The Hamburg-based IT expert Bidjan Tschaitschian uses digital finite impulse response (FIR) technology on the basis of the FIR-BoxX developed by Andreas Heggendorn, Switzerland, to ensure ultra-linear and phase-correct performance for each loudspeaker driver, as well as improved crossover management. The 8-channel FIR-BoxX amplifier allows phase-time, amplitude, and room correction, and has the potential to bring personalised high-end listening experiences to ordinary homes.

(Article in progress. A full report with audio samples will follow.)

Loud, bold, and heavy is how I would describe my first impression of the Braun L810 full-size loudspeakers. Manufactured by Braun in Frankfurt, Germany during the post-war economic boom, nothing about the L810 is straightforward. If you thought they would simply be a larger version of the L480-I, as I did, you’re in for a surprise. 

Ever since my recent re-discovery of the L480-I for use as studio monitors, I have developed a soft spot for classic Braun speakers. In recent years, the faithful rendering of tonality has become my yardstick for assessing loudspeakers. Rather than rating treble and bass individually, I am far more interested in whether the overall performance has the mere properties of a technical sound system or rather captures the character and feel of a musical performance.

Many loudspeakers manage to render individual aspects, such as bass punch and contour, transparent vocals, and crisp treble, but when it comes to tonal character, timing, or the size and position of instruments, they fail to capture the essence of the original performance. I was very much surprised by the L480-I musicality, but as they were so limited in terms of size and listening distance, I could not help but wonder how their larger siblings would perform in comparison.

Braun's range of 1970s speakers started with the small L410 and culminated in the L810 and L810-I, the company's flagship models. To find out how far Braun, under the guidance of Dieter Rams (see below), had taken their Bauhaus-inspired reduced-form, rounded-edge design, the L810 seemed an obvious choice. While I was still contemplating whether to opt for the smaller L710 or go with the L810, a perfectly maintained pair of L810 came up for sale near us. This circumstance aided me in my decision, of course, as did the fact that my audiophile friend Luigi wrote to inform me about the offer shortly after. Our shared interest in loudspeakers means that we can share, trade or swap.

Although my initial contact with the seller sounded promising, and the Brauns were immediately reserved for me, our correspondence was interrupted several times, ultimately postponing the pickup by close to three weeks. It turned out that the L810s were part of the estate of a Hamburg doctor, who had also been their first owner and bought them in the early 1970s. Except for two small scratches on the back of one of the speakers, the L810s looked as if they had only just left the Braun factory in Frankfurt. 

They still had their original 0.75 mm² cables with DIN plugs, which meant I could not test them with the tube amp I had brought along. I decided to take the plunge and purchase them without testing them first. Based on their immaculate appearance alone, it seemed a risk worth taking. My mother had accompanied me to the pickup in Hamburg, and on the drive back to Marne, we marvelled at the inconspicuous Braun design and the speakers' timeless engineering.

I don’t know about you, but every time I bring vintage speakers back to life, I am completely overwhelmed by the fact that they can still play music. This initial euphoria is also based on my eager attempt to comprehend their sound character. The question that keeps me busy and excited is: “How much of what I am hearing is a deliberate design choice, and how much is based on decay or my present lack of understanding?” Listeners of another era may have had different room furnishings and enjoyed different music. They may also have had different yardsticks for defining sound preferences. 

On the other hand, materials do age over time. Crossover parts may have changed their resistance or capacitance, drivers may have become clogged with ferrofluid or have sagged over time. Materials may have become soft, hard, or brittle. Finally, I may not yet properly understand how these speakers should be set up, what kind of equipment and positioning they require. Therefore, any preliminary conclusions are bound to be proven false over time. It is this combination of promises and uncertainties makes vintage devices so compelling. Old speakers present a window through which we can look back in time, even if this window first needs a good cleaning first.

I first set up the L810 in the fourth listening position in my studio. This is not an ideal spot for placing speakers, perhaps because the roof line slopes inwards behind and in front of the speakers from a height of about 1 metre. This can easily create an unpleasant, horn-like compression effect that raises the mid-bass levels unnecessarily. However, it was in this position that I first noticed the L810's bass sounded muddy and overpowering, particularly when the speakers were set up with insufficient distance between them. Additionally, the two large woofers were exciting floor resonances. The small 0.75 mm² speaker cables were also insufficient for woofer control.

