Questions & Answers (FAQ) about VSE Products

Conducted by Paul B. Van Slyke

PLEASE read through the following questions before contacting VSE

Q5: Can I use VSE isolation platforms under my speakers?

Tri-Orb Lites are not for use under speakers because of their flotation design. However, Tri-Orb Heavys (TOH) and X-rods are excellent for heavier components and speaker platforms. Taller speakers should always use a rectangular placement of 4 TOHs under each unit, not a triangular placement of 3 for safety and security reasons. TOHs are also designed for use under heavier receivers, amps, monoblocks, AC line conditioners, etc.

Q6: How easy is it to install Tri-Orbs under my component?

Symmetrical installation should take about 5 minutes, tops. Just place the three, or four, base units in a triangular or rectangular formation according to the base dimensions of your component (i.e. turntable, CD or DVD player, etc.). Then put the three ball bearings in each tri-saucer disc on top of each base unit and set the gray cast iron Coulomb cone on top of the three ball bearings. The cone will self-level, center, balance and free-float on top of the three bearings. Note that you can only tip the cone about 10 degrees before internal safety stops are engaged. You can then set your component on your Tri-Orbs. You can either remove your component's feet or center the feet on the Tri-Orb's cone head. Note that each gray iron cone has a 1/4"-20tpi threaded hole in it's top center to accommodate standard mounting, if your component is "hi-end" (or should I say expensive) enough to have 1/4-20 standard stud mounting capabilities. If not, just set the unit on the cones, with or without your component's feet attached. Note that when you "load" your Tri-Orb Lites with your component, the O-ring suspenders will release the layered center cylinder, rollerballs and Coulomb cone, and begin to "free-float" your component. Enjoy the revolutionary audio benefits provided by the world's finest isolators, Tri-Orbs.

Q7: How do I properly balance and level my component if it is asymmetrically weighted?

Balancing and leveling is only necessary if you have a component that is extremely asymmetrically weighted. Some hi-end components have [say] a heavy transformer, etc. in one corner or another. Tri-Orb Lite balancing and leveling, if necessary, requires about 15 minutes and only two simple adjustments - placement and O-Rings.

Before installation, you should check your component’s weight balance. Pick up your component with both hands and feel where the heaviest area is located. Once you have the heavy corner/back/side located, you can use one of our basic example diagrams (included in your instructions), or create your own, to place your Tri-Orbs in the best formation to balance and level your asymmetrical footprint.

When you have roughly adjusted your Tri-Orbs, with your component placed on top of the Tri-Orbs, you can fine-tune by measuring the height of each individual Tri-Orb, at each component’s corner, with a ruler or caliper and simply adjust the placement or, if necessary, use different configurations of O-Rings (i.e. standard-duty, heavy-duty or ultra-duty O-Rings, included with each individual Tri-Orb unit). Tri-Orbs do not need to be perfectly balanced or accurately leveled. A “ballpark” balancing and leveling will perform just as well as a perfectly balanced and leveled component, because Tri-Orbs can function perfectly at angles of up to 10 degrees. You could also double the number of O-Rings on each individual Tri-Orb by simply adding a second set of 3 to the existing first set of 3, because the Allen head sling screws are extended enough to easily support a second set of O-Rings.

The above creates a myriad of variable configurations, one guaranteed to fit your component, no matter how asymmetrical your installation. The installation of Tri-Orb Lites may be slightly more time consuming than other less efficient isolation devices, but the musical rewards will easily outweigh (pun intended) your efforts. If you are a true audiophile, the installation process can be an exciting and fun experience, especially when you turn on the music and hear the difference first-ear.

Q8: What's the difference between Tri-Orb Lite (TOL) reference-grade (RG) and standard-grade (SG)?

Pictured above and below are the intrinsic features of RG TOLs (above left), SG TOLs (above right) and Tri-Orb Heavys (below left). The solid gray iron Coulomb cones are identical on all Tri-Orb models.

RG TOLs come with high-density tungsten carbide balls (grade 3), perforated [stress-relieved] and hand-lapped hyperbolic three-saucer section (pictured below right), a suspended cork and felt stacked cylinder, cancellation-tuned brass decoupled [floating] spring-mass block (pictured above left, center brass cylinder), and an intricately knurled and machined 3-inch diameter base housing with three felt padded [inset machined] chrome steel ball feet.

