Released in late 2015, the Hegel H360 combines robust high-end build quality with a simple, minimalist design reminiscent of Braun electronics. Its massive toroidal transformer can deliver an impressive 250 watts per channel into 8 ohm loads, and—in combination with its patented ultra-high damping circuitry,—promises an ultra-tight grip that should be enough to tame any loudspeaker. In addition to the standard cinch and XLR jacks, the Hegel H360 offers high-quality USB, Apple AirPlay and DLNA streaming to enhance connectivity.

Specifications

• Type: Integrated Streaming Amplifier
• Power output (8 Ohm): 250 WPC
• Power output (4 Ohm): 420 WPC
• Frequency range: 5 Hz - 180.000 Hz
• Analogue inputs: 1x XLR, 1x cinch/RCA, 1x home cinema
• Analogue outputs (cinch/RCA): 1x fixed Line-level, 1x variable Line-level
• Digital inputs: 1x coaxial, 3x optical, 1x USB, 1x Ethernet (type RJ45)
• Digital output: 1x coaxial (digital sources only)
• Control input: 3.5 mm IR-jack (rear panel)
• Signal-to-noise ratio: > 100 dB
• Crosstalk between channels: < 100 dB
• Damping factor: > 4,000 (power amplifier output impedance)
• Available finishes: matt black
• Dimensions: (H)12 cm, 15 cm including feet x (W)43 cm x (D)43 cm
• Weight: 20.5 kg (net.), 24 kg (shipping)
• Country of manufacture: China
• Year(s): 2015 - 2019/20

Despite their modest size and full-surface metal grilles, the 1974 Braun L480/1 loudspeakers deliver exceptional tonal accuracy and overall musicality. But are these characteristics enough to qualify them as near-field monitors for use in a recording studio? We shall find out.

Like the Braun L480/1 speakers, I am a child of the 1970s and was born in Frankfurt am Main. This was still a time and region shaped by the German 'Wirtschaftswunder', a term coined during the economic boom that followed World War II. It was based on the perplexing phenomenon of brilliant engineers and skilled workers being found in a newly developing economic zone with extremely low wages.

Frankfurt am Main has always been an important hub for trade and financial services. During the post-war era, politicians wanted to see a resurgence of trademark products that would provide people with reassurance and a distinctly modern style. The Germans wanted to break with traditions that had caused them more hardship than benefit, and embark on a cleaner, more predictable future. Their yearning for stability and order is also evident in the design choices of the time.

Too real had been the sacrifices that still lingered in the fear-ridden minds of the Germany’s population. Most families had experienced unimaginable losses and were living through the emotional aftermath. The infrastructure had only recently been rebuilt, and in the many new homes lived young families who found it difficult to trust in the stability and who were eager to erase the scars of the past by focusing on something new and beautiful. Those who could show their status were again likely to do so, but in a subtle non-boisterous way that would not offend those less fortunate.

The Braun designs of the 1970s and '80s reflect these contrasting needs. Combining a clean, forward-looking aesthetic with superb build quality and functionality, it blends unobtrusively with other household furniture. It is pleasing to the eye for the uninitiated and a marvel of technology for those in the know. Designers such as Dieter Rams, head of the Braun design team from 1961 to 1995, embraced the prominent design schools of their time, such as Bauhaus and its successor HfG Ulm, and applied these aesthetics to industrial product design.

Although Braun publicly praised Dieter Rams for his contributions to its products, little is known about the small team of acoustic engineers that provided the actual substance to his designs. What is known, however, is that products such as the L480/1 speakers were developed in tandem with the engineers and not hierarchically from the design team downwards. In true Bauhaus fashion “form follows function”, with functionality being the decisive factor. While Rams defined the general look and feel, the placement concept, and system integration, the final dimensions, driver selection, crossover design, and voicing were the job of the engineers.

