[Albert Von Schweikert]

Hello My Fellow Audiophiles,

There has been a very high degree of interest on our latest "super" speaker, the VR-111 XS.  We developed and fabricated this system to find out what was possible if we did not place a budget on the project.  After spending three years on R&D of each subsystem, including a new cabinet design, new drivers, new servo-controlled subwoofers (slaved to the main tower midbass drivers) and crossover circuits, we feel that we have found a way to duplicate the huge scale, dynamic range, clarity, and dimensionality of a live orchestra playing in a world-class concert hall.  We don't know how many customers could handle a system of this magnitude, which weighs a total of 6,000 lbs and utilizes six towers, but we felt compelled to see what we could do to advance the state of the art.

Needless to say, this system will not be duplicated, since it was mainly an engineering project sponsored by a close friend.  Our "version for sale" is a scaled version called the VR-100 XS, which uses much of the VR-111 XS technology, but is more affordable and can be placed in any sized room.  The VR-100XS was written about in Robert Harley's article in The Absolute Sound, where he called it a "world class system."  In 2014, Mr. Harley named it the Best Sound Of The Show at the Newport Beach show.  We invite you to find out more about the VR-100XS, as we believe it is the current state of the art (not counting its big brother, the VR-111 XS).

Over the next few years, we will be showing off parts of this new technology in smaller, more affordable speaker systems.  The first of these is called the VR-55 Aktive and was just shown on the front cover of The Absolute Sound magazine.  It was the feature article, taking precedent over Wilson, Magico, and a few other good speaker systems.  Naturally, we are proud of this accomplishment.  After winning several "Best Of Show" awards both in the USA and other countries, our technology has proven itself.  Over a period of a few weeks, I will reveal the technical details on how we accomplished the feat of altering the course of loudspeaker design forever.

Happy Listening,

AVS

[es347]

..we await the 2nd installment with bated breath Albert.  Since this is such a unique project and installation we expect high res photos start to finish at the very least.  I would suggest taking it a step further and chronicle the whole enchilada via a HD video!  Let's face it, this is a once in a lifetime thing and the only way we of the plebeian persuasion can experience something like this is via proxy...an HD video.  Ok, show of hands...who's with me on this? 

[revg1952]

Count me in as another Plebian in favor of your idea
Rev G

[Albert Von Schweikert]

PART TWO

Mr. Robert Harley, the Editor in Chief of The Absolute Sound, had visited our Design Studio last year and wrote a long pictorial article that was subsequently published by TAS in both the magazine and on their website.  He felt strongly enough about our large laboratory and anechoic chamber, along with our three sets of test equipment, that he felt compelled to write an article about the VR-111 XS which were still in the final assembly stage.  He got to see the internal construction of the 4" thick cabinet, the raw frame drivers we had built for this system, and other parts that were arriving daily to finish the final assembly.  Here is a link to that great article:

http://www.theabsolutesound.com/articles/robert-harley-visits-albert-von-schweikerts-design-laboratory/

CABINET DESIGN
Although it is true that a very solid cabinet can be made from high density resin impregnated wood powder (Wilson), or solid 1" thick aluminum  (Magico), or cast resin (various companies such as Hansen), we felt that using a single material would not be quite as elegant as inventing some other form of noise reduction.  Since it is true that "any" single material will ring at its characteristic resonant frequency, does it not seem to be a better idea to combine materials that would cancel out the cabinet resonances, period?

As I have friends at JPL who have access to very sophisticated laser interferometry equipment and a super computer, I knew that if I came up with a new type of cabinet material, we could easily test the material scientifically;  I also like to bounce ideas off of my friends to see what they think before I waste time.  We decided to combine several materials in layers that would resonate at frequencies that would cancel each other out.  If look at the equation : (+1) + (-1) = 0, you can easily see that my "cancellation" design would come the closest to a "perfect" cabinet that would not add distortion (called "coloration") to the driver output.  Since the cabinet has far more surface area than cone area, it only takes 1/20th of the movement of the cones for the cabinet motion to be as loud as the driver output pressure (considering the fact that each cabinet has 20 drivers with 20 times less surface area than the cabinet).  Please note that the cabinet resonance can only be a) eliminated or b) "tuned" to one single frequency.  It is impossible to design a cabinet that would change its resonant frequency to match the moving target of a music signal.  Thus, it is mandatory to eliminate the coloration completely.  By consulting charts of MECHANICAL PROPERTIES OF MATERIALS, you can see the materials resonant frequency (rated by thickness and surface area), its "Q" rating (the strength of the resonance), plus many additional other characteristics you'll require to design this layered construction.  The ability to bond the different materials is critical, as is the assembly procedure.