The SG TOLs include hardened chrome-steel balls (grade 25), incorporate a solid [one-piece] three-saucer cylinder (pictured above left) and, instead of a cancellation-tuned decoupled brass weight, use an exclusive [gravity activated] vertical Coulomb rod to create a one-way, vibration releasing path to ground. This same type of vibration release [ground contact] system is also used on our industrial-grade Tri-Orb Heavys (pictured below left), but using an adjustable spring-loaded plunger system. SG TOLs now include a NEW lateral stabilizer O-ring to cancel horizontal vibrations (pictured at right, red arrows). Although standard-grade TOLs and TOHs include chrome-steel balls, both are upgradeable to [optional] tungsten carbide balls.

Although these reference-grade features may seem relatively insignificant, they do add substantially to the isolation and damping performance of Tri-Orbs, especially when used under hi-end components. There are also many other special surface procedures (single-digit micron finishes) that are applied to the reference-grade Tri-Orb Lites such as ultra-polished gray iron Coulomb cones (pictured at right) and hand-lapped hyperbowls, etc., etc. The fancy knurling and decorative machine cuts add nothing to the actual performance, but do add expensive machining time and substantial cost, producing an end product that is handcrafted to the highest tolerances possible.

Hi-end components using RG TOLs with cancellation-tuned weighting, redundant cork and felt stacked isolation, stress-relieved perforated hyperbowls, and special surface preparation, etc., will definitely receive a marked improvement over basic SG TOLs, but average components will probably not notice the grade difference in performance. Therefore, if you're trying to save some bucks, and are not installing Tri-Orb Lites under reference-grade components, the performance levels of standard-grade Tri-Orb Lites may better match your component's abilities.

Q9: Why use Tungsten Carbide (TC) balls instead of [hardened] chrome steel balls?

Although the difference is difficult, if not impossible, to physically measure with instrumentation, the experts [with those precious "tuned ears"] say that Tri-Orbs sound much better in overall listening tests (i.e. tighter base, enhanced mid-range clarity, crisper highs, more dynamic soundstaging, etc., etc.). The two metals themselves are very different in composition. TC is a very heavy metal, about twice the physical weight of steel, revealing a density of 15.7g/cc compared to standard tool steel which has a density of only 7.7g/cc. To provide further evidence using the MOHS hardness standard, TC has a MOHS rating of 9+. The only substance harder is diamond with the highest MOHS rating of 10. As we all know, there is no harder substance on Earth than diamond, period! This is a fact. The higher the density and weight, the better the isolation and damping (up to a point of course). So with this in mind, TC balls must improve the performance of Tri-Orbs, maybe not by a factor of 2 (as their density implies), but by a marked factor nevertheless. However, the extreme [ceramic catagory] hardness and weight of TC balls means they are also more expensive, but if you want the absolute best performance possible at any price, then TC balls are a necessity for any model of Tri-Orb.

Q10: How do I place my X-rods under my components?

Put the most X-rods under the heaviest area of your component. Example, in sets of 3, place 2 X-rods under the rear of your component if it has a heavy transformer in the back, and one in the front. If you are installing a set of 4 X-rods, simply put one in each corner. X-rods are not level dependent and can be installed under a component at any angle that permits them to remain upright.

Q11: What is the difference between the X-rod 1 and X-rod 2?

Besides the material of the roller bearings (rods) themselves, one of the most significant difference is the brass stabilizer plate between the top and bottom race plates of the X-rods. Load bearing becomes much higher (no actual point contact between the rods themselves), mass-cancellation of vibration is increased many fold, and the platforms themselves become much more stable, and do a much better job of damping not only ground vibration but airborne vibration as well.

The other main difference between the X-rod 1 and X-rod 2 is the [exclusive] vertical spring-loaded plunger that creates a very important vibration releasing path to ground. In conjunction with the brass center plate, the ground path release plunger combines to provide better airborne vibration damping, which is inherently lacking in other similar type isolation devices in this price range.

NOTE: this same type of vibration release [ground contact] system is also used on our standard-grade Tri-Orb lites utilizing a gravity-loaded rod, and our industrial-grade Tri-Orb Heavys, using a similar spring-loaded plunger system.

Q12: Why aren't VSE products black anodized like all the other A/V components?

