The already burnt-in Lumin T3X then completed the system when Oliver Goebel and I set up the Comtesse in the living room. Here the set-up was much easier to realize than in the study. The developer slightly varied the distance of the speakers to the listening position and experimented a little with the angle, and lo and behold, it was perfect – at least for me. Oliver Goebel still had to find out for himself whether, and if so, how negatively the placement of the sofa directly in front of the wall affected the sound. He finally suggested moving it 20 to 30 centimetres further into the room, which I tried with success with a couple of records. However, since I don't have the last word in the living room when it comes to hi-fi, this set-up didn’t become a permanent solution, even though the Comtesse played with a bit more definition in the bass range in this position. Regardless of this “adjustment”, I cannot remember to have ever heard music this good in the living room. The large distance of the Comtesse's tweeter from the sloping ceiling on the left side meant that the first reflection occurred later: The sound detached itself perfectly from the loudspeaker cabinets. The position of the Divin in the sonic image could no longer be located, while the balance between the channels now happened to be so equalized and stable that the playback was enjoyable even if you weren’t sitting in the centre of the sofa.

Of course, I did listen to all the relevant test files: Keith Jarrett's “God Bless The Child” confirmed the enormous rhythmic abilities of the Divin Comtesse, Patrice Heral's “Improvisation” on Michel Godard's Le Concert Des Parfums and Shostakovich's Symphony No. 15 underlined the excellent spatial imaging of the Comtesse. The latter also showed the rich timbres that the smallest Goebel speakers are capable to reproduce. “Heavy Hour”, taken from Misha Alperin's Night, underpinned the outstanding performance in terms of fine resolution and dynamics, and on “Malinye”, a track taken from the album Codona 2, Don Cherry's pocket trumpet once again demonstrated that the speakers are able to reproduce instruments in full accuracy, even displaying them at the correct height. If the Divin hadn't been so convincing in the listening room – except for the small, room-related weakness in the lows – I would have thought that they and the living room happened to harmonize perfectly by pure chance. But no, it is solely due to the enormous qualities of the Comtesse that it seems as if they had been developed for the living room!

However, I'm not going to single out a particular record that would allow me to make a critical comment to relativize my enthusiasm for the Comtesse. I'd rather tell you about an equally fascinating new musical acquisition at Qobuz – and what the Comtesse makes out of it: Fulsome X's Impermanence, Live At Porgy & Bess. Fulsome X are Wolfgang Puschnig, alto saxophone and flute, Asja Valcic, cello, Jon Sass, tuba, and Reinhardt Winkler, drums. The quartet was recorded by Quinton owner Andreas Rathammer at the Vienna Porgy & Bess on the evening of 19th November 2023, the last day of the Finest Fidelity Show 2023. And it’s truly surprising what he has done with the digital multi-track recording: The only thing it has in common with what I was able to experience that evening is the joy of playing and the exciting interaction between the musicians. Even though the sound in the club was quite good, it does not come close to the sound so typical for Quinton recordings. The last three songs serve as a good example: the title track, “Second Heaven”, which fans of Wolfgang Puschnig know from the magnificent Quinton album Chants, and “Another Step”. “Impermanence” begins with the cello in front of a deep black background in a supposedly medium-sized room. Then the tuba sets in very sparingly, with the notes seemingly bursting out of it. Rim shots are heard in a much larger space before the saxophone joins in: the calm piece develops an irresistible groove. All of this has little to do with the live on-site experience, but it fascinates every second – not least thanks to the speed, timbre strength and bass capabilities of the Comtesse.