Sonus Faber Venere 1.5 in the Test

Give the Italians a Sonus Faber without solid wood, which does not arise in the home country of the instrument-making art – its ideals? No, they go back to their roots. Because the Venere is a natural, uniform monitor with excellent stage. And it is cheaper than you think.

The term manufacture is so out of focus defined as under high change become the magic word. Who not enjoyed even the superb processed, red shiny shimmering sculptures of the precious forged Sonus Faber, which seemed to breathe the Italian tradition of instrument building with each centimeter? And yet you can’t blame the most listeners, if they preferred speakers of classical production. Rational that is perfectly understandable – finally chassis, soft and acoustic tuning make the music and not the craftsmanship or finest paint first and foremost.

Now Sonus Faber Venere series wants to go down this road of reason: development and coordination in the own House, production under the most strict control at suppliers in the far East. Even though many high-Ender to believe still believe it’s not honor year round still a sign of suboptimal quality. On the contrary, craft progress has made huge in the Middle Kingdom.

Sonus Faber Venere 1.5: housing

On the photo you can see the compact box Venere 1.5 still not immediately as Sonus: the white or black piano varnish is technically well done, as the mat baffle, but the manufactory Ellen magic, the feeling? hl, formally to be able to smell the Italian workshop, verspru? hen they do not. But live after it has gone around once, stands out: a Typical Sonus Faber, with the housing ongoing lute-shaped to the rear and the still more than ever inclined roof, the standing waves in the body almost completely prevented. Thus, also the reflex slot on the front may take place, which was built instead of a large pipe in relatively low vote (56 Hz). As optical luxury, the Venere offers a glass surface on the slope.

But form follows here u? berwiegend of the function: the strongly curved baffle is fu? r an effective Unterdru? aging edge reflections, at the same time one is Big Sound? currency integrated to the tweeter, which maintains the angle in a wide range and so opaque on the handset should focus on the direct sound . Since different something vertical and horizontal directivity of sound arrangement, also of the waveguide was formed accordingly.

Sonus Faber Venere 1.5: building

At the tweeter , we constructed a high-quality, coated silk dome with unusually high 29 mm voice coil. That requires a careful adjusting of the dispersion behaviour – here would be smaller dome in the advantage – but leaves considerable freedom in the choice of the cut-off frequency and slope.

Because of the waveguide in addition brings efficiency, the dome from 1800 Hz can be established, low-midrange driver according to fru? be hidden here. The drivers with outdoor bin measuring 15 centimeters – the membrane made of a special plastic that is interwoven and self bonding measures 13 cm including beading – shows there no pronounced BU? ndelungseffekte, what makes possible a homogenous transition of beam behavior. He plays on a relatively low internal volume, because the box goes to very narrow backwards.

Sonus Faber Venere 1.5: hearing test

She sounds but not narrow. On the contrary. Leonard Cohen’s album “songs from the road” sounded like the prelude to a romantic evening in subdued volume and u? ber a pleasant glowing tube, the Sonus is recommended with its 6 ohms minimum impedance but downright fu? r this species. The combination with the Cayin A-55T u sound? surprisingly full-bodied, yes some already so saturated, as the songwriter before the concert would have allowed too much an Italian dessert. But Su Dutch laxity or whitewashing befu? rchtete, became disabused: both the finely nuanced, very natu? natural timbres as also the mu? helose accuracy and homogeneity the Venere as high-class, detailed monitor showed, for hours on end stress-free music listening allows you to.

The deep bass of Rene Pape (Verdi Requiem, conducted by Pappano) was more sonorous than usual, unlike? r placed Swabian precision, like u? ever sat all instruments and singers even in sub optimal seating position amazingly exactly on their places, without the handset too close to ru? press. The space in all dimensions was widely stretched, without effort, but never phase diffuse.

The versatility is evident in this complex work: the Venere could bring equally loose dynamic attacks and massive tutti to hearing as the quiet, delicate A cappella passages. Only went the woofer in the drum beats of the “Dies Irae” something fruh the steam out. This was reflected also in the bass-rich “Pete’s Blues” (Roy Buchanan), where the Bass pulses lost much at high levels of power and control. The Venere knu? pft to best small monitor traditions and overflow gelt but many representatives of this genre – it connects but accuracy and comprehensive, enjoyable listening.

Digression: baffle geometry

The design of baffle decides u? ber the sound radiation pattern. A freely mounted dome emits sound in the lower octaves by her (approximately up to 7000 Hz) very wide, almost in the full Chamber. It is mounted on a flat, wide baffle ensures the latter fu? r a BU? ndelung in half space characteristics. This is from two Gru? ND rather Unexpected Nts: to the one emitted then strong noise components to the side panels in addition to the boxes, on the other hand increases the risk of edge reflections on the edge of the housing. To reduce both the baffle altogether was bent at Sonus Faber; Thus, the edge breaks be toned down and kept away from the sweet spot. Also provides the waveguide to the canopy walk? r narrowing the beam angle, so that the edges only of weaker vibrations u? ever be achieved.