The coordination of design and electronics followed the structure and processes established by Fritz Eichler, whose approach to “systems thinking” has inspired many successful companies ever since. By the 1970s, Braun had a dedicated in-house loudspeaker development group that designed its own drivers. This meant that the L480/1 series featured newly developed flat paper cones, a proprietary 25 mm Braun dome tweeter, and crossovers specially engineered for placement near a wall. Production and assembly took place locally in Kronberg i.T., with samples regularly moving between Kronberg and Frankfurt.

When developing the L480/1 speakers, the acoustic engineers aimed to produce a 'natural' sound without accentuating any frequencies for dramatic effect. In doing so, the company embraced the BBC tradition of speaker design, as opposed to the exaggerated West Coast Sound familiar to Americans, or the Taunus Sound as it is sometimes known in Germany. The L480/1 succeeded the L450 series, which were also sealed cabinets with crossovers that compensated for wall placement and relative near-field monitoring. Both speakers were designed to fit Braun's wall-mounted hi-fi stereo furniture (see also: Braun Wandanlage).

The first Braun HiFi system I ever heard was that of my uncle in Munich. It was the complete Atelier system consisting of turntable, tuner, cassette deck, CD player, and amplifier with speakers. My uncle was an engineer, first with Siemens and later with the European Space Agency ESA, and he was meticulous when it came to his possessions. The Broun Atelier HiFi system was his prized possession, and even as a child, I could hear that the sound quality was exceptional. I wonder how many of you have similar childhood memories of HiFi systems you have heard.

My purchase of the L480/1 was influenced by my early memories of Braun speakers, as well as my desire to connect with other Hi-Fi enthusiasts in our local area. It turned out that the person selling the speakers was a retired schoolteacher in his 90s who had collected Braun products for many years. He was preparing to leave Germany for Greece in frustration at the state of the country. Unfortunately, I could not test the speakers before purchasing them because the amplifier would not start up. The L480/1 still uses the old DIN connectors, which were designed to prevent users from accidentally switching the polarity, but which have since fallen out of fashion. Feeling sorry for the old man, I wished him well in Greece and carried the speakers to my car, one under each arm.

Back in my studio, I cut off the DIN plugs and stripped the ends of the wires. I then set up the L480/1 on a pair of heavy-duty MDF loudspeaker stands, connecting them to my upgraded Rotel preamplifier and B&K ST140 power amplifier. My music source was a Dual CS505-3 turntable fitted with an upgraded stylus. My first impression was that the speakers sounded slightly muddy and lacked bass. I could also hear that the woofer on one of the speakers was scraping. I used a screwdriver to remove the metal grille and loosen the bass driver screws. To my surprise, I saw that there was a threaded metal counter holding each screw, which allowed the drivers to be inserted perfectly every time. 

The driver itself was in mint condition. Even after 50 years of service, the surround showed no signs of brittleness, discolouration or decay. The magnet revealed that the driver was produced in 1973, and the rear of the driver was dust-protected and dampened via a tight mesh. It was not unusual for drivers to settle after so many years, resulting in the voice coil scraping against the narrow gaps in the magnet. I turned the driver by 45 degrees and screwed it back in to solve the issue. I then secured the metal grilles in place with strips of black tape, in the same way that the original tacky glue had held them in place. When I sat down to listen, the scraping noise had gone, but the overall sound remained muddy and bass-light.

It was only when I read that these speakers were designed for wall mounting that I took them to the control room of our small studio, where I placed them on the desk alongside the B&K amplifier. This time, I used my M3 MacBook paired with a Zoom L-20 mixer as the music source. The L480/1s instantly came to life in a way that I would not have thought possible. The music sounded honest and truthful, with a natural timbre. It was the kind of sound I had been hoping for from dedicated studio speakers, but had not yet achieved. I quickly ordered wall mounts and installed them a few days later. I found that the L480/1s produced the best sound when toed in towards the listening position. While most speakers benefit from off-axis placement, the Brauns did not.

