Ich hätte es wissen können, ich hätte es wissen müssen, besuche ich doch die Westdeutschen HiFi-Tage im Bonner MARITIM Hotel nicht zum ersten Mal. Ein Parkplatz fünfundvierzig Minuten nach der Eröffnung der Ausstellung im näheren Umfeld der eleganten Herberge ist ein begehrtes Gut.

Fahrzeuge aus allen Teilen des Bundesgebiet sowie aus dem benachbarten Ausland säumten die hinführenden Strassen und Wege. Aus allen Himmelsrichtungen strömten Musikinfizierte in das Haus. Mehrere Tausend von ihnen, so der Veranstalter HiFi Linzbach, werden am Ende des ersten Tages die großen Drehtüren des MARITIM passiert haben. Ein schöner Vertrauensbeweis für die siebte Auflage der großen HiFi-Show im Westen der Republik und ein Zeichen für deren Notwendigkeit. Die große Vielfalt der Exponate, die Chance die Meisten davon hören zu können, sind sicher entscheidende Gründe für den Erfolg. Zudem ist die bunte Mischung der Aussteller ein Markenzeichen dieser Veranstaltung. Hier treffen die Großen des Marktes auf die kleinen Manufakturen mit ihren zum Teil erstaunlich findigen Ansätzen. Und so war es auch dieses Jahr: Plattenspieler in allen Preisklassen boten ihre Signale an. Mehr Spannung lieferten CD-Spieler sowie Streamer an die Eingänge der Transistor- oder Röhrenverstärker. Die Wandlung der elektrischen Ströme in akustische Schwingungen oblag in den Hörräumen Lautsprechern die klein wie Schuhkartons oder groß wie Waschmaschinen seien konnten. Um die Wiedergabe des Tons weiter zu veredeln, nutzen die Hersteller die unterschiedlichsten Baustoffe. Und so gab es Ausstellungsstücke aus Beton, Glas, Aluminium, Edelstahl, Keramik, Bambus und und und. Eine wahrlich nicht vollständige Übersicht bieten die nachfolgenden Bilder. Weitere Fotos folgen kurzfristig in Teil 2 und 3.

For everyone who takes a real interest in High End it's a truism that even the best equipment can't recreate a live impression. This alleged fact, however, while perhaps not refuted, would be at least seriously shaken by visiting the Audio Forum in Duisburg, Germany, the Acapella Audio Arts showroom..

As usual, my comments don't start with a description of the sound; you‘ll have to wait a bit for that. Instead, we'll start with the Audio Forum and both its founders: Hermann Winters and Alfred Rudolph, who got to know each other in 1972, naturally via the topic Hi-fi and music. Hermann Winters had already been running the company Hifi-Elektroakustik since his time at school, and Alfred Rudolph his company ARAkustik. They opened their shared hi-fi studio, Audio Forum, on 4th September 1976. Their trading licence has an even earlier date, but both of them see the foundation date of the company as the opening of the studio in the Koloniestraße 203 in Duisburg. The first room which you enter coming in off the street was really small, and not really ideal acoustically. In the shelves on the left of the door were, back then, a manageable number of carefully chosen components from all price categories. Opposite those, Alfred Rudolph's creations were playing, ranging from the compact, still relatively affordable ATR monitor, to the dream loudspeakers with the spherical mid-high-horn and the exceptional Ion tweeter. Also some external brands were available here to compare them with. Single-speaker demonstration was, for reasons of space, not an issue here.

By the way my portrayal isn't based on plastic descriptions of the company founders or on 40 year old photos:  I'm writing from my own experience. When I wasn't even dreaming about a professional career with hi-fi, but was studying German, Latin, and education at the Ruhr University in Bochum, I regularly commuted to the Audio Forum, which I didn't discover directly after its opening, but only in 1978 or 1979. The reason for my first trip to Duisburg was rightly and justifiably for an audiophile classic: Esther Ofarims solo album Esther as "ATR master cut recording." Hermann Winters can remember driving to the Cologne EMI studio with an estate car full of the best hi-fi equipment to check the recording. But the equipment there was so good that he could confidently leave his equipment in the car. Regarding the legendary re-issue he commented laconically, "With the first Esther I overdid it a little bit. We edited it with a peak level of plus seven decibels." From this slight exaggeration one of the biggest marketing coups in high-end history came about, the sentence on the cover stating "That ATR MASTERCUT RECORDINGS can be played back without distortion can be demonstrated in the ATR reference studio by appointment."

