If you ever have come across a semi-active multi-way speaker concept with lots of IcePower, then this isn't a coincidence. And you could also have known the name Pure, if you, for example, have taken a look at the web pages of AudioMachina. The concept for The Pure originates from AudioMachina owner and developer Dr. Karl Schuemann, whose top-of-the-range model Maestro GSE has been one of the finest speakers I have ever enjoyed in my listening room. Unlike the Maestro or Pure, Einstein's The Pure has a baffle that is significantly wider than the chassis mounted to it would require. Volker Bohlmeier notes that such a design is considerably less dependent on its placement in the room than a transducer with a minimalist baffle. In addition, the fairly large rectangular surfaces allow Annette Heiss to transfer Einstein's corporate design so perfectly to the loudspeakers that they wouldn't need to carry any logo at all to make The Pure a distinctive Einstein component. However convincing the design of the speakers may be, ultimately it's still Form-Follows-Function, and nothing else. The visually striking 1.2 mm thick stainless-steel plate is floatingly glued to the front cabinet panel made out of twelve millimeters thick aluminum and a black acrylic front. Thus the baffle features a mixture of three materials that mutually dampen themselves. The side walls and the bracings inside the modules with their Resonance-Controlling-Chamber construction are made of 40 millimeter thick multiplex boards. For the cabinet's back panel Annette Heiss and Karl Schuemann then again selected aluminum, this time with an impressive thickness of 12 millimeters. On request, The Pure can also be supplied with a natural wood front instead of the black acrylic panel.

Just as important as the mechanical stability of the cabinets is, of course, the rigidity of their mechanical fixation in the modular system. The modules are connected with four screws each to an eight millimeter thick T-beam. A spike integrated into the base plate of the stand is used for the vibration dissipation of the woofer module. The inclination of the steel support beam by six degrees together with the different installation depths of the drivers – the horn tweeter lies lower in the cabinet than the woofer and the mid-range driver—ensures a time-coherent sound radiation. The two modules and the stand of The Pure add up to impressive 100 kilos.

Annette Heiss and Volker Bohlmeier brought a brand-new pair of The Pure along to Gröbenzell, mounted the modules to each other, and placed the speakers to that position which has itself proven to be the most favourable in my listening room. The four easy-to-adjust spikes, which were inserted into the base plate of the stand, found contact to the floor via Harmonix RealFocus MK II. But, even after we had connected the initially forgotten RCA cables required for the control of the woofer modules to the preamp, The Pure didn't indulge our willing ears with euphony:  Above all, the tweeter itself longed for an appropriate burn-in time. After about a week, during which I had music playing almost continuously during the day, and during which I by the way also discovered some long-forgotten records, the harmony between the single drivers finally got established. This then caused me to reduce the low-frequency energy a bit. The cut-off frequency I kept a good bit above the zero position, because this could compensate for the bass drop in my listening room almost perfectly. But regarding the level, in a somewhat exuberant mood I had turned the control knob a little too far to the right, on the one hand to set the correct balance with the dominant tweeter before starting the burn-in phase, and on the other hand, to yet again drown in an ocean of precise and well-defined low-frequency energy.