The bass only sounded correct in our small room when the speakers were angled in relation to the wall. Parallel mounting reduced the bass substantially, which took away from the natural groove that these speakers are capable of producing. The vocals sounded especially pleasant, with no trace of artificial technology getting in the way. The music had an organic flow that allowed for hours of carefree listening. The treble provided enough detail to detect any issues in a mix, without imposing or highlighting any frequencies. During the day, the system faithfully reproduced the edgy harshness caused by the turmoil of industry on the power lines. At night, however, the music became smooth and even, as one would expect from high-quality recordings.

In fact, the Braun L480/1 make it easy to detect flaws in both the recordings and the equipment used. The validate tonal correctness and punish inaccuracy. They can do tempo and mood equally well and serve synthesiser notes and samples just as they do justice to natural instruments. When recording, I can confidently set gain, compression, and delay without getting overwhelmed by the mix of things. Tonal separation is sufficiently present to discern instrument character. In my opinion, they have all the qualities required to be classified as studio monitors. In fact, it is probably true that most consumers in the market will have gear available to them that acoustically ranks far below the accuracy of these small speakers, especially when listened to in such nearfield listening environments. 

Specifications

• Type: 2-way wall-mount speaker
• Construction: Sealed (acoustic suspension)
• Power handling: 30 watts (DIN nominal)
• Nominal impedance: 4 Ohms
• Woofer: 130 - 160mm paper cone (low profile)
• Tweeter: 25mm dome (early Braun dome)
• Frequency response: ~ 40 Hz - 20,000 Hz
• Crossover frequency: ~ 2-3 kHz, estimated
• Dimensions: (H) 47cm × (W) 28cm × (D) 11cm
• Weight: 4.5-5.5 kg (11-12kg shipping weight)
• Cabinet color: Satin white lacquer or melamine
• Front grille: perforated metal, sliver/grey
• Design philosophy: Dieter Rams, reduced form
• Country of manufacture: Frankfurt, Germany
• Year(s): 1971 - 1973 varying configurations

Dieter Rams

was born in Wiesbaden, Germany in 1932. He is known as the jack of all trades who gave direction to the famous Braun design from the 50s to well beyond the 1980s: Rams who initially started out as carpenter, went on to study architecture and became a notable furniture and interior designer before he joined Braun to contribute to some of the companies acclaimed designs. Rams joined the Frankfurt-based consumer electronics maker in 1955 and went on to become the company’s chief designer, a position he retained until retirement. 

Sometimes christened “Mr. Braun” by the company’s advertising, Rams strictly maintained a design philosophy that had been laid out for Braun by Fritz Eichler, Hans Gugelot (lecturer at the Hochschule für Gestaltung, Ulm), as well as Herbert Hirche and Wilhelm Wagenfeld (both former Bauhaus scholars). Their design philosophy was most notable for its reduced form and user-friendliness, the combination of which made Braun highly attractive as a consumer brand from the mid 1950s. Rams has been quoted as saying: “Indifference towards people and the reality in which they live is actually the one and only cardinal sin in design."

To assure the continuation of great design, Rams developed a list of characteristics coined “Ten Principles of Good Design”. These are: innovation, usefulness, aesthetics, usability, unobtrusiveness, honesty, longevity, thoroughness, environmental friendliness throughout the product lifecycle. All principles sound strikingly modern and are found in consumer goods from Apple iPhones to Tesla cars.

Braun AG was sold to The Gillette Company in 1967, which in turn was acquired by Proctor & Gamble in 2005. P&G kept up the production of Braun groomers and shavers—the company’s bread and butter business since 1949—while small household appliances holding the Braun name are manufactured by De’Longhi since 2012.