Naturally my Thorens TD160 with an Audio Technica AT20SLA couldn't cope with the large groove modulations, and I was soon back in the ATR reference studio, alias Audio Forum, again. It began quite harmlessly with the assembly of a Mayware Formula IV on the aforementioned Thorens. But then I was sucked in to the sophisticated Audio Forum concept:  Alfred Rudolph and Hermann Winters had a clear vision of what a high-quality chain should sound like, and for the customers who shared this sound ideal, a way to help prepare them for the multi-level journey to the summit. You began with a good integrated amplifier, and then once you had recovered from this investment, to hand it over without too much financial loss, and then in an ideal world to be able to purchase a preamp/full-amp combination which had previously been handed in as part-exchange. With turntables and loudspeakers it was the same:  Without making big financial losses you could get closer to your dream hi-fi over the years in small steps – naturally only as long as you were in the Audio Forum cosmos. You got excellent advice and even support if you couldn't spend huge amounts of money.

Do you need an example? After spending a lot of money to exchange my large Onkyo integrated for an Audiolabor Fein phono amp, including Michaelson & Austin TVA1, I couldn't get to grips with the coarse volume control, and couldn't afford a preamp. Mr. Winters obtained a highly-respected Burmeister resistor switch for me at a student price. No surprise, then, that after this, critical distance wasn't a problem. Alfred Rudolph propagated sandwich housing:  the author obtained wood and sand, which made a rock-like sculpture from his ATR monitor. It should be mentioned in passing that he later sold it again at a cost-plus-materials price. In the Audio Forum, cables with a diameter of at least 10mm² were introduced:  The author bought a drum of 25mm² and drilled it with the energetic support of my understanding girlfriend and a regulated power drill…both of the conductors. And if there was 35 DM left in the student budget, then they were invested in one of the highly sought-after Three Blind Mice LPs which were imported back then.

In my case I can't really deny an initial Audio Forum dependency. But even as a former near-addict then, allow me to make this evaluation: as a customer, there is nothing better for me than the Audio Forum concept. If you've got a sound ideal for your ears, you can get closer to it without unnecessary financial losses, and you will still get competent advice within this model. In times of audio vertigo due to an overabundance of options, the theft of advice, and an unspeakable "stinginess is cool" mentality, such a model seems to me to be extremely important. Fortunately, this is still possible with Hermann Winters and Alfred Rudolph:  Here the customer still gets musical solutions and not just equipment.

Naturally, in the meantime there have been a whole range of new developments: nowadays, nobody would use copper tubes of this diameter. For quite some time Acapella has been offering much thinner copper and silver cables. And a classic of loudspeaker offerings such as the Violon profited from regular model updates—in fact, is now currently in its Mk VI version. But Alfred Rudolph and Hermann Winters have remained faithful to their basic principle that only a perfectly matched chain can deliver the desired sound. Despite significant international success, Alfred Rudolph is still searching for small possibilities to improve them. His special focus is on reducing sound-colouring resonance. At the end of the last century, Acapella Audio Arts Basis, Speed and Big Block were ready for the market. Since a review in 1999, I can't do without an Acapella Base under my record player. Even a change from Finite Elemente to Artesania Audio Rack didn't change anything. Although the latter brought sound advances for all other components, it's special phono platform couldn't convince me. Only after I put an Acapella Base on the four plastic feet of one of the other unit levels did the LaGrange drive sounded like I was used to, or even a bit better.

At the moment tonearm bodies are made from Okume laminated wood and other woods, with and without ebony inserts to dissipate the resonance, which then get the finishing touch. Amongst them is an isosceles triangle, which should get the name "triad." Alfred Rudolph demonstrated the effectiveness of his tuning bodies on our hi-fi in our sitting room when he visited, where my wife and I could enjoy the benefits of a Violon MK VI. Over and over again it's astonishing to see what effect small changes can have in a very high-quality chain. For critical recordings the intelligently constructed resonance reducers can have a big effect, if placed with experience—whether they are enjoyable, or so annoying that you would rather do without them.