The VR-111 XS cabinet is 4" thick, and consists of the following layered materials:  a 2" thick resin impregnated HDF panel, a 1/4" plasticene bonding layer, a 1" thick artificial stone layer, bonded to a 1" thick hard felt inner layer facing the drivers.  The front baffle has an additional 2" thick aluminum front baffle, machined to accept the drivers and is drilled for threaded bolts to attach the drivers.  The aluminum baffle is damped by a 0.5" thick layer of plasticene which is attached to the 2" thick HDF resin board from behind, using hidden bolts.  The brand of plasticene we use is made for the US Navy by E.A.R. to damp submarine hulls, which are quite simply, tubular bells which ring like a bell.  The subs use a 2" thick layer of this material, which looks and feels like sticky black tar, and when it touches the surface of wood, resin, or metal, the vibration is totally absorbed and deadened.  The adiabatic engergy (motion) is converted into isothermal engery (heat) by this material.  Although expensive and very difficult to find, it is the "magic" ingredient in our recipe.

At JPL, we tested the quantity and frequency of noise radiated by our Triple Layer noise-reducing design, compared to solid aluminum, and we were not surprised to find that our design was several times more lossy than aluminum.  It was also far better than resin impregnated HDF.

IMPORTANT NOTE
I certainly hope that there are no more Luddites that believe that cabinet resonances can be "tuned" to the sound of an orchestra.  The Brits are way off base with their thin plywood cabinets, and purposely design speakers with a "warm" and "woody" sound quality.  This is by no means the way to design a transparent reference-grade speaker system.  When I owned a few pairs of BBC inspired designs, I was fully aware that I was listening to music that was colored by the speakers. However, at the time, electronics were harsh and many recordings were poor, so I thought making a warm and distant sounding speaker was a good design choice.

Now I know better, as experience is a great teacher!

[es347]

..my VR5 Anniversaries were one of the early adopters of the multi-layer approach and they are essentially resonance free...as dead as the proverbial door nail... 

[htradtk]

I'm with Gavin, a video showing this system would be great. To add, I wonder if this client that brought this system would allow a listening session? Even though I could NEVER afford or even build a room to accomedate a speaker system of this magnitude, a listening session would be nice. Heck, I'm still dreaming of owning a pair of those gorgeous VR-55's!

Henry

[Albert Von Schweikert]

DRIVER ARRAY
As our client has a Time Aligned and Phase Consistent pair of VR-11SE Mk2 at this time, he had no desire to deviate from this proven technology.  Although we discussed a giant planar system using either an electrostatic or ribbon driver, we had no confidence that anyone could achieve the SPL required to fill the very large room, nor the dynamic range of a large cone system using a line array of the world's best drive units.  To prove this to myself once again (as I had sold my Quads years ago), I did some quick calculations about how much surface area would be required to achieve the target sensitivity (for dynamic range considerations) and the required 10Hz to 100kHz frequency bandwidth target.  The problem is that a huge electrostatic or ribbon would have such a small focal point that the listener would have to have his head in a vise to hear a 3-D image!  Our customer decided to pass on that, since he has assorted listening seats spread around the room, and he also enjoys walking around the performance hall and hearing a simulation of an orchestra, no matter where he is standing (or sitting).  One of his highest priorities is the closest simulation to a live performance as possible, and our rear firing Ambience Retrieval System creates an almost spherical wave front that is very close to being truly omnidirectional.  The waveform shape is, by design, a cardiod pattern.  Since music is a series of microphone voltages, it makes sense if the speaker system behaves as a mic in reverse -- thus we can truly hear what is actually on the recording, with this method of decoding the original waveform.  It's similar to analog-to digital encoding and then again back to analog using a digital-to-analog decoder.  It makes perfect sense, does it not?