By combining Technics' signature direct drive topology with dynamically balanced linear tracking and superb acoustic chassis insulation, the SL-7, despite its modest appearance, is an exceptional performer in terms of audiophile listening pleasure. As such, it was not far behind Technics' flagship model, the SL-10, at the time. The SL-7 and SL-10 are still considered to be among the most accurate mass-produced turntables ever made. However, the design does have its quirks.

Despite Technics' fame and popularity in the 1980s, the first linear tracking turntables I knew of were the feature-packed Aiwa LX-70 and LX-100. My school friend's father was a Lufthansa pilot and his Aiwa HiFi systems were among his prized possessions. In addition to coming equipped with a tangential tonearm, the LX-70 offered front loading, title search, intro-scan and title programming, just like a CD player. In the '80s, vinyl seemed limiting compared to CDs, and both the SL-7 and the LX-70 were attempts to make vinyl more convenient and accessible.

This early experience dates back to 1987/1988, when we had an equal number of vinyl records and CDs in the household, and turntables of all kinds were commonplace and could still be bought new in electronics stores. Linear tracking turntables were rare even back then, and front-loading turntables, such as the Aiwa LX-70 and LX-100, were practically unheard of. Playing vinyl was more a necessity than a nostalgic ritual in order to experience the joy of listening to music at home. It was in these circumstances that the Technics SL-7 was conceived.

Right from the outset, the SL-7 outperformed its rivals from Aiwa in all audiophile disciplines: speed deviation, wow and flutter, and signal-to-noise ratio were all significantly better than those of the rival design. While Aiwa focused on usability and convenience for the cost-conscious consumer, Technics targeted seasoned music connoisseurs with the income to match. Its aluminium die-cast chassis and platter give the Technics a weight of almost seven kilos, which will come as a surprise to anyone attempting to lift it. Its appearance does not easily reveal its audiophile substance and clout, which is sure to disappoint those aiming to impress their non-audiophile friends.

Like many turntables of that era, the SL-7 comes with a non-detachable phono cable and grounding wire. This may disappoint modern audiophiles, especially those who, like me, prefer silver solid-core cables. However, the Technics outperforms my Sansui in most areas despite its perceived disadvantage in terms of wiring. The Technics' detail retrieval and accuracy are so high that they easily make me forget I'm listening to vinyl and focus on the music instead. I have become accustomed to this phenomenon when listening to my friend Hendrick’s enormously massive Transrotor turntable, so it is all the more perplexing on a small unit like the SL-7.

The dynamically balanced tangential tonearm with gimbal suspension on the Technics provides an ultra-accurate and detailed listening experience right up to the last groove, especially when paired with the Grado Gold 3 cartridge. The SL-7’s tracking force starts at 1.25 g and Grado’s moving iron (MI) technology accurately portrays the specified frequency range of 10–60,000 Hz, providing an output of 5 mV. I have read that the Gold 3 is renowned for its warm, detailed sound, enhanced punchy bass and clear, delicate treble. Based on my own listening experience, I would agree with all of this except perhaps the punchy bass, as my model could produce slightly more bass in my opinion.

Under normal circumstances, I would use my turntable without the dust cover. I enjoy seeing the record spin and have sometimes felt that the sound is less recessed or boxed in when the hood is off. However, I have not conducted any blind tests and cannot be certain that this is not just a psychoacoustic effect. The Technics is designed to work with its lid down. As the cover holds both the record clamp and the tonearm mechanism, it is an integral component of the listening experience. From an audiophile perspective, I cannot say that I have any complaints, but the cover does make listening to records more of a 'black box' experience, similar to a CD player.

Although the SL-7 is built to last, the original cartridges are becoming rare. I have heard that there are replacement styluses from Jico and that re-tipping is also possible. However, as Grado and Audio Technica are still producing T4P cartridges, there should be ample opportunity to secure stocks for years to come. After 40+ years of service, Technics owners should be prepared for partial system failures. These typically include worn-out styluses and tonearm belts, hardened lubrication oils (especially following long periods of storage), damaged micro switches and failing electronic parts. The latter will be the most difficult to service as both the SL-10 and SL-7 are full of electronics.