If the recording medium is a record, then Alfred Rudolph has another recipe to let these sound more open, freer, smoother or in the worst case, simply tolerable. He moistens the velvet surface of a record cleaning "brush" with a little bit of Squalan oil and puts this on the record. During playback the diamond distributes the oil into the grooves. Even if the sound after one application sounds more pleasant, flowing, and less "technical," the positive effect increases during the next three playbacks. The diamond distributes the oil more finely and "polishes" the groove, as Alfred Rudolph puts it. Years ago a stylus manufacturer gave me a demonstration of the effective fluid sound improver. But back then the basic principle was "lots helps a lot," and the treated record left marks on the turntable, which is why I didn't touch Squalan oil up until now. However if you apply it sparingly and effectively as recommended by Alfred Rudolph, the tonal advantages outweigh the small effort by a long way. (But this article shouldn't be about tips for getting better playback from records!)

It's not that in the 22 years that I've now been living in Bavaria I haven't been back to Audio Forum. At exhibitions I've met Mr. Rudolph and Mr. Winters regularly, and I found myself breaking my golden rule of never listening at exhibitions in front of an Acapella chain. But here it wasn't about the impossible task of evaluating one or another individual component in unknown surroundings. Hermann Winters and Alfred Rudolph always ensure—whether it's in a showroom at the exhibition or at the customer's home—that they create a harmonious overall concept. And this is why I found myself at one or another "hi-fi deluxe Show" relaxed in the Acapella room enjoying music, instead of racing from one appointment to the next.

An extensive visit to the Audio Forum during a visit to the Ruhr area was without any time constraints. On my way from Dortmund to Duisburg, I made a small detour to Düsseldorf airport to pick up Helmut Baumgartner. As to putting the shiny Acapella loudspeakers in their photographic limelight I don't really trust myself; to do this it really needs a professional. Naturally Baumgartner knows the imposing showroom from the internet appearance (here's the link), and doesn't want to believe that this showroom is behind this very non descriptive shop in the Koloniestrasse 203. But for Acapella it was never about the outward appearance of their store. From what we experienced in talks with Hermann Winters and Alfred Rudolph, I can only tell you about one thing, even if it's the main thing. No, it wasn't a discussion about confidential company secrets, even if there's such a thing. After talking in a large group for a while, both of them quickly realised that Helmut Baumgartner knew at least as much about hi-fi and high-end audio as he did about photography. And this is why I was absorbed in my talk with Alfred Rudolph in the entrance area, whilst my photographer colleague was exchanging views with Hermann Winters; or after dismantling the lights I was listening to his favourite records streamed by The Beast, whilst Helmut Baumgartner was talking shop together with Alfred Rudolph in the neighbouring room.

But first things first: Just after welcoming us, Alfred Rudolph presented us with some of his recently made recordings of the Talking Horns. The multi-instrumental quartet plays alto, soprano, tenor and baritone saxophone, bass clarinet, alto flute, trombone, bass trombone, tenor horn, tuba and flugelhorn, and those also even in church rooms with their impressive reverberation time. For the recording, two Neumann small membrane microphones were used on a wooden ball, whose amplified signal was recorded with a Telefunken M15. This tape machine was just standing in the Audio Forum. As the recording should be released later on LP, and thus unnecessary playback of the original tapes was taboo, we listened to the tape which was running during the rehearsals, but with the discussion between the musicians in the intervals or pieces of songs, which came over even more authentically. For the playback via the Poseydon loudspeakers, a roughly 600kg heavy construction with twelve ten inch bass drivers, hyper spherical horn, and ion tweeters, with an efficiency from roughly 99 decibels, at a price per pair of more than 200,000 Euros, it really felt like being in a church. The instruments sounded just like in real life at their original loudness and volume, without any limitation at all in dynamics—it was possible to feel the acoustics of the recording room.

