My highly positive impression of the outer appearance and the concept of BlockAudio thus coincides with Roland Dietl‘s assessment of the circuitry and the consequent implementation and design, with well dimensioned parts of highest quality. But decisive is only what happens in the listening room and this is where Jiri Nemec and Dan Oudes kindly built-up their amplifiers after a longer day in the photo studio. The fact that the listening room was occupied still by Einstein's partially active “The Pure” which impeded a truly meaningful assessment of their amplifiers’ bass range, did not irritate them at all: they did not need to hear their amplifiers within my chain to be a hundred percent sure that they would be convincing in my listening room. And with this they were a hundred percent right! On the Melco HDD player, I rediscovered a wonderful album of the great bass player Christian McBride: Gettin' To It. The first track ‘In A Hurry’ deserves its name. One con arco phrase played on the contrabass in rapid tempo is followed by a short sequence of the entire band with three brass players. As I was not overly careful when choosing the volume, the energy of the brass gave me a jerk. It is however not the average level that is responsible for the live character of the musical spectacle. It is rather the unbridled power, which causes single tones of the trumpet solo to stand out and make the playback exceptionally thrilling. The BlockAudios seem to provide the power necessary for the dynamic peaks seamlessly and without limits. No, I cannot remember ever hearing this song in such a fast, thrilling and dynamic. way..

The next track ‘Splanky’, the come-together of three bass stars, is another reason for untenable infatuation – and this said by a rather stoic Westphalian: In this piece, next to Christian McBride you can also hear Milt Hinton and Ray Brown. The swinging trio turns the Neal Hefti’s composition into an extraordinary experience to which of course, the “Kawero! Classic” and the BlockAudios contribute to a great extent: The power amps control the bass drivers of the “Classic” rigidly and I am positively reminded of the fantastic bass playback of Einstein's partially active 'The Pure”: No other amplifier ever before has been able to get so many timbres and so much melody out of the – nota bene passive – “Classic”. The way in which the chain transfers the groove of these virtuosos on the thick strings is simply dreamlike! Even if I am pretty sure that even 20 years ago almost no productions were made fully passing on limiters and compressors, this disc, respectively its data, sounds exactly like that: dynamic and completely uncompressed! The brass players dazzle, the bass is driving, the piano comes with pressure and the percussion metal has the right bite.