Although keeping the hood closed at all times helps to keep the drive clean, it does present some challenges. For example, it is not possible to clean the record's surface while it is spinning. Raising the lid stops the record, raises and resets the tonearm. To clean the record, one must therefore spin it manually on the direct drive (which offers little resistance) before closing the cover again. There are keys at the front for queuing, which bring the tonearm and stylus back into the appropriate position, if you do not want to play the record from the start after cleaning. This is a workaround in case you forget to clean your record in advance, but it is unnecessary on conventional players.

And what does it sound like? — Like music. Here is an anecdote to illustrate my point: I first heard this player perform at the house of my long-time audiophile friend, Luigi, where it was set up with a DB Systems DB1 preamp, the famous Dynaco ST-70 tube amp, and Snell C4 speakers. I literally felt as if I were walking into a jazz bar. The sound was so authentic and dynamic, and there was such an aura that I could almost smell the stale beer in the air. But Luigi is Italian; he doesn't even like beer. Nevertheless, the live aspect of the music was so strong that I have never experienced anything like it since. The ST-70 and the C4 are both exceptional at recreating live music, but they could not have done so had the original signal lacked authentic character or detail.

Specifications

• Type:  Fully automatic quartz-controlled direct-drive turntable
• Platter:  300 mm aluminium die-cast
• Speeds:  33 and 45 rpm (automatic speed detection possible)
• Motor:  Ultra-low speed, brushless DC
• Speed deviation:  ±0.002 %
• Wow and flutter:  < 0.025% WRMS
• Rumble / Signal-to-noise:  >78 dB (IEC weighted)
• Tonearm:  Linear tracking, dynamically balanced, gimbal suspension
• Tonearm resonance frequency: Approx. 12 Hz
• Electronic arm drive: Coreless DC motor
• Tracking error angle: ±0.1° max
• Effective mass: Approx. 9 g (including cartridge)
• Tracking force: Fixed (1.25–1.5 g depending on cartridge)
• Cartridge type: MM, plug-in (T4P / P-mount)
• Original cartridge: EPC-P202C, EPC-P24, EPC-25
• Stylus: 0.3 × 0.7 mm, elliptical diamond
• Frequency range (±3 dB): 10 Hz – 30.000 Hz
• Frequency range (±1 dB): 10 Hz – 10.000 Hz
• Phono output: Fixed line/RCA cable
• Dimensions: (W) 315 x (H) 88 x (D) 315 mm
• Power consumption: 16-20 Watts
• Power Supply: AC 110 - 240V, 50/60 Hz
• Weight: 6.6 – 7 kg
• Country of manufacture: Japan
• Year(s): 1980–1983

Lars Pagelsen Trio’s CD album “Inner Peace,” has been produced to a remarkably high standard in terms of sound quality. Its dynamics, spatial imaging, and tonal balance are impressive in their naturalness and transparency—qualities that stand up well, even when compared with well-received international productions. This makes the album particularly interesting for audiophile listeners. 

The recording captivates listeners with its natural sound stage, clearly contoured instruments, natural timbres, and high transparency. Piano notes are palpable in the room, the bass is precisely defined and tonally balanced, and the drums are dynamic and finely resolved—without artificial effects or exaggerated compression.

And the trio also shows its musical prowess. Its performances, described as “Mindful Jazz”, are less a style than an attitude. They leave room for nuances, rely on clear harmonic structures, and give each note the chance to take shape. Jazz music should remain comprehensible to its audience—was written in the announcement of the Trio’s live concert at the Elbeforum in Brunsbüttel. “Mindful jazz” thus describes a conscious focus on the essentials: sound, time, and the spaces in between.