This was not the hi-fi stereoscopic effect, an illusion of a room that reaches well beyond the back of the loudspeaker level, which can be created with very good chains. The Acapella chain seemed to bring the listener into a room with musicians. And if these seemed to stand in the large showroom with a realistic size and distance to you, any projection of the quartet in the virtual depth behind the speakers would only be hi-fi gimmicks. The playback of Alfred Rudolph's recording via his loudspeakers is closer to reality than anything I've heard before—even if it's for a rim shot on the snare, one of the meanest impulses, which usually overstrains the dynamic capabilities of even very high quality equipment. But a loudspeaker system which didn't even have the slightest problem in reproducing four partly unleashed playing wind instruments including tuba players wouldn't show any weaknesses even for drums. Whoever can also name the spatial and has the pecuniary requisites for a Poseydon should at least experience it once in the Audio Forum. I don't even want to think about larger models.

A large part of this successful presentation naturally was due to the unsurpassable source, the master tape. But that's not all:  Alfred Rudolph naturally has tuned the recording as well as the playback chain, with—among other things—a type of wooden rocker near the head carrier of the M15. As part of the test recordings were made with, and some without, these items, the effect of the extremely highly detailed chain in the Audio Forum can at least be understood. Having their own recordings of orchestras or jazz combos are another connection for the owners of Acapella. Alongside the audiophile republication of Esther, Cantate Domino, Jazz at the Pawnshop, Antiphone Blues and Sweet Lucy, Hermann Winters also did his own recordings, first in analogue, and then increasingly, for logistical reasons, in digital. For him it was important to limit the number of microphones—at the most two—to exclude phase problems. Surprisingly, he doesn't automatically believe that a master tape is the best sounding medium: "A record can sound better." He even has an answer ready for the objection that the record playback would be accompanied by mechanical artefacts: "If you can hear mechanical artefacts, then Alfred hasn't optimized the record player. A record player can also be an instrument."

In the meantime, Alfred Rudolph is the more active one regarding his own recordings and, as mentioned, doesn't even shy away from transporting a Telefunken machine. At the moment, Hermann Winters' hobby is the enormously time-consuming restoration of an Ibach Welte grand piano. Of 1090 grand pianos, only 55 of these were built by Ibach, which are able to reproduce, thanks to piano rolls, the play—including the touch sensitivity— of leading Pianists, true to the original. In total about 4500 pieces including pianos and Pianolas (player pianos) were manufactured. One of Hermann Winters' best memories is lying under the home grand piano, listening to it and tuning it. Was it back then that his roots for his lifelong engagement with the reproduction of music were laid? "No" Hermann Winters objects, "they are much older than this." The origins were his dad's record player, radio and tape recorder which he was allowed to use at a mere 3 years old, and his friend's "amazing equipment" at the beginning of the sixties.

Hermann Winters is, by the way, also responsible for the production of the Ion tweeters. In the workshop in the Koloniestraße you can always find a whole string of these excellent tweeters. In my experience, no diamond inverse dome can even get remotely close to the vividness of a TW1S, which are subject to a daylong endurance test before they are used. The tweeters are only manufactured for their own use, even if their list on the website suggests the assumption that they may also be bought separately. The production of the TW1S is far too expensive to be able to make them available to other manufacturers. Hermann Winters made it categorically clear:  "We don't make supplementary chassis for different external constructions."

In the next half hour Hermann Winters tried to convince me that it's not an exaggerated expense, that it's not even really necessary, to have the smallest Acapella loudspeakers with Ion tweeters to enjoy pure listening pleasure. Perhaps he wanted to bring me back down to earth after my enthusiasm for the unattainable Poseydon. So we listened to a chain with the Basso Nobile, a two-way construction with hyper-spherical horn, which only cost a little more than a tenth of the Poseydon. And really, nearly all pieces, which he called up from the music server via iPad, had a special something. At the time when I was a regular customer in Audio Forum, I would have worded it like this: the colourful mix of different genres sounded like they were all Direct-to-Disc recordings. In the ‘80s it was said that they sounded especially dynamic, open, and lively. The equipment that we listened to at that moment did that too. If you looked closely then it was clear that, in comparison to the ones previously listened to, the only moderately priced components were the Basso Nobile. The LaMusika integrated amp took care of the amplification, where the component tolerances are consistently in the thousandths. Then the basic price of 80,000 Euros is not really surprising, and it can easily be boosted by adding a few extras. As a source, The Beast by ReQuest Audio, which Hermann Winters has really taken to due to its sound and simplicity to use, is a worthy match. Finally, the most impressive experience for me was how impressively the Basso Nobile brought the qualities of the upstream world-class electronics to the fore.

