been evaluating the woofer very seriously. I have taken a lot of distortion data at different levels/frequencies and with both tube and solid state power amps. I have also prepared an adjustable power supply and taken distortion data at various field supply voltages. Finally, I have adjusted my crossover filters to accommodate the new woofer and have done measurement and listening comparisons to 515B, JBL 2231A, Jensen F15LL and RCA MI-1444. I would like to give you a more detailed report later, but here are some preliminary findings:

The A515WVL definitely has lower distortion than any of the other high-efficiency woofers I have looked at. I like that its distortion is primarily second and third harmonic, with little distortion in the higher order harmonics. It is clearly better than the 515B in this respect. It is a huge improvement on the RCA at low frequencies, since the RCA is optimized for horn loading and has extremely short linear travel. The RCA has fairly low high-order harmonics, like the A515WVL, but it gets into trouble at moderate levels if asked to function as a direct radiator. The Jensen is not too much worse than the A515WVL at low frequencies, as long as the level is kept low. But its suspension nonlinearity shows up at higher levels. It is also poorly behaved in the upper end of its range, which is a problem since I am crossing over at a highish 800 Hz. My subjective impressions coincide fairly well with the measurements. The A515WVL is the best sounding of all the high efficiency woofers. You can hear the superior transient response and quick settling of the A515WVL compared to the 2231A, which sounds excellent on music that is not transient in nature, and a bit sluggish on transient material.

Kilimanjaro-Series A515WVL 

The sound is simply unbelievable: very fast, very dissolved, very colourful, never hard (women's voices in Monteverdi's Vespers) and in a surprising way also spatially. I have not heard such good speakers yet and find the 4000 Euro (although painful) compared with other high-end offers downright favorable.

Kilimanjaro-Series A2L (precursor of A5000)

My mother rehearsed a piano recital with me in the womb. My father was an organ-player and I spent most of my childhood Sunday mornings with him on the organ loft. I myself was professionally trained on the violin and viola. In my pre teens I visited almost all symphonic concerts in the Gothenburg concert hall, one of the best concert halls in the world.

In the 1950th I became interested in radio technology, built radio receivers and transmitters with tubes and also the Mullard 10 W HiFi amplifier and a couple of Schmacks horns. I have worked professionally as a radio communications engineer and been teaching basic telecommunication and Mobile Technology at the KTH Royal Institute of Technology. My musical needs was satisfied with live music, by playing the violin/piano repertoire at home with my wife on her magnificent Bechstein grand piano, and playing in local symphony orchestras and chamber music groups. 

In 2004 I came across an English hifi magazine and read about the great sound from tube amplifiers, something I had been dealing with around 1960. I got interested, built an SE amplifier using the tube 6080 taken from an old HP model 608 RF signal generator and connect it to a Schmacks horn which my son was using as a woofer in his cinema sound system. With an old tape deck as signal source I was stunned by the sound quality. Was it really possible to get the same musical satisfaction from recorded music as from live concerts? 

I built another Schmacks horn, needed two for stereo, fitted them with simple speaker elements, but my brother came for visit and brought two Lowther elements. One of the elements had a broken voice coil but the other had only a damaged lining and worked. I was thrilled by the feeling of presence and sent the elements to Lowther in exchange for EX2 elements. Since then I have been experimenting with my hifi equipment trying to reach a sound in recorded piano music that is comparable to my reference, the Bechstein grand piano in the same room. 

I have built all kinds of power amplifiers, SE and PP differential. Just now I am using a copy of the old Western Electric Cinema amplifier WE91B from the 1930th as described by Thorsten Loesch on the Internet. It is an SE 300B amplifier with Lundahl output transformers. In 2004 I started to build very advanced RIAA stages but was never fully satisfied with the sound. For the moment I am using a copy of Jim Hagermans Octal Cornet RIAA stage with the tubes 6SL7 and 6SN7, tubes from pre 1940. My record player has gone from a Dual via a Thorens 166B with a Clearaudio Virtuoso wood PU, to the Clearaudio Master Solution as a record player. I tried the magnetic bearing which is very quiet but not optimum when the local bus drives by and our house is shaking. The standard bearing gives a stiffer coupling between turntable and tonearm and is a better solution in my environment. For tonearms I started with the Rega RB 300 which I modified, then switched to the good sounding Clearaudio unify, a unipivot tonearm which however was affected when the house is shaking. Then I tested the excellent Clearaudio TQ-1, good sounding and insensitive to the shaking. Of all arms I have tested this is the easiest arm to adjust for a good result. Today I am using Jeff Spall’s tonearm which is built from the Rega armtube. It is extremely stiff but smooth in the bearings with possibilities to adjust all the parameters in vinyl play back, but it is difficult to reach an optimum setup. For PU’s, I have Clearaudio Stradivari and Clearaudio Symphony, but just now I am using a simple Clearaudio Alpha, an MM PU. 