As we had rejected building a large planar or plasma speaker due to the reasons mentioned above, we decided to do another massive roundup test of every cone, dome, ribbon, and AMT tweeter available on the planet.  Here were the target considerations that we factored in when ordering test samples from various factories around the world:

1. Low distortion (as close to zero as possible);  this speaker HAD to be the cleanest sounding design available.
2. Accurate transient response with no ringing or deviation from an electrical pulse;  this would insure accuracy to the signal waveform.
3. Transparent sound quality; i.e. detail without aggression and depth and dimension HAD to be in the "outstanding" range;
4. Wide dispersion;  we wanted as close to an omni-directional radiation pattern as possible; this we achieved with our Rear Ambience System.
5. Controlled directivity;  this is an important factor in achieving the sharpest image focus that is possible.
6. High sensitivity using long excursion drivers;  the customer wanted his system to sound as close to a live orchestra as is feasible.
7. Wide bandwidth; our target was 10Hz at the bottom and 100kHz at the top end, without strain or distortion at high SPL's.
8. Flat frequency response; from the standpoint of the raw drivers, this aspect was not as important as we had generally thought, as it is simple to tailor the response with EQ in the crossover circuit.  We planned to test a DSP-based digital crossover system against a pure passive analog crossover system, as our client did not wish to leave any stone unturned.

ACTIVE DSP CROSSOVER AND ROOM CORRECTION
In 2006, I built two pairs of VR-9SE Mk2 for my personal use at home and at my recording studio.  For my studio pair, I decided to use the DEQX DSP-based digital crossover that also features room correction.  As the VR-9SE Mk2 is a five way system, this required that I purchase five stereo amplifiers.  I had my assembly crew build the first pair of VR-9SE Mk2 in the passive version; as you may know, all VR-9SE Mk2's come with a powered subwoofer, but the 8" midbass drivers, 7" midrange cone, and all tweeters are crossed over with a passive circuit, driven by the customer's main amplifier.

While this pair was being finished, we built a second pair with no passive crossovers.  We purchased three different brands of digital crossovers, with the DEQX being the better unit, with a Lexicon and Behgringer unit for backup and testing purposes.  After several months, both speaker systems were broken in and operational.  For amplification for the DSP active system for my recording studio, we used several different brands of amplifiers to find out what sounded best.  Among the brands were Bel Canto, Mark Levinson, Krell, Pass Labs, and Spectron, with tube amplifiers from VAC and VTL.

RESULTS OF ACTIVE VERSUS PASSIVE CROSSOVER TESTS
To my sheer surprise, the passive system sounded FAR better in nearly every way, except for a slight loss of dynamic range that multi-amping provides.  The problem with the active system was that everything was being digitally implemented, with analog to digital and digital to analog conversion all over the place.  The sheer quantity of inexpensive DAC's lowered the quality of sound to a degree that we did not believe was possible.  It is true that we use extremely expensive passive crossover parts and internal wiring in our Production Model versions, while all of the DSP-based crossovers are basically mid-fi designs using very inexpensive parts from China.  Alas, you get what you pay for, and a fully active speaker is not in the cards at this time.  We decided that the VR-111 XS was to have the world's best passive crossover network system mounted inside a shielded and vibration-proofed enclosure sitting behind the main tower speakers.

CONE AND DOME MATERIALS TESTED
It is no secret that I had been indoctrinated in the school of "musicality" (after all, I was a professional musician for a few years) and had previously used organic based drivers for midrange and treble. While I have been using metal coned woofers for their clarity since 2001, I had used layered compounds upon paper in my custom Audax midrange drivers to achieve stiffness and damping.  During my long term use of the Audax paper midrange cones, I had tried titanium metal and pure ceramic cones, but these particular cones sounded harsh and had peaks that were very difficult to control with "suckout" filters, which I do not use due to phase shift and a slight loss of clarity.

For this reason, I decided to wait until better cones could be developed, and after many years, the natural progression of R&D at several companies have led to the newer "high resolution" drivers that we now employ in our VR-55, VR-100 XS and VR-111 XS.  As I am a transducer designer myself, having worked for ESS Laboratory and KSC Industries as a transducer designer back in the 1980's, I had extensive experience with the sound and behavior of different types of cone and dome materials.

CERAMIC TREATED MAGNESIUM
For the top-of-the-line series of VR-100 XS and VR-111 XS, we chose to use ceramic coated magnesium alloy cones, as they have the desired ideal combination of Youngs Modulus (ratio of stiffness to weight), internal damping (to eliminate ringing in the transient response), neutral sound quality without ringing or coloration, and extremely low levels of distortion.  Although we also build speaker systems such as the VR-55 Aktive using ceramic-based cones without the magnesium substrate, their sound is in the same family group, i.e., they are both very neutral, clean, and fast.