When Alfred Rudolph took over the showroom again, he demonstrated the influence of his wooden rocker near the tape heads of the M15 once again during playback. Thanks to it, the musical flow was more intensive; the playback came out a little bit less "technical." Especially interesting for me, as when comparing digital components I have always preferred the ones which suggested a larger room, was Alfred Rudolph's cable comparison. Although the second cable apparently transported less energy, which you could hear immediately, I initially thought of this as the worse one for a few seconds. However, it proved itself to be the more harmonious one after a few minutes; the playback sounded more down-to-earth, not quite as "nervous." The developer worded it like this:  "Now the energy flow is right." Sometimes less can be more.

Finally, Alfred Rudolph told a little bit about the beginnings of his loudspeaker development. He, like many others, started with the loudspeaker books by Klinger, but quickly recognised the limitations in them. With his early developments there were very different concepts, such as a four-way loudspeaker, a combination of softly fixed Isophon low-to-midrange driver with a soft dome, as well as a transmission line with the Isophon orchestra coax chassis. Today he develops the "Silver Edition" of a model first, which with their silver cables offers the best possible resolution. From that he creats a "friendlier" tuned version, as the "Silver Edition" only works in perfectly attuned chains.

Then there was just enough time left for a trip to the production facilities close by, before I had to take Helmut Baumgartner back to Düsseldorf. We weren't allowed to visit Alfred Rudolph's holy production halls this time. Rumour has it that alongside current new development, such as further variants of the wooden resonance reducers, there are curiosities such as Dual turntables bought on eBay and then completely modified. But how on earth should one day be enough to summarise the history, developments, and anecdotes from 40 years to some degree? It seems nearly impossible not to plan another visit for the not-too-distant future. As Alfred Rudolph and Hermann Winters obviously still have a lot fun with good music and its suitable reproduction even after 40 years.

Es ranken sich einige Mythen um die klanglichen Eigenschaften der Aktyna Geräte- und Lautsprecherfüße und deren Ausrichtung auf 432 Hertz. Grund genug für uns, den Dingen einmal auf den Grund zu gehen.

Wie kommt man zu einer tollen High End Anlage, welche Zutaten werden für die einzelnen Komponenten benötigt? Die Antwort: Die Geräte sollen alle ein gutes Schaltungslayout, möglichst hochwertige Bauteile und ein Gehäuse haben, das mechanische Schwingungen minimiert. Während wir uns oft freuen, wenn ein Verstärker eine ausgeklügelte Schaltung, tolle Leistungstransistoren, eine hohe Pufferkapazität und ein stabiles Netzteil hat, wird auf die mechanische Stabilität leider vielfach weniger geachtet. Gerade beim Test von HiFi-Racks habe ich jedoch festgestellt, dass sich guter Klang erst voll entfalten kann, wenn die Komponenten auf einer stabilen Grundlage stehen. Das gilt genauso für Gerätefüße. Auch bei teuren Komponenten wird hier oftmals gespart. Die hier vorgestellten Aktyna Gerätefüße werden in Belgien produziert und von Panayotis Gioulos entwickelt, der von seinen Freunden kurz Pana genannt wird, wie mir Tom Habke vom deutschen Vertrieb erzählte.