Lars Pagelsen has taken a deep interest in jazz since the age of 18. His enthusiasm for the piano and for composing was encouraged by his piano teacher early on, who taught him the basics of notation and independent composition. Today, Lars studies jazz at Dr. Hoch's Conservatory in Frankfurt am Main—an educational path that is by no means standard, given the limited number of places available. It is not surprising then that Lars writes all arrangements for the trio himself.

The album “Inner Peace” was recorded at D-Room Studio in Gehrden near Hanover in 2024. Hervé Jeanne directed the recording, and Ralf Jackowski was responsible for mastering the CD. Lars was accompanied by Eleni Granitza on bass and Nicolas Rotermund on drums. The interplay between the musicians and the album’s thoughtful production have led to its cohesion and tonal depth.

Since the beginning of 2025, the Lars Pagelsen Trio has been performing with a new lineup: Alisa Pou Montz on bass and Felix Lothwesen on drums further expand the tonal spectrum. Alisa Pou Montz, a sought-after musician on the Frankfurt music scene, contributes a clear and groovy bass; while classically educated Felix Lothwesen lends his drums a versatile touch with stylistic openness and perplexing tonal differentiation.

“Inner Peace” thus documents not only a musical approach, but also a snapshot of the development of Lars Pagelsen—thoughtfully produced, sonically sophisticated, and with audible attention to detail. I am very much looking forward to the first recordings of the new lineup. The audiophile community can only hope that future recordings will be approached with similar care. — Let’s keep your finders crossed.

Purchase album here >

Ever since the announced exodus of the prestigious High End trade fair from Munich’s MOC Event Center to its auspiciously more central European location in Vienna in 2026, the Norddeutsche HiFi-Tage has advanced to become the premier event of the industry in Germany. For the first time this year, an admission fee of €15 per visitor was charged.

Times have become more difficult for the HiFi community and for the manufacturers who are dedicated to it. Europe's formerly affluent middle class has been literally bled dry in favor of privileged interest groups sporting libertarian market ideals. In many cases, the fabulous capital gains of recent years have been diverted to global tax havens, bypassing all member states, and the distribution of financial resources has not been as noticeably unequal as it is today in a long time. The government's focus on shareholder value is likely to be a short-term success. 

But a lot is also happening technologically. The formerly influential HiFi press is seeing ever-increasing noise from self-aggrandising YouTube influencers who are arguably causing more harm than good to the industry in their short time of ascent. Let's put it this way: If you want to get sick of a person or subject, follow them on social media. Then the magic will fade quickly. Because in our real “offline” world of goods and services, quality and stability are still based on long-term commitment to the cause, and this is noticeably lacking in the algorithm-based media. The increasing use of AI also brings the question of meaning in digital media into the spotlight.

This makes the opportunity to talk to manufacturers in person at events such as the Norddeutsche HiFi-Tage all the more welcome and beneficial. Looking at the long list of prestigious 2026 exhibitors a few days before the fair, I decided to focus my attention primarily on those I had missed in the past three years. And since I didn't want to visit the trade fair alone, I asked my HiFi friend and ambitious speaker cable designer, Matthias, to accompany me. This was particularly interesting because Matthias brought two new cable prototypes with him in his suitcase when he arrived at our place in Marne.

Matthias took a renewed interest in speaker cable design since he switched from his omnidirectional Duevel Bella Luna to the Jupiter series speakers built by the same company. Although he had experimented with cable designs before, the Jupiter were Duevel's first model and far more demanding to drive for two reasons: first, their woofer is much larger and demands for greater control on the side of the equipment driving it; second, their dome tweeter diaphragm is enormous, which can easily lead to an audible frequency rolloff in the high frequencies. His challenge was to design a cable that would enable his amplifier to right both these wrongs— which he ultimately succeeded in doing.

Matthias is an experienced listener and has a good ear for nuance. His background in electronics and recent experimentation in building HiFi-cables have also given him some understanding of the underlying technology. In his quest for optimal sound, Matthias is as relentless as I am, even if he is not always as outspoken about it. I was happy to have him as companion and as an extra pair of ears to compare and contrast my experience with on our day at the trade fair.