My plan was to replace the fixed cables with terminals. I opted for the low-mass type, which consists of a hollow metal centre prong with plastic screw-on caps. While this type may not be visually attractive, it does have the advantage of keeping capacitance low, which can be beneficial, especially at higher frequencies. I then invited some friends over to listen to the speakers. Henrik pointed out that using the current stands meant that the axis of the tweeter and midrange drivers was at least 30 cm above ear level, which contributed to the general lack of clarity. Nevertheless, everyone agreed that the speakers sounded promising and would be phenomenal with some more tweaking.

I set out to construct two new 40 cm stands. They are coupled to the floor via adjustable spikes, and the speakers sit on top of four felt cushions. I then set up the speakers in listening position three, with a large 100x40 cm concrete slab positioned under each loudspeaker stand to minimise floor resonance. These new conditions greatly improved the imaging and tonality. The L810 series is anything but plug-and-play. They require a large room, with distance between them and the front wall (i.e. the wall behind the speakers). In my setup, the speakers are 2.20 metres apart, with 1.70 metres between their grilles and the front wall.

In my initial testing scenario, I powered the L810 using a Hafler XL280 amplifier and Belden 9497 cables to achieve a slightly brighter sound. However, the overall performance was mediocre at best due to the aforementioned difficulties. In my second setup, I used a Dynavox VR-70E tube amplifier. After a short time, I changed from the Belden speaker cables to a new set of custom-built cables that Matthias had made for use with tube amplifiers. This enabled the L810 to produce more musical detail. Instruments became more palpable and stops shorter. There was greater bass attack and control.

Ever since I first heard them play, I have been drawn back to the L810 time and again. And yet, there is something about them that leaves me feeling strangely unfulfilled and wanting to turn the volume up. Gert Redlich of the German HiFi Museum describes a similar experience. Perhaps the crossover capacitors responsible for the tweeter and midrange sections have dried up, and changing them would achieve a more balanced sound. I will need to spend more time listening to the L810 to be sure and perhaps also conduct some short-range measurements to determine if everything is in order. In marked contrast, however, I never once doubted the sonic integrity of the smaller L480-I. They immediately captured my attention and produced a grin of satisfaction on my face. 

Size is overrated, they say. And the L810 certainly will have to show if they have what it takes to please in the long run. If I do change the capacitors, you will surely find out in a separate article. — Let's keep exploring!

Specifications

• Type: 3-way, free-standing speaker
• Original floorstand: Braun LF 700 (tilted)
• Construction: Sealed (acoustic suspension)
• Power handling: 50 watts (DIN nominal)
• Power sensitivity: 94.5 dB (1W/1m)
• Nominal impedance: 8 Ohms
• Woofer: 2x 21mm paper cone (Type LC 20/3)
• Midrange: 50 mm soft dome (15x15cm, Type LC5)
• Tweeter: 25mm soft dome (14x14cm, Type LC 3)
• Frequency response: ~ 20 Hz - 25,000 Hz
• Crossover frequencies: 550 / 4,000 Hz
• Dimensions: (H) 65cm × (W) 26cm × (D) 28cm
• Weight: 22 kg, each speaker
• Cabinet exterior and Finish: real walnut
• Front grille: perforated metal, sliver/grey
• Design philosophy: Dieter Rams, reduced form
• Country of manufacture: Frankfurt, Germany
• Year(s): 1969 - 1972 varying configurations

Dieter Rams

was born in Wiesbaden, Germany in 1932. He is known as the jack of all trades who gave direction to the famous Braun design from the 50s to well beyond the 1980s: Rams who initially started out as carpenter, went on to study architecture and became a notable furniture and interior designer before he joined Braun to contribute to some of the companies acclaimed designs. Rams joined the Frankfurt-based consumer electronics maker in 1955 and went on to become the company’s chief designer, a position he retained until retirement.

Sometimes christened “Mr. Braun” by the company’s advertising, Rams strictly maintained a design philosophy that had been laid out for Braun by Fritz Eichler, Hans Gugelot (lecturer at the Hochschule für Gestaltung, Ulm), as well as Herbert Hirche and Wilhelm Wagenfeld (both former Bauhaus scholars). Their design philosophy was most notable for its reduced form and user-friendliness, the combination of which made Braun highly attractive as a consumer brand from the mid 1950s. Rams has been quoted as saying: “Indifference towards people and the reality in which they live is actually the one and only cardinal sin in design."