Die Zahl 432 bei den Aktyna NEO 432 und DYNA 432 bezieht sich auf die Ausrichtung auf 432 Hertz, die eine für unsere Hörgewohnheiten besonders angenehme Obertonstruktur schaffen soll. Damit einher gehen soll eine vollkommen entspannte Art des Musikhörens. Pana sagt, dass Wasser und damit natürlich auch unser Körper und die Hörorgane bei dieser Frequenz eine Art Resonanz haben. Man kann diese Fixierung natürlich auch als esoterisch bezeichnen und es gibt durchaus ernsthafte Kritiker dieser Sichtweise. Auf der anderen Seite finden sich aber auch anerkannte Musiker, die sich an dieser Frequenz orientieren.

Dazu gehört zum Beispiel der Bulgare Ivan Yanakiew mit seinem 432 Chamber Orchestra, der von seiner ersten Erfahrung mit seinem auf 432 Hertz gestimmten Cello berichtete: „Es war, als würde ich die Stimme Gottes vernehmen.“ Er begann die Prelude der Orchester Suite No. 1 in G von Bach zu spielen. Begeistert gab er zu Protokoll: „Als würden pures Licht und pure Liebe durch den Raum schwingen, so neu und so brilliant.“ Diese Offenbarung war für Yanakiew so prägend, dass er im November 2013 das 432 Orchester gründete, eine Gruppe von mittlerweile 14 Streichern, zu denen einige der talentiertesten der Welt zählen.

Tom Habke sagt, dass Pana äußerst zurückhaltend mit Informationen über die Funktionsweise und den genauen Aufbau seiner Aktyna Füße sei. Bekannt ist aber, dass in den blauen Aktyna NEO 432 sechs sogenannte Helmholtzresonatoren arbeiten. Die auftretende Schallenergie wird hier in kinetische Energie umgewandelt. Die Schwingungsenergie wird dabei in einem synthetischen Polymer von hoher Dichte absorbiert. Bei den roten Aktyna der DYNA-432-Serie wird dagegen die Schwingungsenergie mithilfe eines Piezo-Elements in elektrische Energie gewandelt und kurzgeschlossen. Besonders gut sollen diese Gerätefüße auf einem Holz- oder Steinuntergrund ihre Qualitäten entfalten.

Beide Gerätefüße können sowohl für Verstärker, CD-Player, Streamer, DA-Wandler, Laufwerke und auch für Lautsprecher verwendet werden. Dadurch, dass Mikrofonie-Effekte minimiert werden, sollen alle Bauteile in den Geräten unter optimalen Bedingungn arbeiten können. Die Aufstellung der Gerätefüße erfolgt dabei nicht unter den vorhandenen Füßen, sondern daneben mit direktem Kontakt zur Geräteunterseite. Aktyna bietet neben der 432-Serie auch noch Füße mit anderer Bauform an, die mittels Adapter statt der vorhandenen Füße mit dem Gehäuse verschraubt werden können

Für gute Einsatzbedingungen im Praxistest war gesorgt, da ich Copulate Racks und auch Endstufenbasen verwende, die durch Blei- und Sandgefüllte Basen ohnehin bereits für eine Minimierung von mechanischen Schwingungen sorgen. Dennoch war ich angenehm überrascht, welche Steigerungen noch möglich waren. Besonders signifikant ist eine verbesserte räumliche Abbildung mit mehr Tiefe. Man hatte auch stets den Eindruck, dass mehr Luft um die Instrumente vorhanden ist, was zu einem natürlichem, entspannten Hören mit einem livehafteren Charakter führt. Auch eine höhere Präzision und eine bessere Durchhörbarkeit der Musikwiedergabe beeindruckte bei vielen der gehörten Musikstücke.