Anodizing hardens the surface of aluminum to better protect the product from scratches and abrasions. The anodizing process also removes (from pre-etching) a product's surface material. This etching process can remove as much as 0.001" of material from an object, making a precision "high-tolerance" product into an "out-of-tolerance" product. In most instances, this material removal is not a critical factor, but anodizing deposits ferrous and other undesirable residues on the surface, and this anodizing process also damages our planet's fragile environment. Anodizing also creates a barrier wall between each component part that impedes optimum dissipation and decay of vibrational energies.

At VSE, we use a different method of surface conditioning and hardening called glass sphere blasting, using actual glass micro-beads which, incidentally, removes no surface material and is as environmentally safe [natural] as the blowing sands in the desert. You may have seen this unique lighter finish applied to hi-end firearms. That industry calls the finish "glass beading." This process, although not as durable as anodizing, actually "cold works" the surface, hardening and protecting it from wear induced from every day common use, and abuse.

Q13: Is isolation & damping important?

Only if you value the purity of your music. Only if you want your music to sound as close to the original performance as possible. Only if you are a true audiophile/music lover.

To invent pure isolation, you must create a mechanism that literally floats your component on our planet's atmosphere, as delicately as possible [and practical] given we live in a gravity environment. Multiple isolation and damping stages are imperative, because no single function isolation device (either isolation or damping, but not both) could begin to destroy/capture/cancel the myriad of ground and airborne vibrations attacking your component(s). VSE’s Tri-Orbs are the first true breakthrough in balanced isolation and damping. Everyone “talks the talk,” but Tri-Orbs are the only naturally balanced isolation and damping device that can actually “walk the walk.”

A naturally balanced [combined] isolation and damping system didn't exist before the invention of Tri-Orbs. What do we mean by "naturally balanced?" A device that naturally interacts with its various mechanisms to provide the correct amount of damping without killing or coloring the music, and this interaction reacts perfectly to cancel airborne and ground vibration creating the perfect soundstage, literally forcing you to listen with intrigue and renewed enthusiasm.

These subtle pleasures in life are the truely important ones. Not the crude, external belly laugh, but the smile of appreciation that intriniscally touches your soul. The air of a violin concerto. The incredible, natural throat rasp in Mariah Carey’s voice. The soundstage of the orchestra enveloping you with that “front-row-center” directional spacing of the instruments.

Before Tri-Orbs, you had overly damped granite "anchors," which were great for electron microscopes, rubber "buggy bumpers" that made your music literally echo its plight, quasi-cones that changed your music but not necessarily for the better, or simple "roller derby" balls that couldn't dampen anything, but did add unwanted coloration that made all your music sound the same (some inexperienced music listeners even thought thisbasic “ball & saucer” trick actually improved the music).

On the other hand, Tri-Orbs have an open architecture for all to see and hear. Look inside a Tri-Orb. You will see the obvious truth in balanced isolation and damping principles at work - strangely unveiled until now (patents pending). Close your eyes, touch a Tri-Orb's Coulomb cone and you'll think that heavy gray iron cone is suspended in a bowl of viscous jelly, only more fluid and reactive to the touch, like a spinning gyroscope floating on a cushion of air.

Q14: How do you create a well designed isolation & damping platform?

A well designed isolation and damping platform (IDP) should create a naturally balanced, homogenous interaction with your source component, be it either a turntable, CD, DVD-V, DVD-A, SACD player or tape deck. At minimum, you should install IDPs under all your source components that have motors and/or rotating mechanisms, because this application will provide the most effective impact on your music.

The ideal IDP design should start with a heavy, solid gray iron (no soft brass, explained later) Coulomb cone. Then place a set of three tungsten carbide balls into three saucers opposed by 120 degrees and set the gray iron Coulomb cone on top of the balls. These are not spherical saucers like all the other devices on the market, but hyperbolic saucers to impart a more sensitive and fluid movement to the balls; what we have [trade] named "hyperbowls." Not only do you achieve the usual "mass vs. force" directional damping effect of conventional Coulomb cones, but the added kinetic damping effect of this unique combination.

First though, these gray iron cones and aluminum hyperbowls should be diamond lapped and polished to a mirror finish. Then "glass beaded" to create a perfectly rough surface. This unique surface texture (more on this later) causes the contact area to decrease. When these two different textured metal surfaces make contact, one perfectly smooth (the metal ball) and one perfectly rough (the cone and saucer), they create an area of asperity-to-asperity contact that is much smaller than smooth-to-smooth surface contact, thus creating a surface contact with far less asperities but with much higher pressure points. If the actual area of intimate contact is decreased, then the coefficient of friction will also be decreased by at least an order of magnitude providing a greater friction resistance (hysteresis) and a faster decay time.

