Nachdem mich im letzten Jahr reine Neugier auf die Audio Video Show Warschau gelockt hat, gehört die Messe dieses Jahr für mich bereits fest in meinen HiFi-Jahreskalender. Als Dirk Sommer mich fragte, ob ich wieder die Berichterstattung für Hifistatement übernehmen möchte, musste ich dementsprechend nicht lange überlegen.

Als einziger berichtender Redakteur aus dem Hifistatement-Team war ich 2022 schlicht überwältigt von der Größe der Show. Zwar sind wir mit der High End in München ebenfalls einen gewaltigen Maßstab gewohnt, allerdings teilen wir uns dort das Berichterstattungsrevier jährlich unter mehreren Redakteuren auf. Doch auch dieses Jahr habe ich mir wieder das hochgesteckte Ziel gesetzt, so umfassend wie möglich für Sie über die Audio Video Show zu berichten wie es mit meinen Kräften vereinbar ist. Die aufgeschlossene, lockere Stimmung wird mich auch dieses Mal mit Sicherheit wieder anstecken und den Trubel eines Messetages vollends aufwiegen.

Heute, einen Tag nach dem Messeauftakt am gestrigen Freitag, können Sie mir wie gewohnt mit einem Fotorundgang über die Messe folgen und erste Eindrücke sammeln.

Im nächsten Artikel zum Beginn der kommenden Woche werde ich eine Bilanz zur diesjährigen Messeatmosphäre ziehen können und Ihnen von ersten persönlichen Highlights und hoffentlich spannenden Neuheiten berichten. Zum Ende der Woche folgt dann der letzte Messerbericht, in dem ich, so denke ich, mit einigen exotischen Konzepten aufwarten kann, die man auf den einschlägigen Messen in Deutschland nicht unbedingt finden wird.

Viel Spaß!

Audio Group Denmark wants to tap into new clientele with its new Axxess brand. The three all-in-one devices labelled Forté are a clear sign of this endeavour and benefit from the expensive components of the Aavik and Ansuz brands because they house many of their technical refinements.

Even though there is no accounting for taste, the new Axxess Forté shows up in a dignified design. Thus, it could also be classified into a much higher price range in terms of looks. But already when unpacking and setting up the Forté, one can possibly get a bit annoyed about the fact that the Forté has been given the feet typical for Aavik and Ansuz, which long for adding the sound enhancing Ansuz Darkz. Now I don't think a buyer of an all-in-one Forté1, no matter how sonically promising, should be expected to invest another 1,000+ euros for a set of four of these really good feet. I really appreciate them under my Ansuz PowerSwitch A2, but perhaps it would be possible in the future to include not only cotton gloves but also four felt or rubber disks in the scope of delivery, so that a Forté can be placed on a noble piece of furniture without any problems. In my case, this doesn't matter, since I'm a friend of hard coupling anyway, and in this review, a frequently used Ikea Lack table is going to host the Forté1.

What pleased me was the fact that with the Axxess Forté you don't need more than a pair of speakers and the connection to a router or its repeater via an Ethernet cable to browse a portal like Spotify or paid ones like Tidal or Qobuz for a musical experience. WLAN is not on board because of the immanent interference problem, but it could easily be supplemented with a WLAN receiver, which you then simply connect to the RJ45 jack, or a USB WLAN dongle. However, I would always recommend the use of a repeater, which you then connect to the Forté with a good Ethernet cable, thus keeping the source of WLAN interference at a distance. Each of the three currently available Forté models is an integration of a network streamer, bit-stream D/A converter, preamplifier, class-D power amplifier and headphone amplifier. So what we have here is a versatile all-in-one solution that, compared to individual components, makes the tedious choice of cable connections obsolete and prevents bad investments at this point. In addition, only a small footprint is required, as a Forté, at 37 centimeters wide, is even narrower than the hi-fi component standard. The three models differ considerably in price and how intensively they are equipped with the sound-relevant components for minimizing electrical interference, known from Ansuz and Aavik devices and developed by the Audio Group Denmark. In this form, this technical concept is unique in the world and can only be found in the products of the Audio Group Denmark. More specifically, it involves the number of "Active Tesla Coils", "Active Square Tesla Coils", Dither circuits and "Anti Areal Resonance Coils". Our Forté1 has the lowest amount of these implanted components, but features exactly the same output power as the Forté2 for 7,500 euros or the Forté3 for 10,000 euros, namely 100 watts per channel into eight ohms. In addition, the Forté2 and Forté3 were not only optimized by using a more extensive implantation of the aforementioned elements, but each of them also got enhanced with four active zirconium Tesla coils, while the top model also boasts a bottom plate made of copper. Otherwise, the three "forté" are equally equipped.