Ein Erlebnis der besonderen Art hatte ich beim Le Concert Des Parfums mit Patrice Hérals „Improvisation“, einem Stück, das allen HiFi-Komponenten extreme Höchstleistungen abverlangt. Bei einer Passage gibt es einen Bassimpuls, den ich ohne die Aktyna Füße noch nicht mit diesem Druck und dieser Konturiertheit gehört habe. Noch beeindruckender war hier aber die extrem präzise räumliche Abbildung auch im tieffrequenten Bereich. Doch nicht nur der Tiefbass profitierte vom Einsatz der Aktyna Füße, sondern in gleicher Weise die Mitten- und Höhen-Wiedergabe, die sauberer und definierter erschien. Das Hintergrund wirke ruhiger, und davor konnte sich die Dynamik besser entfalten. Diese Klangbeschreibung bezieht sich grundsätzlich auf beide verwendeten Gerätefüße-Sets, die NEO 432 und die DYNA 432. Die Unterschiede sind trotz der verschiedenen Technik nicht besonders groß, wobei die DYNA 432 für mein Empfinden noch einen hauchdünnen klanglichen Vorsprung bieten. Wohl gemerkt wirklich nur hauchdünn – bei mit Q-Tips gereinigten und gespitzten Ohren! Preislich ist der Abstand zwischen den beiden Gerätefüßen mit 40 Euro ja auch nicht dramatisch groß.

In meiner Anlagenkonfiguration konnte ich den größten klanglichen Gewinn bei meinen Endstufen, beim Streamer und der USB-Bridge erzielen. Das wird sicher nicht bei jedem unserer Leser in gleicher Weise der Fall sein. Zu unterschiedlich und empfindlich sind nun mal die verschiedenen HiFi-Komponenten. An meinen Lautsprechern habe ich die Aktyna Füße übrigens nicht getestet, da deren Gewicht mit über 180 Kilogramm an der Grenze der Belastbarkeit eines Dreiersets lag. Die Mehrzahl unserer Leser dürfte aber bestimmt Lautsprecher haben, die nicht annähernd so viel auf die Waage bringen. Da lohnt sich das Ausprobieren allemal.

Würde man die komplette Anlage mit den Aktyna-432-Füßen ausstatten, summiert sich der finanzielle Aufwand natürlich. Ich bin allerdings ziemlich sicher, dass es fast keine HiFi-Anlage gibt, bei der ein partieller Einsatz der Aktynas keinen klanglichen Vorteil bringt. Ich kann nur jedem raten, einmal einen Satz der 432-Serie auszuprobieren und selbst auszuloten, bei welchen Komponenten eine klare und nachvollziehbare Klangsteigerung zu erzielen ist. Eine Verschlechterung des Klangs ergab sich in meiner Kette übrigens bei keiner einzigen Komponente. Die Verbesserungen war einfach nur unterschiedlich groß. Wie viel einem der klangliche Gewinn wert ist, muss jeder für sich selbst entscheiden. Ich bin bei meiner Anlage jedenfalls sicher, dass die Investition in die Aktyna 432 NEO und DYNA 432 gut angelegt ist. Mein Grinsen beim Musikhören wurde mit den Aktynas jedenfalls immer breiter…

Am vergangenen Wochenende fand bei strahlendem Herbstwetter die vierte Can Jam Europe statt. Und im Congress Center West der Messe Essen sah man strahlende Gesichter: bei den Ausstellern, weil das Interesse an Kopfhörern samt Zubehör seit Jahren wächst, und bei den Besuchern, weil es jede Menge spannender Produkte zu entdecken und auszuprobieren gab.

Ein bisschen weniger strahlte der Autor und Knipser in Personalunion, als er seine Fotos von Hifistatement-Fotograf Helmut Baumgartner zurückbekam: Bei der Umwandlung von raw in jpg hatte dieser nicht nur gnädig einige Unzulänglichkeiten bei der Kamerahandhabung ausgebügelt, sondern leider auch bei zu viel Unschärfe gleich mal die ein oder andere Aufnahme gelöscht. So finden Sie hier leider keine Bilder von Norbert Lehmanns spannendem modular aufgebautem Kopfhörerverstärker Drachenfels, der in der Grundversion ohne WLAN-, Bluetooth- oder USB-D/A-Wandlerplatine 500 Euro kostet. Auch die Bilder der Produkte der Kopfhörer-Kabelspezialisten Labkable, die einen Preisbereich von 140 bis immerhin 1250 Euro abdecken, fielen der Qualitätskontrolle zum Opfer. Den Aufnahmen der Röhrenverstärker Luminare und Solaris von Audio Valve ging es leider ebenso. Am besten, sie verstehen die Erwähnung dieses Trios einfach als Anregung, mal nach den Herstellern zu googlen.