This is my music preferences and my experiences in amplifiers and turntables. What about my loudspeakers? I have experimented with different back loaded horns and open baffles, but always returned to the Schmacks horns because of the magnificent bass. Two years ago I rebuilt new Schmacks horns using 18 mm birch ply which is reinforced on all inside panels with 13 mm soft board. The original Schmacks horn was built from only soft board. Having two horns in our living room was one too much. Last year I used the saw on the left horn and made it into a damped quaterwave pipe. At the same time I came over two extra pairs of Lowthers, two DX2’s and two EX2’s, which I kept as spare elements. 

Having tested everything except different speaker elements, I started to look at options. On the Internet I read about Alnico magnets, but also about field coil magnets. It sent a mail to Lowther, who offered their PM5A monster Alnico drivers and would like to have two of my present drivers in exchange. I accepted and the PM5A’s were on their way. At the same time I found Wolf von Langa on the web where he announced a successful test with field coil magnets for Lowthers. I sent him a mail as well, and he offered his prototypes, which I accepted. The next step was to rebuild my speaker cabinets to accept the bigger drive units. The magnets are large, both the Alnicos and the field coils. At the same time I reconstructed the cabinets for an easy change of drive units. The speaker elements are now mounted in small modules, which fit in the speaker cabinets. Change of drive units is a matter of seconds. 

I was ready to evaluate the difference in going from DX2 Neodymium magnet to PM5A Alnico magnet, and then take the step to the Field Coil Lowther (FC). First I have to make clear that the DX2’s and the PM5A’s have not been running for more than about 150 hours each. The field coils are using my old EX2’s membranes which have been running for five years. 

There is more dynamics and microdynamics in PM5A compared to DX2, but the difference between the units after running 150 hours is quite small. It is an upgrade, but nothing else. Common for DX2 and PM5A is a “loudspeaker sound”, which I will explain later. 

Now to the field coils. What about the sound? This is not an upgrade. It is not more of something that already is there. This is something entirely different. There is only one possibility to describe the sound: You are listening to THE REAL THING! When listening to piano music on the DX2 or PM5A there is the tone itself with the reverberation from the concert hall that can be heard between the tones. But there is also something else, a type of noise or something which is absent in live piano performances, and this something is what I call “loudspeaker sound”. This something is missing when listening to the field coils. The space between the tones is “black but not dead”. The reverberation of the room is there. The feeling you get when entering a large hall with your eyes closed is there. And this is what you hear from the Field Coil speakers, and no more! The sound is extremely “clean” in a way that you can not imagine. It must be heard. 

To me it sounds as if the tiny magnetic parts that make the permanent magnets of the DX2’s and PM5A’s are not at a complete rest, but “shaking” with the music as if they are fixed with rubber bands. The foundation is not solid, in contrast to the field coil where the magnets are rock solid. 

A voltage source is characterized among other thing by its internal resistance. Low internal resistance results in a “stiff” voltage. To me it looks as if the field coils internal magnetic resistance is extremely low, compared to permanent magnets. The Alnico magnet of the Lowther PM5A gives a very high magnetic flux density of 2.4 Tesla compared to 1.8 Tesla from the field coil with a current of 2 A. The difference in sound can therefore not be explained by differences in flux density. All I can say is that the electromechanical motor in the field coil speakers works against a “rock solid” foundation that affects not only the midrange and treble but also the bass. The field coil has a “stiffer” control over the diagram of the speaker. 

What about listening to music? Are there any disadvantages? 

When listening to vinyl records from the pre 1978 period, records engraved from analogue master tapes, there is a new vitality in the sound. Sometimes there is bad distortion in loud choir parts, distortion that sounds like bad tracking of the pick up stylus. Then I use my polarity switches, located at the speaker terminals, to reverse the polarity to the speakers. Then the distortion disappears. This clearly demonstrates that the field coil speakers are so exact in their reproduction that polarity is extremely important. Of course you must use speaker cabinets that attenuate the back radiation from the speakers. I check polarity in the beginning of each music peace by keeping my head in the neighbourhood of the speaker and flip the polarity switch. It is easy to hear if the sound is coming from the speaker (wrong polarity) or from all around. 

Modern vinyl recordings and CD’s, manufactured from digital masters, tend to have a sharp brittle sound, which can be very annoying particularly in piano music. When teaching telecommunication I showed my students that in going from digital information to analogue signal using rectangular voltage samples, there is a lift in the treble. Consequently I inserted a LP-filter which start to lower the treble at about 10 kHz. With this filter digital recordings are quite enjoyable, and actually the same holds for MP3 music from my sons iPhone. 

The field coil speakers created the single most important improvement in my music system. I am very thankful to Wolf that he offered me his prototype field coils.

Kilimanjaro-Series A2L, Wolf von Langa A5000

© 2018 Wolf von Langa, All Rights Reserved. Email us.
Wolf von Langa produces worldwide unique field coil loudspeakers and drive units. Made in Bavaria, Germany.
WOLFVONLANGA® is a registered trademark, and is used with permission.