MY PERSONAL SONIC GOALS
Although I like to play a lot of old recordings from the 1960's that are a bit bass shy and somewhat noisy, I want to hear clarity but at the same time, I wish to also hear "musicality," which appear to be conflicting goals.  Many designers using bright electronics and/or old recordings they are intimately familiar with, tend to purposely design "mellow" sounding products that will create synergy.  However, these "mellow" or "musical" components do not give you the resolution and clarity found in the latest generation of recordings and electronics.

IS RESOLUTION COMPATIBLE WITH "MUSICALITY?"
In several of my designs since the VR-100 XS from 2012, I had found many ways to design very stiff and light metal or ceramic cones which do not have ringing in the transient response or any harshness in their sound.  Although these are extremely "clear" sounding drivers, they are also quite musical, as they let more information through to your ears.

Stiff and light diaphragms are extremely "fast" when reproducing transients, and since these cones will not bend, they will have superior clarity, depth, and transparency as long as the motor does not add distortion.  For this reason, I exclusively use Neodymium magnets along with underhung voice coil assemblies on all midrange and treble drivers, as they will also have the lowest distortion along with the greatest clarity.  So, the answer to my question is "yes," high resolution drivers can also sound very "musical" but please note, this is not true of all hi-res drivers!  Many are still bright or harsh; many also emphasis the distortion and glare in poor recordings.  I do not consider this "accuracy" unless the signal itself is also harsh and bright. 

In order to develop a driver that is high in resolution as well as being musical, there are many factors to consider when designing the final driver.  Many times, we have the OEM (original equipment manufacturer) modify their designs to our specs.  Often, I personally find the way to modify the drivers if the original designers cannot see past the problem.  This is one of the true arts that a designer can perform. While is is true that most anyone can select good drivers from a catalog and build a speaker box in their garage, this does not guarantee that their creation will sound good, and it would be very rare for this creation to be a world beater.  I'm sure it has been done, but it is a rare occasion.

INTEGRATING THE DRIVERS
Since it is virtually impossible to design a sonically "invisible" drive unit (no matter what you are told in an advertisement), it is very important to use the most neutral sounding cone available, then use it for every frequency range to keep the sonic signature consistent throughout the range.  The VR-111 XS uses ceramic coated magnesium alloy cones on all drivers, including the main dome tweeters.
The sonic signature suddenly becomes nearly invisible when this cone is used from 10Hz to 20kHz.  Although the folded ribbon AMT super tweeters use Teflon diaphragms with aluminum foil conductors, they have a very similar sonic signature.  The AMT super tweeters don't come into play until 20kHz, so it is impossible to hear a lack of coherence to the dome tweeters. 

TO BE CONTINUED

[gammajo]

Wonderful explanation of these new VSA technologies and design goals and executions - thanks Albert!

[htradtk]

Albert,

I've been reading this thread with great interest. I had no idea there was so much detail and technology involved in the design of a speaker system. Wish you much success with all of your current and future speaker designs!

Henry

[Albert Von Schweikert]

CROSSOVER TECHNOLOGY
As mentioned previously, after comparing an active DSP five-way amplified VR-9 speaker system I built for my recording studio a few years ago, to one of our "standard" passive crossover versions using the same drivers and cabinets, I was amazed that the active system sounded quite "digital" and artificially cold, along with being somewhat two dimensional. The active version sounded boring, quite literally.  The active pair had that dry, early digital sound, totally lacking in musicality.  After this eye opening experience, I concentrated on trying to improve upon my original passive Global Axis Integration Network.  I had no more desire to hear inexpensive analog to digital and digital to analog conversion chips using inexpensive Chinese circuit parts and mid-fi construction and sound.  Our ears demanded better.

Using expensive parts like $1,800 Deulund beeswax capacitors with silver foil will certainly push your crossover budget into the nose bleed levels of expenditure (especially if you need 16 pcs of them!), but as I wanted to try every available crossover part, I did spend a small fortune on samples of every good capacitor, inductor, resistor, and internal wire that we could find. Although there are several good sounding types of inductors available, we chose to use Single Crstal copper foil ribbons wound into a round coil with no metal inside the center.  Resistors were easy to find, as there are only a few brands that have a neutral sound.  After trying 12 different brands, we chose the a famous-maker metal film type, stacked in large groups for power handling.