When we arrived at the fair, the reception area was still bristling with visitors, and so we decided to keep our jackets on for the time being and head straight for the upper floors. This led us to the exhibition space of ATE Akustik by Norman Gerkinsmeyer. Founded in 1982, the company is a German developer and manufacturer of loudspeakers and special drivers for the industry based in Neu-Ulm. Mr. Gerkinsmeyer himself presented the company's patented Ring Mode Driver (RMD) technology at the trade fair, a bending wave transducer based on an oval diaphragm design.

ATE Imagine — Ring Mode Driver Loudspeakers

Following my positive review of Daniela Manger’s bending wave transducer on the P2 loudspeakers, I was interested in finding out more about the differences between the designs. And so I learned that the ATE driver’s design naturally dampens return waves on the diaphragm through its oval shape, whereas the Manger transducer uses its characteristic star-shaped matt to prevent refractions. Both drivers offer the benefit of working without crossover in the frequencies critical to the human ear. 

ATE also makes custom drivers for the automotive and aviation industry, an environment in which there is heavy use of signal processors to flatten frequency response in a unfavourable acoustic spaces. Regrettably, the same technology was also used in the showroom, which resulted in unnaturally short decay and an overly dry, clenched-fist sound. I have to admit that I am sensitive to this and have personally never heard a DSP-augmented vocal section that I would still describe as sounding natural. Our final test track was Peter Bence’s title “Africa”, which we have heard on many systems but found lacking its usual charm and allure for the sake of greater frequency control.

Our tour then took us to Lyravox, a German manufacturer of audio equipment from Hamburg. I had previously heard their smaller Karlos speakers, which had sounded much larger than they looked, most likely due to the integration of an up-firing air-motion transformer and active DSP modulation instead of passive crossovers. This year, Lyravox displayed their Karlsson Mini Monolith towers. Here, too, nothing was left to chance, from the multiple input modalities (XLR, SPDIF, Toslink, analog, etc.) to the powerful Class D amplification (2x 500 + 1x 100 WPC) and a fully-integrated multi-channel hi-res-DSP.

The materials Lyravox uses are of the highest quality, ranging from natural stone base plates to elegant artificial stone enclosures, which are combined with Accuton ceramic invert-dome drivers from tweeter to bass. The look of their whole line-up is clean, white, and elegant. Now, hotel rooms are not ideal listening venues, and my ongoing criticism of the DSPs used in the high and midrange frequencies could well be related to the fact that DSPs have to intervene heavily in such a room. Berlin is not too far from Marne, and perhaps I should pay Lyravox a visit to get a more realistic impression. Among others, we listened to the album “Stay Tuned” by Dominique Fils-Animé.

AUDES Audio in the adjacent room has a long history of manufacturing audio equipment dating back to 1935. The Estonian company initially started out manufacturing radio receivers under the name RET (Raadio-Elektrotehnika Tehas) and already employed 50 people in its first year, who built up to 30 receivers a day. From 1941 to 1944, the factory, called Raadio-Pioneer at the time, belonged to Telefunken and was renamed Funktechnische Fabrik Reval. The name AUDES has exists since 1992 and stands for “Audio from Estonia.”

A full account of the company history is available on their website. Their current loudspeaker line-up (Reference, Excellence, M-Series, Credo, etc.) are phenomenally disparate in their designs, ranging from stubby towers to thin blade-like structures, either in width or in depth. On this day, the M5 speakers were on display, which seemed a little thin and lacking in timbre at the chosen position. Setting up the local electronics and adapting them to the room is, of course, a challenge. Therefore, we left this room without gaining a real impression of the speakers' capabilities.