To assure the continuation of great design, Rams developed a list of characteristics coined “Ten Principles of Good Design”. These are: innovation, usefulness, aesthetics, usability, unobtrusiveness, honesty, longevity, thoroughness, environmental friendliness throughout the product lifecycle. All principles sound strikingly modern and are found in consumer goods from Apple iPhones to Tesla cars.

Braun AG was sold to The Gillette Company in 1967, which in turn was acquired by Proctor & Gamble in 2005. P&G kept up the production of Braun groomers and shavers—the company’s bread and butter business since 1949—while small household appliances holding the Braun name are manufactured by De’Longhi since 2012.

Symphonic Line's bespoke 'Die Erleuchtung' tube preamplifier was first introduced to the HiFi community in the late 1990s. Revised MKII and MKII HD versions followed in 2006 and 2007, respectively. Symphonic Line has built some exceptional audio equipment over the years, and although I previously reviewed Rolf Gemein’s impressive RG2 preamplifier, as well as the RG9 and RG10 Reference fully-integrated amplifiers, this is my first review of the brand's tube equipment.

What can we rightfully expect from music? 

This question has captured the imagination of audiophile listeners and creators of audio equipment since the first recordings ever made. From what we know, the first successful attempts at recording music date back to the invention of the Phonautograph that was created by the French printer, bookseller, and inventor Éduard-Léon Scott de Martinville in 1860. The Phonautograph looked similar to a gramophone in that it used a horn-like funnel to capture sound waves which it was able to transcribe on a rotating cylinder. However, it wasn’t until 148 years later that scientists re-discovered the roles and were able to digitise, readjust and filter the recorded track in a way as to recreate its sound. What scientists heard in 2008 was most likely the voice of Mr. Scott de Martinville himself vocalising a simple melody, in order to test his equipment. Despite all digital filters and adjustments made, the recording revealed a limited frequency spectrum, centred around the human voice, and low dynamic range. It was accompanied by lots of static and background noise.

Better than our modern recordings, such first attempts made by Scott de Martinville and later by Edison and others show the enormous distance that needs to be overcome between the event of the recording and the listening event. In the case of Éduard-Léon Scott de Martinville, the recording itself was literally ‘sketchy’, and there was a 166-year delay in its reconversion. Instead of a faithful rendition of typical musical characteristics such as tempo, tonality, and dynamics, the inventor sings to us from a remote place that is obscured by the imperfections of the technology of his time. It is as one might imagine the dead sending us a warning from the past, or the recording found on a sound capsule from an alien spaceship. And yet, these early recordings are a living testament to the multiple challenges we are faced with when it comes to the faithful recreation of music events in their authentic scope and dimension from a recording.

It is therefore not surprising that my earliest memories of recorded music are of stale and hollow-sounding contraptions made from resonating plastic components. During the 1970s and 80s, the home entertainment market was flooded with cheap transistor stereo cassette recorders. The compact cassette, using standard ferric tapes, had a frequency band from 30 Hz to 15,000 Hz that sounded limiting to the human ear. If we further consider the signal-to-noise ratio of around 50dB, it is no wonder the joy of listening was more in the perplexing ability to record and play back sounds than it was in the musical experience. Owners of record players, or later CD players, could hope for more faithful audio signals at the input level. And yet, most of the stereo systems available to consumers at the time used weak-chested transistor amplifiers that squeezed dynamics and tonality into an unnatural spectrum, somehow giving priority to all frequencies at once. There were phase shifts and noise issues their specification sheets did not betray.

Phase shifts occur during recordings, when the frequencies bounce back from the walls and objects in the room. when the audio signals pass through the electronics of the recording gear, and again during the signal’s processing, amplification and translation into sound pressure waves in the listening room. While the first type of phase shifts provide information on room and instrument size, the following layers of electronic and physical phase shifts are unnatural deviations from the source signal and as such degrade the sound quality. Similarly, the noise floor of a recording studio provides information about the venue, whereas electronic and mechanical noise gathered during the recording and rendition is unnatural to the human ear, eats away signal energy and creates a sonic barrier.

