EgglestonWorks Viginti loudspeaker Specifications

Sidebar 1: Specifications

Description: Dynamic, floorstanding loudspeaker with rear slot-port loading. Drive-units: 1" beryllium-dome tweeter, two 6" carbon-dome midrange drivers, two 10" carbon-cone subwoofers. Crossover frequencies: 120Hz (low pass) and 110Hz (high pass), 2kHz. Frequency range: 20Hz-40kHz. Impedance: 6 ohms nominal, 3.5 ohms minimum at 29Hz. Sensitivity: 87dB. Recommended amplification power: N/A.
Dimensions: 50" (1270mm) H by 14" (355mm) W by 23" (585mm) D. Weight: 255 lb (116kg).
Finish: Piano Black, anodized aluminum side panels, carbon-fiber accents.
Serial numbers of units reviewed: V8837LE, V8838LE.
Price: $38,995/pair. Approximate number of dealers: 10.
Manufacturer: EgglestonWorks, 540 Cumberland Street, Memphis, TN 38112. Tel: (901) 525-1100. Web:

540 Cumberland Street
Memphis, TN 38112
(901) 525-1100

Ortofan's picture

... "although extremely expensive to implement, the 'Transmission Line' midrange porting design delivers midrange detail and purity, which to our knowledge, cannot be achieved in any other way", he sounds like the reincarnation of the late Bud Fried in his proselytizing on the subject transmission line loading.

MF's comments regarding the "fun factor" from listening with these speaker parallels sentiments in Steve Guttenberg's recent video describing how, with some speakers, you feel the music:

That internal cabinet brace in the shape of a bass clef is just too cute.

JBLMVBC's picture

"Nope. A pair of Vigintis costs $38,995. In the world of high-performance audio, that price is ridiculously low for what you get."
That's in the world of high end... Because in the professional world, sensitivity is at least 96dB/w/m and prices are half. JBL pro studio monitors of the 44 series Japan available should compete favourably against this other incarnation of impossible sound reality reproduction.
Case in point:
"His tom fills were so slammingly perfect and believable that the only thing to do was to turn up the volume until it was at the level of live drums."
With a pair of 87 dB/w/m it would require 1028 watts to get that realistic 120 dB drum set or full orchestra tutti. The same can be reached comfortably with a pair of 98 dB/w/m speakers under 128 watts...

supamark's picture

no. just no. I know you're trolling, but I've heard JBL pro monitors - both the 4412 amd 4430. the 4412 was somewhat unpleasant to listen to but hard to break, the 4430 was okay to listen to but you missed out on a lot of detail a better monitor would show you. the 4412 was fairly popular - name recognition + hard to break (and Bruce Swedien used 4312's I think for a while). I will give JBL credit where it's due - they have made good horns for a while now and continue innovating (horns still VERY popular in sound reinforcement).

For most people, pro monitors make horrible speakers for casual listening. most people don't want to hear all the flaws in their recordings - it's really annoying.

JBLMVBC's picture

"For most people, pro monitors make horrible speakers for casual listening. most people don't want to hear all the flaws in their recordings - it's really annoying."

So pro-monitors expose the flaws in people's recordings, in other words reproduce faithfully EVERYTHING recorded as in serving what High Fidelity is all about, while the corollary of your statement is that other speakers don't and that's great??
Then why spending top $ on any other component with pompous borrowed Grand Crus or composers names that is supposed to extract every detail of the grooves or bits?
Listen to real instruments: that's what it is all about, not intellectual constructions.

Psychedelicious's picture

...because to my eyes, there's nothing pleasing about the look of those speakers.

jimtavegia's picture

It looks to me like the sound is the result of great form and engineering. It often seems like as we go up the quality scale the less of a rectangular box we find. The follow-up will tell the tale.

eriks's picture

"The subwoofers are crossed over to the midrange drivers at 120Hz (low pass) and 110Hz (high pass)"

For the record: this is absolutely typical speaker crossover design. What matters is the electro-acoustical matching throughout the region, not the specific Hz at which either side may measure -6dB electrical at.

Allen Fant's picture

Beautiful speaker- MF.
I am surprised to read that Bill is no longer involved w/ Eggleston? Whom owns/operates this company presently?

scottsol's picture

Bill was all but forced out in 1998 and the company went bankrupt in 1999. Mike Sabre, who had been handling the business end of things bought what was left for $8000 and the company resumed operation after a three month pause.

You can read all the grim details here:

SNI's picture

Looking at the measurements of this speaker, it shows someone building speakers, who should rather not.
From below 1 KHz until 10 KHz, a gigantic resonance is defining sound.
And drivers are driven with opposite phase.
Almost everything you should not do is done.
I hope the craftmanship is beautyfull though.