Rogers is one of the well-known BBC loudspeaker manufacturers, along with Harbeth and Spendor, which were particularly famous in the 1960s and 1970s for their soft, natural reproduction of midrange and vocals in the near field and in small studios. However, the Rogers speakers we heard at the North German Hi-Fi Days were anything but near-field monitors. Although I neglected to note down the name of the speakers on site, my research suggests that they must have been the newly reissued PM510 S3, which impressed us with their enormous dynamics and crisp, powerful highs.

We could not see the drivers through the speaker fabric, so I was surprised to learn that the distinctly metallic sounds were reproduced by an Audax silk dome tweeter. In my opinion, this can only be explained by its relatively large size of 34 mm and the rigid metal diffuser on the front. The room was well attended, and there was no ideal place to sit among the few chairs. Matthias and I agreed that we basically liked the sound, but we were not convinced that we could hear properly under the given conditions. The speakers' partially pressure chamber-like highs reminded me of the early ring radiators from Fostex and Beymar.

Symann Soundboards were certainly among the more unconventional designs at the show. Their engineer, Michael Symann, is a piano and harpsichord builder by profession and develops his speakers based on soundboards, the wooden components that form the bottom of the piano and resonate at the correct pitch. The components consist of four wide strips of tonewood, two of which are mounted on opposite sides of a narrow slatted frame. Exciters, as commonly used in automotive applications, serve as drivers, and there is a small Air Motion Transformer (AMT) to supplement the high frequencies.

This innovative design produces a sound wall similar to that of full-range electrostatic speakers. However, the frequency range is limited by the characteristics of the materials used. The accuracy of the otherwise very precise AMTs could possibly suffer from the fact that the tweeter is mounted on the vibrating surface between the resonance plates. I would be interested to hear a future version of the Soundboards with the AMT mounted in a more fixed position. Overall, the Soundboards are a promising invention and deliver an intriguing sound.

Wilson Alexx V — Array Loudspeakers

The most spectacular listening experience was undoubtedly the presentation of a superlative HiFi system by Matthias Böde from Stereo magazine. The speakers used were Wilson Audio's Alexx V model, powered by enormous VTL Siegfried tube monoblocks. The ensemble had the power of a medium-sized PA system and surprised its listeners with enormous attacks. Although the sound remained controlled, precise, realistic, and crisp throughout the performance, I did feel a little sorry for the people in the front rows in the immediate vicinity of the speakers. Their ears probably rang for a long time afterward, just like after a good live concert.

We also wondered how the Wilson speakers would sound in a living room, where they would be operated at moderate volume. The ideal range of a speaker is always optimized for a specific listening distance and volume level. The selection of songs was undoubtedly excellent and clearly showed who was in charge that afternoon.

While Matthias Börde's presentation in the large conference room did not seem to clash with those of its neighbours, some of the presentations were nevertheless acoustically crushed by the loud competition on the other side of the hallway. The longer the trade fair went on, the louder some manufacturers played their equipment. This behaviour forced all exhibitors into a vicious circle, in which one after the other had to increase the volume until a formerly quality demonstration turned into a show of power. For this reason, I was unable to demonstrate some of highlights of the trade fair to Matthias.

Finally, we stopped by Daniela Manger in room 204 and listened to an electronically separate version of her P2 speakers, in which the bass range was controlled by an active crossover and was optimally compensated for in the room by two inconspicuous active bass traps. Matthias and I were very impressed by the room acoustics and performance this time. The session was comparable to my experience when I first had the P2 speakers in my studio for testing, and I was happy to be able to share this experience with Matthias on this occasion.

Manger P2 — Bending Wave Transducer Loudspeakers

On our way back to Marne, we stopped at a HiFi friend's house in Barmfeld to help him improve the sound quality of his HiFi system in a newly built listening room furnished with absorbers and all. We spent the rest of the evening moving speakers around and discussing sound until our energy was completely exhausted, and after a fulfilling day, we set off on the last leg of our journey towards Marne.

< NDHT 2025 | Manger P2 >