Often it is not the amount of noise but the nature of the noise that is problematic. The switching process that is necessary during amplification, for instance, always produces distortion, and transistors produce much less distortion than tubes. However, the human ear is more forgiving towards even-order harmonics (2nd, 4th, 6th) than it is to odd-order harmonics (3rd and 5th). While both noise sources fall into the category of electronic noise, the harmonic content of tubes is perceived as tonal warmth, whereas transistor harmonics sound sharp, dissonant, and metallic. The low-power stereo compact cassette recorders of the 1980s mentioned above were often driven at clipping levels, thereby revealing another downside of the transistor. When tube amplifiers are overdriven, they round off the peaks of the waveform gradually in a process called soft-clipping. Transistors on the other hand clip abruptly cutting the audio wave flat, thus creating harsh distortion artefacts.

Our understanding is often limited by our means of depiction or representation. Scott de Martinville’s recorder sketched the musical signal onto a rotating cylinder using a stylus. And while the cylinder itself was a three-dimensional object, the recording itself was on a plane. Similarly, a recording engineer in the studio sees the recorded signal as single jagged lines racing up and down like the readings on a heart monitor. However, none of this resembles the actual sonic event. Sound is a multi-dimensional occurrence consisting of depth, width, height, and speed. Like raindrops falling from the sky, each sound has a characteristic beginning and defined end, a volume and speed of attack. The concept of three-dimensional sound is important to understand how vital the availability and proportion of energy is to the impression of realism, and the fourth dimension, namely that of time, is important to understanding the significance of time coherence.

More than 166 years have passed since Scott de Martinville’s first experiments with recorded sound, and we have become much better at recording and playing back sound to resemble the original event. Pioneers of multiple disciplines have worked together to find the best materials, designs, and setups for each step of the process. And while the name “High Fidelity” found inflationary use for audio gear that was able to play back audio material in the household environment in a reasonably faithful manner, the term “High End” was chosen by those who craved audiophile design that was true to the source. Among the pioneers of high-end audio in Germany was Rolf Gemein. At the time of the High End Society inaugural meeting in 1981, he still represented “Vernissage Laboratorium”, before he re-branded as Symphonic Line in 1984. Gemein, who first began crafting audio equipment in 1979, devoted a great deal of his time to understanding the propagation of audio signals.

Central to his research has been the belief that energy needs to flow in abundance when the source signal demands it, and that poorly designed power supplies and systemic electronic resonances and reflections are the bottle necks that need to be overcome. Phase linearity, impedance matching, and handling the complete resonance circuit from beginning to end, are only some of the characteristics that give Symphonic Line gear its unique tonal integrity, timing, and dynamics. I have previously written about these traits in my articles on the RG2 preamplifier, as well as the RG9 and RG10 Reference integrated amplifiers. Although I am a careful observer and (by now) an experienced listener, I did not notice all characteristics at once. However, I did find myself transfixed from the very beginning, eager to learn more about the captivating nature of these devices.

What to expect from a Symphonic Line tube preamp?

Following my favourable reviews of Symphonic Line transistor gear, the all-tube Die Erleuchtung, in English “enlightenment” promised to be an exciting change. Henrik, a fellow audiophile from around Hamburg, had fished a well-maintained specimen out of the bay and surprised me with it. Die Erleuchtung came in similar housing to my RG9 integrated amplifier. Aranja (or grape fruit) was the fashionable finish in the high-end gear of the day. Where Henrik’s device looked shiny and new, however, my RG9 looked tarnished and dull again, even shortly after polishing. As the RG9, Die Erleuchtung has a chassis made of a bent brass alloy of 2 mm thickness that is paired with a 10 mm face plate. At 14 kilograms, the preamplifier feels very solid and heavy, especially if we consider that the power supply comes in the form of a separate, 8.5 kg enclosure. This makes a combined weight of 22.5 kg, just for pre-amplification.

The glossy aranja finish gives the Symphonic Line its chameleon-like qualities. Similar to a tined mirror, the pre-amplifier offers a subtle reflection of its surroundings and does not draw much attention to itself. The twelve Telefunken CC 189 tubes whose warm glow might be interpreted as Erleuchtung, too, remain hidden inside the enclosure. Instead, the front is dominated by four large rotary knobs with their difficult-to-read descriptions engraved into the face plate. To those familiar with Symphonic Line designs, the controls are relatively intuitive, beginning with the 4-stepped input source selector on the left (Phono, CD, Tuner, Aux), followed by the Tape Monitor selector (Source, Tape 1, Tape 2) to its right. As Die Erleuchtung has its Power switch in the back of the separate power supply, there is room for a balance control on the front. This may come in handy to compensate for imbalances in the setup or tubes. The volume control is the largest of the four rotary knobs and is positioned to the right.