Below these three hyperbowl disks, which have been stress-relieved with a center perforation before lapping, is a staggered "stacked-disk" platform that allows ground vibrations to be mass-damped after each soft/hard layer pair (cork, aluminum, gray felt, etc.). Then a super efficient [elastic] sling suspension system isolates this unique [what we call] spider assembly from everything except the atmosphere itself and decreases the vibrational force transmitted at resonance (more on this below).

This spider assembly is also made hollow to support a brass spring-mass absorber block to further cancel (via inertia damping) both airborne and ground vibrations. This decoupled block induces a "reverse phase effect," with [not only] the airborne but also the ground vibration attacking your component causing an opposing force by virtue of its own intrinsic inertia. In other words, these decoupled brass blocks cancel the incoming vibration and function as an inertia compensator establishing an ideal resonant frequency in the [deaf] range of 8 to 15 Hz. This application stabilizes the disturbing resonant frequency that disrupts the unbalanced dynamic force generated by the component above this range, and also cancels the isolator’s natural frequency below, which the former creates by undesirable rotational distortions such as wow, flutter and warp in rotating mechanisms. The closer you can come to this 180 degrees out-of-phase balanced condition, the more perfectly "tuned" your system becomes (null transmissibility) and the faster it can come to rest. Then the layered spider assembly is suspended from a machined aluminum [lower] base ring using three Neoprene O-rings that literally float all the previously discussed mechanisms, and your source equipment.

The material choice of gray iron (ASTM #50) for the Coulomb cone is superior to brass in this application because gray iron (Brinell hardness=260) is four times as hard as brass (Brinell hardness=60), and grayiron (160Kpsi) has three times the compressive strength of brass (55Kpsi). This higher materials density and strength allows gray iron to transfer and release vibration (kinetic energy) with up to four times the efficiency of softer brass metals.

The three rollerballs are tungsten carbide (TC), grade 3 with a tolerance of +-3/millionths of an inch and a Rockwell A hardness better than 90. TC is a very heavy, extremely hard metal [ceramic category], about twice the physical weight of steel, with a density of 15.7g/cc compared to standard tool steel which has a density of only 7.7g/cc. Using the MOHS hardness standard, TC has a MOHS rating of 9+. The only common substance harder is diamond with the highest MOHS rating of 10.

The best natural finish possible is applied (no anodizing or plating that could effect the pure interaction of the various metals). All parts are surface treated and cold worked (hardened) with a non-invasive blast finish called "glass beading," the same finish that is applied to hi-end firearms. These time consuming processes create a product with a unique "build-quality" and a minimal resonance signature.

These applications combine all the basic, accepted vibration isolation systems into one super unit including the latest aerospace mass-loading technologies. Then the above independent isolation principles are properly designed into one sophisticated mechanism, creating a revolutionary new level of balanced damping and isolation performance.

Q15: Why aren't VSE products recommended by anyone?

If you absolutely must have recommendations, etc. by the powers that be, go somewhere else. If you value your own opinion, then read on and you may have a religious experience - Bach did.

That’s right. VSE products are not recommended by anyone, except our customers of course. No famous editors or reviewers, because we usually ask them not to review our products. Why? Been there, done that with our other product lines and we just get too backlogged with orders to keep up. And our valued customers don’t like waiting months to receive their orders either. As you know, if you don’t get your product reviewed, then the magazines [obviously] can’t recommend your product in their Recommended Products issues. Bad for others, good for VSE.

No Editor’s Choice or Golden Ear Awards, no “class A-B-C....” status (because they’d have to create a special class way above A+), no hot product of the year, no CES shows, no dot-com recommendations, because the smart music lover knows that all of the above need to be taken with a large “grain of sound.” And most of these wondrous comments don’t tell the whole story and/or are used out of context anyway. True, if they get enough of these accolades, then they probably have a pretty good product or, quite possibly, they’re kissing something they shouldn’t.

Q16: Does VSE have any credentials/reputation in the A/V industry?

Over the past couple of years, people have been asking where we came from, and what gives us the expertise to jump into the A/V isolation and damping market? Beyond free enterprise, of course. We decided to answer their questions in public so everyone will know the answer.