Regarding those Deulund caps, we discovered that there is no one "perfect" capacitor, as many different types of construction and materials had different types of sound qualities  Eventually, I came to realize that this opened up the opportunity to use a combination of different types and brands of capacitors, depending where in the circuit the caps were placed.  Obviously, there exists thousands of different layouts and combinations, so it literally took my assistant and I almost one year to develop the new circuit and parts recipe. This is an amazingly long development period,  especially since we use a computerized prediction software program (S.P.I.C.E.) that helps us test hundreds of combinations of circuit values per day prior to listening to the actual circuit.  After a year, we felt as if we had designed and rejected hundreds of thousands of different types of circuits and topologies, not counting the listening tests of the combinations of parts involved after the final circuit was locked in!

So, to make this simple, we have developed a 'recipe' of parts combinations that result in a very full, rich, and detailed sound quality, lacking nothing. 

I can't get into specifics of the crossover slopes, frequencies chosen, and circuit Q's here, as I would have to write a textbook on how this crossover was developed and why it works so amazingly well.  I would imagine that the book would have to be at least 100 pages or more, as the circuits are not only complex, but went through various developmental changes as we dug deeper and deeper into how the drivers behaved to transients.

My feeling is that a crossover is a failure if you can hear any of the drivers standing out; the result should sound like a single driver.  The crossover points and slopes don't matter as much as you would imagine -- there is no "magic" in any crossover design, no matter what advertising materials you have read.  The crossover slopes, frequencies, and Q's depend on the electro-mechanical characteristics of the drive units themselves.  Suffice it to say that the phase response, frequency range versus distortion at the beginning and end of the curve, and both real and "imaginary" impedance curves are what drives the design.  By definition, the point source array must be taken into careful consideration, as the dispersion (both vertical and horizontal) depends on how much driver overlap you're willing to live with. 

In my case, I don't like driver overlap, as I feel that treble is distorted and smeared (also called FM modulation) when reproduced by woofers, and conversely, bass distorts tweeters to a significant degree.  On the other hand, I do not like super steep analog filters, as you can accidentaly design a "tank circuit" with a high Q ringing problem.  Many audiophiles believe that crossover parts "sound bad" or "absorb too much detail" and so forth.  This is true of only very low quality crossover parts -- high quality parts don't have much (if any) sonic degradation and I've never heard details being obscured or absorbed by any good quality part during A/B/X comparisons.

"SERVO CONTROL" PASSIVE CIRCUITS
If you have ever seen a speaker systems impedance curve in a magazine like Stereophile or elsewhere, you know that it looks like a roller coaster.  Raw drive units also have roller coaster impedance curves, with a peak at resonance and a rising impedance at upper frequencies.  The peak at resonance is caused by an efficiency increase at the frequency where the suspension (surround and spider) and moving mass (weight of all of the moving parts including the cone, suspension, voice coil, and so forth) have an interaction, i.e., it is the most efficient portion of the mechanical resonance.  The rise at high frequencies is caused by the inductance of the voice coil, which is, after all, a small inductor, influenced by the movement of the voice coil in the magnetic field.

Since these peaks and non-linear behaviors are frequency dependent and are caused by motion of the voice coil in the magnetic field, a successful crossover design will compensate for the varying impedance at the frequencies involved.  This requires either compensation filters to eliminate the impedance peaks, or better yet, a "dynamic" compensation circuit that operates in different ways depending on the impedance and frequencies involved.  Although not generally known, a cone driver’s voice coil, moving in the magnetic field, “kicks back” a signal into the ground return connection: this behavior is termed “back electromotive force” or back-EMF.  It is possible to use the back-EMF signal to “sense” the operation or non-linear operation of the cone/voice coil motion.  By using this signal to monitor the accuracy of the cone motion, it can be considered to be a form of servo control, since the output is constantly being monitored by a circuit that compares the input to the output of the circuit to ensure correct operation of the crossover.  To our knowledge, our circuit is the only one of its type.

HOW THE SERVO CONTROL BACK EMF CIRCUIT WORKS
My circuit design is similar to Zobel impedance leveling circuits, in the fact that they are not in the direct signal path but are in the ground return circuit path from the speaker back to the amp on the “negative” side.  This has the positive effect of keeping most of the crossover parts away from the direct signal path, ensuring the greatest level of fidelity.

