Sensitivity on our measurement is a generous 89dB (2dB better than claimed, perhaps because we base our figure on a far – rather than nearfield measurement?). To put this useful figure into context, bass output is a strong -3dB at 20hz, and about +4dB between 28hz and 55hz; the amplifier load stays mostly between 4 ohms and 6 ohms throughout.

The overall tonal balance under in-room conditions holds within impressively modest +/-3dB limits from 60hz up to 3khz (in-room, far field), though it should be added it's not particularly smooth.

There is good treble extension even when the tweeter is effectively turned off, but the degree of treble roll-off above 3khz is significantly greater than the ideal under these conditions. This can be more than compensated by turning the control up, as this can add up to something like 8dB at 20khz and looks very well integrated with the main drivers.

Thumping system

Aurousal promised exceptional stereo imaging for the VS and this was amply confirmed in our listening tests, which turned out to deliver spectacularly good stereophony with excellent depth perspectives.

The overall tonal balance is also very satisfactory indeed, especially when the treble control is carefully adjusted: subjectively we found the halfway setting on the control about right and this was confirmed by our measurements. The little potentiometer on the terminal block is clearly well-chosen.

The bottom end can thump with some material, so it's essential to keep the VS well clear of walls. Indeed this factor probably explains why some degree of tweeter output is desirable, as it's subjectively desirable to balance some excess at one end of the band with compensating strength at the other.

If the tweeter is turned right down (presumably completely off), the overall character is dull and heavy. Add some extra treble – enough to be audible, but not enough to be too obvious – and the extra air lightens up the character and restores a natural neutrality.

Beautiful simplicity

The sound could be sweeter through the voice band and has a thin, edgy and bright character, though it does have good clarity and very good coherence.

The speakers sound particularly good on the heartworn highways CD, a relatively simple but very high-quality recording of country music from the early 1970s, but the same was also true of other fundamentally simple recordings – and indeed radio broadcasts – which the basic simplicity of this speaker system seems to complement beautifully.

For the very best results, the ears should be equidistant from the two main drivers, so the mid-point between the two drivers should be aimed directly at this listener's head. This will deliver the best possible coherence and stereo focus, as well as maximum upper treble. To this end, it might be desirable to arrange the spikes to give the speaker a slight backward tilt.

Frequency extremes

Although there are no serious or obvious weaknesses here, the real strength of the Aurousal VS lies in its exceptional overall coherence and superb stereo imaging and while the latter shows a worthwhile degree of transparency, dynamic expression and tension are both a little weak and the speaker seemed rather happier when dealing with acoustic sources rather than heavy rock or dance material.

Above all, it takes the concepts and strengths of the full-range driver system and deals rather successfully with the limitations that are usually experienced towards the frequency extremes and that is an achievement that's all too rarely achieved.