The LED matrix display takes up almost the entire front and informs with red dots about title and artist when streaming or PCM or DSD format of the music file when playing, for example, from Roon via USB or via the BNC equipped S/PDIF input from a CD player. Changes of the volume level are also briefly indicated when another info fills the display. The volume is finely graduated in one-decibel increments from zero to -76 decibels. On the right of the acrylic front, which contributes to the Forté's dignified elegance, there are three buttons ordered vertically, while next to them the large rotary wheel for volume or menu selection is to be found. Below the three buttons, the headphone jack, which is also black coloured, is hardly noticeable. The upper of the three buttons activates the Axxess from standby mode, but this can also be performed conveniently via the remote control. In the middle sits the mute button, which also mutes the speakers in headphone mode when correspondingly preset. Below that the third button calls up the menu, which can then be operated via the large rotary wheel.

The Forté1 comes with useful options, such as activating the headphone and preamp outputs. The latter is intended for an active subwoofer or an additional power amplifier. Above all, the brightness of the large display can be varied or programmed to switch off a few seconds after an operation. The large display provides perfectly legible information even at a great distance and can be a bit too bright up close, which can be compensated for by dimming it accordingly. An original feature is that it can also display the Forté's operating temperature in degrees Celsius and Fahrenheit at the same time. This lets you know how cool this amplifier stays with its special power technology. Even during prolonged listening sessions at high volume levels, the Forté rarely gets warmer than room temperature. Responsible for this behaviour is on the one hand the proprietary power supply technology, which is also found in the expensive products of the Audio Group Denmark and the UMACTM power stage from Pascal on the other. The listening test will prove that this concept combines low power consumption, practically no heat loss and particular sound capabilities.

The power supply technology is derived from the Aavik 180/280/580 series, as does the UMACTM power amplifier concept. The resonant mode power supply is quiet and powerful at the same time. The Aavik line was developed with the goal of ensuring massive power resources backed up by a low noise level. According to the Danes, this resonant mode design works with sine waves as opposed to the rectangles of conventional switching power supplies. As more power is called upon, the operating frequency increases. This generates the advantage that the output power density also increases, which in turn provides a higher peak power. The noise floor of the power supply is already said to be extremely low, but has been reduced even further by the extremely low-noise regulators that power the various sections of the circuit. The noise from these regulators is well below the noise level of conventional regulators, as I learned from Denmark.

UMACTM stands for "Unmachined Audio Control". This technology is intended to avoid the disadvantages of conventional switching amplifiers, because UMACTM generates the pulse width modulation not with the frequently applied triangle modulation, but with a sine wave modulation. These sine waves are said to load the signal far less with high-frequency noise than triangles, have no sharp corners and therefore require decisively less filtering at the output. The low inductance at the output allows the amplifier, according to the Danes, a better damping factor and very good control of the speakers. The dual mixed-mode feedback further contributes to the excellent damping factor, they added. The tight control of the speakers thanks to the high damping factor is one of the clearly perceivable sound characteristics of the Forté1, which is apparent from the first listen.

Setting up a Forté is child's play, even if the included remote control proves to be not very intuitive, which you can also gout as a mental challenge. After booting up and, if you want, the first update check, you can start in streamer mode. The Audio Group Denmark offers a software with the same name that is compatible with iPads. It is based on Mconnect. If you use an iPhone or an Android device to control the streamer, Mconnect Control is suggested. Controlling the Forte via USB with Roon is also an option. Here, the Forté is recognized as a D/A converter. But Roon in conjunction with the streamer will also be possible as soon as the manufacturer is granted the Roon Ready license, which may take a few months. Whether this is pepped with a sonic advantage, is then certainly exciting to know and easy to try out. The Forté processes PCM up to 384 kilohertz and DSD128 natively as both a D/A converter and streamer.

The casing appears to be not only aesthetically beautiful, but also acoustically optimized thanks to its mix of materials. In addition to the elegant front, the solid bottom plate made of a special compound material stands out, the edging of which also contributes to the attractive visual effect. The two side elements, each strikingly decorated with four Xs, are made of powder-coated aluminum. If you remove the thinner lid, which is also made of the compound material, and after detaching the four locking plates, each decorated with three round and elongated recesses and made of silver-grey anodized aluminum, you will find an eightfold screwed, shielding steel plate underneath, which you have to remove as well if you want to take a look inside. This is worthwhile just to be pleased about the accurate construction. The power supply and other components are clearly and cleanly separated from each other and you can immediately recognize the PCB with the 36 active Tesla coils near the front panel of the device at a proper distance from the lavishly equipped display PCB, even though the LED display uses a low-interference technology by itself.