Since we have a “perfect” signal going into the crossover circuit that can be compared to the signal reproduced by the transducer, it is a simple job (if you know how to do it) to design a comparator circuit that can equalize the “difference” signal created by the transducer non-linearities.  The “passive servo” provides a “complete solution” of the crossover circuit to integrate the bass, midrange, and treble responses in both time and amplitude together at the transducers point of wave launch on the outside of the baffle.

Naturally, using a Time Aligned baffle (where the acoustic center of each driver is the same distance to the mic or ear) and using phase coherent and phase consistent circuit design technology is part of the effectiveness of our new circuit.  It is a major reason why the VR-100 XS and VR-111 XS's have amazing levels of realism.  I started working on this type of crossover design in 1976 while I was conducting research at the California Institute of Technology, so it amuses me to read an advertisement for another brand of speakers whose designer claims that his circuit is "the first frequency and phase accurate crossover in the world."  I met the young fellow who makes this claim and I don't believe he was even born when I was in college.  Likely he is unaware that someone has beaten him to the punch.

TO BE CONTINUED

[gammajo]

The Vr111 is a massive and wonderful speaker system for what I understand is a very large room. Is there a sweet spot relationship between speaker size and room size? For example will the 55 active (perhaps with pressure equalizers) play best in rooms within the range of x to x cubic feet, the VR111 what size? 100Xs what size, etc?
Or is it always the bigger the speaker the better all else equal, when bass can be controlled to match the room needs so that the room is not over driven?

[kernelbob]

Hi Joe,

I don't have first hand experience with the 55's or the 111's, but for my 100's Albert has discussed some of his design goals.  The one piece tower was chosen over a stacked system to provide better rigidity, but also especially to allow the drivers to be more closely spaced.  This tighter spacing was a requirement to have the drivers' wavefronts become coherent in a shorter distance than would more widely space drivers, allowing the speakers to work well in smaller rooms if desired.

The original minimum listening distance goal was 12 feet.  It may have ended up being closer after all the crossover fine tuning was finished.  My primary listening distance has been around 18 feet or so with the speakers 12-1/2 feet apart center-to-center.  I just tried putting a chair 12-1/2 feet from the speakers (the classic equilateral triangle setup) and the imaging, depth, and resolution of individual instruments & voices is striking.  I may have to move some furniture tomorrow and explore this closer listening position more.

If you use the XS subwoofer system with the subs placed at the rear of the room and dial in the appropriate phase offset, the speakers will work surprisingly well even in a small room.  Robert Harley of TAS visited the VSA design studio to see the 111's then being built.  While there, he listened to the 100's with the XS subwoofer (one I think) in a small room.  In a TAS article, RH discussed how the system, even in a small room, performed exceptionally well and surprisingly had very smooth, well balanced bass.

I expect the XS system would work well in a small room VR55 installation as well.  Maybe Albert can provide more details on suggested minimum room sizes.

Best,
Robert

[gammajo]

Kernellbob Thanks for the input, glad my question got you to experiment with more near field listening - sounds like they integrated well even at this shorter 12 foot distance, which I could manage in my room, in fact I now listen to the 55s at about 11 feet. I was just wondering what the large tower designs provide over the small cabinet given Albert attempted with the 55 to convey as much off the dynamics of larger speakers in the 55, as I understand it. and if there are any draw backs to larger designed in smaller spaces

[Odal3]

Wow!

[JackD201]

The Legend

 

[Holli82]

Nice

[es347]

..since it's rather unlikely that any of us VSA circle jerkers...uh make that circlers, will ever visit Jimmy's little slice of heaven, someone needs to sit in the sweet spot armed with a HD camera and HD audio capability so we plebeians can at least enjoy somewhat of a proxy experience.  I swear if I could physically stand the umpteen hour fight in coach, I'd show up on Jimmy and Jack's door steps...but alas...sigh

[ceedee]

HD Camera and HD DSD Audio Gavin?

I have both.......

[es347]

..then get yourself over there Cor and play cinematographer 

[violetmachan]

hi guys

Albert Dammon Jimmy Jack and VSA

Looks Celestial !!!....almost biblical at the gates of the Goddess of sound!!!

Ho ho ho....very well done  ....must be one major sonic bliss*

need more footage guys