Paul Van Slyke’s reputation in astronomy and the astronomical telescope industry is above and beyond all others. His legendary fame in telescope design and fabrication, CCD imaging equipment and guiding systems is beyond reproach. Ask anyone, from amateur to professional astronomer, about VSE and their Versa-Port Sliders (only one of many products) - a revolutionary off-axis guiding system for telescopes.

For over 20 years, Paul has been the founder and director of the largest astronomical observatory in Colorado (the observatory housed a 30-inch Cassegrain telescope). A long time ago, while he was teaching astronomy at the University of Colorado, Paul tried to find adequate guiding equipment to perform astrophotography. Alas, there was nothing remotely functional on the commercial market. So, after designing and creating this two-ton metal monstrosity from the ground up, and many other scopes and accessories over the years (see pictures at right), machining some small off-axis guiding equipment, and some basic turntables, tonearms and isolation devices was really quite simple. To make a long story short, VSE was founded many years ago and these revolutionary CCD imaging devices are now world famous among astronomers (see VSE's other web site at: www.observatory.org).

Q16a: What do telescopes have to do with A/V isolation and damping? A lot! The largest difference is observatory-class telescopes weigh a lot more than your average A/V components. The common factor is that all Earth-based telescopes need isolation and damping, to a degree that will allow tracking (correcting for the Earth’s rotation) and guiding to freeze a celestial object in your field of view for many hours, so you can capture an image with a special CCD camera, etc. The best aerospace mass-loading technologies (i.e. isolation platforms, cast-iron piers, etc.) must be installed under your telescope to obtain the tightest star fields possible.VSE’s past astronomical customers range from the amateur astronomer to world-class observatories and research centers, NASA, Jet Propultion Laboratory, Naval Warfare Department, just to name a few.

Q16b: Why has Paul been so involved in A/V isolation for the past few years? Because he has always been an audiophile/music lover, almost since birth. And, he [again] found that the available commercial isolation and damping platforms were not designed specifically for A/V or totally inadequate for the job. After years of tweeking in his machine shop and creating a state-of-the-art testing facility (see VSE's "Machine & Testing Facility" link), the revolutionary Tri-Orbs were born.

Q17: Can a "one-man-band" really sound good?

Everyone wants their business to grow. Almost everyone. The best way to explain VSE’s attitude toward growth is to imagine Geppetto sitting in his shop whittling on Pinocchio. This timeless, never changing story is the epitomy of VSE philosophy.

This scenario (see VSE's "Machine & Testing Facility" link) represents Paul Van Slyke (aka Geppetto) creating his handmade “metal art” for you. The only major difference is that VSE’s machine shop is equipped with digital lathes, mills and measuring instruments, not to facilitate mass production, but to create the highest precision and quality product for our customers. VSE’s motto has always been: “New World Precision - Old World Quality.”

Q18: Why should I buy a VSE product over other brands on the market?

VSE always investigates what others are producing before we enter a new field, or develop a new product. We usually find a large gap somewhere and then we design a specific product to fill that specific gap that's better, more feature-packed, and [most important] simple and functional. Many years ago, when we entered the A/V market, we were told, by these price-gouging greedy retailers, if we could not offer our products to them at a 50-point mark-up, they didn't even want to talk to us. We said, "OK, be like that," because they had no idea that we'd been manufacturing our own astroimaging products in-house for decades and offering them DIRECTLY to the customer at wholesale cost. That way, you are guaranteed not just the lowest possible price, but a low-end [second-hand] price tag for an ultra hi-end [factory-new] product. Our individual customers keep us very busy all the time, and we're usually backlogged for many "moons."

As you may know, other hi-end products are sold through representatives that mark up a product's price by as much as 50-points. Then it goes to a dealer, that marks that same product up another 50-points. In other words, a product that a manufacturer sells for [say] $1000 will eventually retail for $3000 - Whoa! Actually 50-points [marketing terminology] is a 100% mark-up, but it sounds better when they can say 50-points, which is correct because that is actually half the final inflated price, after the mark-up. Keyword here is "after." Let the buyer beware!

Why should [both] a product rep. and a dealer receive more than the designer and manufacturer when they do literally nothing to produce that product? I say "more" because the manufacturer has to deduct overhead, labor, materials, and cost to build the product from his base price, where the dealer only has to consider simple overhead. Since there is no law that says we have to "play-the-game" and abide by the "chain-of-command," you can enjoy the same purchasing power and save a bundle of bucks - ain't Free-Enterprise wonderful! Others, especially New Englanders, play this game with dead-serious intent, so if you hear that another product is better than ours, it's just because these deceitful people are trying to sell you their very overpriced product, simply because they can't sell our very underpriced product. Oh, they could sell our products, but why would they want to if they can't make their outrageous profits?