Let's close the two covers of the superbly crafted case again and turn our attention to the music: After having thought to have noticed a slight roughness in the sound when played out-of-the-box, it now looks quite different after a week in standby mode connected to the unfiltered power outlet of my Mudra Max and accompanied by several hours of casual music listening. However, this clearly depicted sonic image is somewhat unusual and impressive at the same time. In the past months I had the opportunity to have several top-class amplifiers in the price range above 6000 euros performing on my full-range ribbon loudspeakers. They all differed from each other sonically. But only very few of them were able to generate such a controlled and contoured bass as the Forté1. It obviously doesn't allow my Analysis Audio Epsylon to show any uncontrolled reverberation. This not only offers a precise and deep bass response, but it also affects transparency and fine detail throughout the whole frequency spectrum. So I am happy about this kind of clear and clean sound, which I did not expect from a device in this price range in the first place. When I streamed the album Life Goes On from Qobuz in CD quality, Carla Bley's grand piano sounded beautifully full-bodied woody, clear without thickening up and completely free of unwelcome artifacts. In a powerful and equally filigree manner, the Forté makes the grand piano sound credibly proportioned. The instruments of the two fellow musicians Steve Swallow on the bass and Andy Sheppard alternatingly on both tenor and soprano saxophone join in colourfully and well contoured. The Forté1 lets the music flow and caresses the listener despite all its accuracy. This is an ability that one cannot really expect from such a low-priced component - even if 5000 euros is not chicken feed. Compared to the experiences I had in the same acoustic environment with completely different calibers, I should note, however, that the Forté can certainly not keep up with them in all points.

Thus, the Forté does not embrace the listener with the cozy musical warmth as a Cayin CS-805A does, for example, and it certainly does not achieve the grandeur of Marco Manunta's Larson mono amps either. How could that be, given the price differences? But even if you take the just mentioned antagonists as standards, there still is something special, pleasing, sonically appealing in the tonal character of the smallest delegate of the Axxess range. It’s the accuracy, which is particularly impressive in the lows and in the fundamental tone. Still, it is not accompanied by a particular graduation in the spatial imaging. It’s there, but not in such a way as to astonish: The Forté outlines the imaginary stage in a contoured and credible manner. More is not necessary here. As with all audio components, the decisive factor for me is the enjoyment factor, as well as the answer to the question: Does the music touch me emotionally? With the Forté1, I can happily say yes to that.

Even when I connected my Wadia CD transport via a Toslink cable and inserted The In Crowd by the Ramsey Lewis Trio, the basic musical character of the Forté remained the same, and it was real fun listening to the music. It satisfies me with its enthusiasm and the immediacy with which it renders the music. I mainly used it as a streamer and as a DAC fed by the Roon computer. The latter combination made the sound a bit warmer, more rounded off, which I personally liked very much, but may not necessarily be considered better. As a stand-alone component in the network, the Forté1 lets its strengths shine entirely and independently of the music genre. Imposing and immensely colourful, powerful and decisive, tonally with a minimal unstable iridescence, as probably desired by the composer, do the eight horns sound in the intro of Symphony No. 3 by Gustav Mahler with the Bavarian Radio Symphony Orchestra, conducted by Mariss Jansons. This excellent recording then lets the low-frequent percussion roll punchily into the room from behind. The Forté1's accuracy takes nothing whatsoever away from the instruments' colourfulness and sonority. Accuracy and tonal splendor find a thrilling synthesis in the Forté1, and particularly so in "classical" music. I have rarely enjoyed this symphony in such a state of excitement. The dynamics leave nothing to be desired here either, and the spatial imaging, while not overly deep, is large on a cleanly delineated, wide stage.

The bass in "Krakatoa Moon" from Of Moons and Dreams by the Cécile Verny Quartet explodes almost like soap bubbles. The Axxess makes it enormously easy to trace individual instruments. Yet it presents a harmonic coherence that confers voices and instruments body and their space. In view of these sonic capabilities, rock is of course really fun, such as Sticky Fingers by the Rolling Stones was able to prove. The Forté1 makes the reckless sound of "Brown Sugar" immediately palpable. Nevertheless, when drawing my personal conclusion, this Forté makes its skills more audible with classical music and jazz than with rock music, where the given tonality sometimes tends to more presence. The Axxess by no means appears to be a palliator and thus sometimes uncovers weaknesses.

Last but not least, the headphone output deserves some attention as well. My Denon headphones harmonized extremely well with the Forté’s clean and controlled sound. The overdone lows, caused by sometimes sounding a bit too fat with other sources, do not exist here. Instead, this frequency range is honoured by power and contour. In the version of the Depeche Mode hit "Personal Jesus" by the Jazzystics with Karen Souza, the cymbals of the drum set sound soft, metallic, colourful, the bass lines paint their melody into one’s ear. Karen Souza's whisper-tender voice sounds as articulate as it is flattering. Piano and vibraphone shape this "Personal Jesus" with their tonal arcs and make it as exciting as beautiful.