When starting up your equipment, Die Erleuchtung should be turned on prior to your amplifier, and the tubes should be given some time to warm up. This is best practice with any pre-amplifier and especially true for tube devices to avoid small amounts of DC output from the tubes that might damage your equipment downstream. Other than that, all rotary knobs can be turned without having to fear any switching noise. All the knobs feel rewarding to turn and provide solid haptic feedback. I am personally a fan of stepped volume attenuators and would have preferred such an attenuator for even more reassurance, but I have come to understand that these are not normally found on Symphonic Line gear.

My specimen of Die Erleuchtung offered a large number of inputs and a sufficient number of outputs for most applications. All of them were of the Cinch/RCA type. I understand that XLR outputs and MC phono stage are available as upgrades. Die Erleuchtung does not offer any digital inputs or outputs, it does not have internal signal processing, room correction, or Bluetooth connectivity. It is simply not that kind of amplifier. If you need to integrate the pre-amplifier in a digital environment, this must be done via separate specialised equipment. The Cinch/RCA sockets are of the gold-plated high-quality type, and there is sufficient space between them to allow for most types of high-end connectors. The grounding screw for phono is large enough to be adjusted by hand and easy enough to reach. Connecting the external power supply requires a single proprietary cable. The positioning of the power switch at the back of the power supply is a bit inconvenient, because it can be difficult to reach and is easy to forget. Although Die Erleuchtung needs about 10-20 minutes of warm-up to sound at its best, it is not a good idea to leave the pre-amplifier turned on for multiple days on end. Doing so will substantially reduce the lifespan of the tubes.

I have listened to Die Erleuchtung both at Henrik’s house, where it was paired with a large Musical Fidelity transistor amp, and in my own studio, paired with a 250 WPC Hafler amp as well, as a 48 WPC tube amplifier. The loudspeakers, too, could not have been more different: Henrik has a pair of Achenbach Trinity with AMT horns and large PA chassis; and I tested Die Erleuchtung with Martin Logan electrostatic speakers and with Polk Audio RTi A7 speakers, the latter being loaned to me by my friend Kristian. The principal characteristics of the pre-amplifier were the same in all three positions. While I could not have guessed what Symphonic Line tube gear sounds like, I now have a much clearer understanding of its dimensions. And even though I find the sound to be highly desirable, we did run into an issue that is intrinsic to the technology:

Die Erleuchtung is an all-tube design and uses eight input tubes and four output tubes, bringing the total number of tubes up to 12(!). While the original design uses matched Siemens dual-triode tubes, such as the E88CC / 6922 or ECC88 / 6DJ8, hand-selected by Rolf Gemein himself, these had already been changed to Telefunken CC 189 tubes by the previous owner. And while we did not have any complaints about their sound performance, we did notice some irregularities in the tube heating currents in the output stage and found that one tube had gone bad. In the search for possible culprits for periodic static noise on the right channel (Even when the volume control was turned off!) we examined and improved every solder joint where necessary. As the error was periodic, the failing output tube managed to conceal itself for some time. Tubes are subject to wear and need to be replaced every couple of years. With twelve specimens on board, rolling tubes can be a costly business on this pre-amplifier.

For the original owner of Die Erleuchtung the cost of replacing the tubes would have been of minor concern. In true high-end fashion, the sales price was well in the five digit figures, even then. But then, the resulting sound did not disappoint and was just as extraordinary as its price. When fully warmed up, Die Erleuchtung becomes an organic instrument rather than a technical device. It breathes the music generously into the room, freeing it in all its dimensions. For those, like me, who expected the all-tube design to exhibit the classic tube attributes, from a slightly warm colouring to a softening of sound, this pre-amplifier’s agility and directness will come as a surprise. Instead of drawing attention to itself by colouring the sound, the Symphonic Line steps out of the way to give the music its full dimension. (Not just hollow words, the FIR-Project proved this to be true. Coming up.) And, perhaps not surprisingly, it does this better than the transistor pre-amplifiers.