Because of our unique, customer-oriented policies, VSE has been "BLACKLISTED" by every A/V rep. and dealer on the planet. Even the editors of all the A/V magazines are in on the conspiracy. If you don't advertise with them, they won't review your products so, obviously, they can't include you in their "Recommended Products" listings. That's why you never see VSE products listed in the magazines (see Q15 above for more info). Is that a "Catch-22?" Actually, they won't review our products because we would ask them not to, and we do advertise with them but our direct marketing policy still makes them "reluctant" to review our products in their magazines. If they did review our products, we would be deluged with orders and backlogged forever. Maybe this is good for others, but not for VSE. We've been there before, and we don't like giving our valued customers "bad news" because everyone wants everything yesterday, and we try to oblige. VSE developed this low-key, direct-marketing policy decades ago with our astronomy product line and, guess what, it worked! We've done all this for you, simply because we would appreciate someone else doing this for us, so your support [and reciprocation] is necessary to our continuation, and greatly appreciated.

Whether you are interested in our telescope and astroimaging products (www.observatory.org), isolation & damping platforms, or analog audio source components and accessories, you can be assured that you are receiving the finest possible products for a ridiculous price. And VSE offers a 30-Day Unconditional Money Back Guarantee on all our products, and a Lifetime materials and workmanship warranty, so you really have nothing to lose.

Q19: Are VSE products built to high industry standards?

Tolerances exceed 50/millionths of an inch, where needed, and quality is beyond compromise. All VSE products are built with functional simplicity in mind, a discipline that others have lost in the "gizmo shuffle" and the necessity to swiftly produce and cheapen (made in China, etc.) a product until it becomes dysfunctional. VSE uses the opposite philosophy. We build the best product possible, no matter what it takes [in time or cost] to produce that specific product. Then a lot of thought goes into the improvement and simplification of that product before every production run starts. Again, function and simplicity always make a better product. All VSE products not only carry an unconditional 30-day full money back guarantee, but a lifetime parts and labor warranty. We couldn't offer these kinds of guarantees, if our products weren't built to the highest industry and military standards. Anyone can say that their product is the best, but proving it is another story.  Even if it is the simple truth, you need a qualifier. So, rather than going on and on "tooting our own horn," you should go to the "Unsolicited User Comments" link and read through all the "after the sale" input from satisfied VSE customers. If that doesn't convince you to buy VSE, then you deserve the "other guy's" product.

Q20: If I can't find what I need at the VSE web site, can VSE custom design and build special equipment according to my particular specifications?

Yes & no. VSE does not use external job shops to manufacture its various products, like others do. Every VSE product is designed and manufactured in-house. VSE not only has a fully equipped machine shop (see VSE's  "Machine & Testing Facilty" link), and can create any instrument or custom isolation device you can conceive, but VSE also has over 40 years of experience in designing and manufacturing observatory-grade telescopes and instrumentation for the astronomical community (i.e. CCD camera imaging accessories, flip-mirror devices, off-axis guiding systems, digital focusers, remote controlled filter wheels, Hexagonal turrets, illuminated reticle eyepieces, etc., etc.). This is where we get our expertise in isolation and vibration damping. Observatory telescopes are seriously vibration damped and situated on isolation platforms that provide extreme long-term tracking capabilities and stability for astroimaging, etc.

VSE now offers our Tri-Orbs, etc, because we took a look at all the inadequate and useless isolation and damping devices used for A/V applications and simply said, "We can do better, much better!"

Unfortunately, VSE is sometimes backlogged with orders for product line items for many months, so custom orders can only be accepted from time to time depending on backlog. Give us a call.

Q21: How long does it take, between the time I place the order, and I have the product in-hand?

If the product is on-the-shelf, your order will ship on the following Friday and you'll have it in about a week, possibly sooner (US). If the product you need is on back order, it could typically take from 1 to 3 months to ship your order. Just give us a call, or e-mail, to find the current status of any VSE product. Also, click on the Big Button at the top of VSE's home page for VSE policies.

Q22: Are VSE products well documented?

Yes, all VSE products are fully documented. When you receive your new VSE product, you will find diagrams, illustrations, installation and operating instructions.