Vandersteen has been one of the most conservative companies in that respect; the original Model 2 underwent only one significant cosmetic change in over…
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High-end-audio manufacturers are both more and less adventurous than their more mainstream contemporaries. While mainstream-audio manufacturers will almost invariably change their models every year, the changes are more often than not cosmetic—at least in between successive models. High-end manufacturers, on the other hand, will keep the same model in the line for several years, but make cosmetically invisible refinements along the way.
Dual-input, screw-type barrier terminals, for either the recommended bi-wiring or for bi-amping, are located at the rear of the enclosure, along with level controls for both the midrange and tweeter. These level controls are limited to a useful range of +2 to -3dB.
So far, the description of the 3A tracks that of the 3 almost down the line. But the 3A incorporates a number of those invisible refinements. The woofer/acoustic coupler interaction has been modified for a more extended bass response (though the specs don't reflect any change here). The acoustic coupler itself has benefited…
The sound of the 3A was not entirely at odds with my impression of Vandersteens in the past—a little warm and forgiving rather than analytical and detailed—which is why I didn't immediately look for solutions. But after a couple of days of this, I was certain that something had to be done. My first reaction was to rearrange the listening room and try other setups—the diagonal setup I'd chosen didn't allow me to try the setup guidance suggested by Vandersteen in their excellent owner's manual. I wasn't concerned about the tilt-back of the 3As, as I had carefully adjusted that aspect of the…
However, the introductory drumstrokes on the Jurassic Park soundtrack (MCA MCAD-10859) did cause the speaker to break up at realistic—though not unreasonable—levels. The drumstrokes didn't cause the woofer to bottom, but did result in a distorted, fluttery sound until I turned down the volume to a level that degraded the sheer visceral impact of the piece. I wouldn't expect this to be a problem in a smaller listening room (mine has a volume of about 5000 cubic feet. I have found this particular passage to be a problem for other loudspeakers—including the Infinity Epsilons when they're driven…