Compared with Symphonic Line’s RG2-MK3, which I tested in June 2024, Die Erleuchtung maintains the solid state’s exactness and timing, but it raises dynamics and instrument size to a whole new level. To my ears, Die Erleuchtung performs better with any of the tree amplifier options than the RG10-MK4, which could exhibit a slight leaning towards harshness, if the electricity and air were not perfectly clean. The RG10-MK4 also had a separate power supply and provided great dynamics, but I mostly enjoyed it on Sunday evenings, when all the conditions were perfect. Die Erleuchtung sounded great, no matter when. Whereas transistor amps can at times sound a bit lifeless, the tube design made the experience engaging and natural. Symphonic Line tends to offer exact tonal colours, and this is especially true for Die Erleuchtung. Generous, lush, full-bodied are some of the traits that come to mind.

However, Die Erleuchtung is not only perplexing on the tonal scale. It also provides great instrument separation, which is an important trait when listening to symphonic orchestras, where instruments can overlap on lesser gear. This pre-amplifier works great on classical music, but also on Jazz and other music that is based on natural instruments. I do not mean to say that it cannot play Rock and Pop, Techno, or any other style of music. It is just that its exceptional ability of separating instruments by location and tonal colour are less important in these genres that have often been mastered for car radios or club events. Even though Die Erleuchtung offers plenty of musical detail, it does not dissect the music. Instead, it keeps the narrative together in one continuous musical flow. To my understanding, this can well be the last pre-amplifier you will ever buy, for as long as you are willing to maintain it in good condition. Tube gear is a little more tricky but definitely worthy of our love.

Technical Specifications

• Type: All-tube preamplifier
• Frequency range: 2 Hz - 120,000 Hz
• Power supply transformer: 300 VA, mumetal
• Power supply capacitance: 56,000 uF
• MM phono (tube based): Standard
• MC phono (via step-up transformer): Optional
• MM/MC selection: Via rear toggle switch
• Line inputs (tube based): CD, Tuner, AUX, 2× Tape
• Line impedance: fully-automatic matching
• Fixed line output: 2x tape
• Input type (line and phono): Cinch/RCA
• Preamplifier stereo-outputs: 2x RCA/cinch
(XLR outputs optional)
• Preamplifier output impedance: 100 Ohms
• Tubes tested: 12x Telefunken CC 189
• Width: 450mm (10mm aluminum front plate)
• Height: 105mm incl. feet (>50mm ventilation)
• Depth: 380mm chassis (>100mm controls & plugs)
• Total weight: 22.5 kg (without packaging)
• Preamplifier unit: 14 kg preamp
• Power supply: 8.5 kg power supply
• Country of manufacture: Germany
• Year(s): 2006 -

Released in late 2015, the Hegel H360 combines robust high-end audio build quality with a simple, minimalist design reminiscent of Braun's 1980s aesthetic. Its massive toroidal transformer can deliver an impressive 250 watts per channel into 8-ohm loads, and in combination with its patented ultra-high damping circuitry it promises to provide a firm grip on the chassis and tame any loudspeaker. Alongside the standard cinch and XLR jacks, the Hegel H360 offers enhanced connectivity with a high-quality USB input, Apple AirPlay and DLNA streaming.

If I had to choose a defining feature of the H360 integrated amplifier, it would be this: 'There is more than meets the eye.' The slightly curved front of the Hegel amplifier holds two large knobs on opposite sides of its inconspicuous central display. 'Source' is written next to the knob on the left and 'Volume' next to the knob on the right. However, when the amplifier is turned off, it is impossible to tell what position the knobs are in. Rather than providing an indication of the scale and scope of the settings, all that remains is the enigmatic appearance of its vacant façade. To me, it seems that the Hegel’s design is deliberately odd and stubbornly resists convention. The display sits slightly lower than the horizontal axis of the control knobs. The two large rubber feet underneath the amplifier are also slightly further apart than the knobs, creating a near miss. The Hegel logo, stamped in the centre above the display, does nothing to showcase the unit’s meticulous design or achievements.

I first came across this enigmatic amplifier at my friend Henrik’s house. He had just finished work on his newly built listening room and was busy tweaking his audio equipment and room acoustics in order to achieve the best possible listening experience. The Hegel amplifier was at the heart of his system, serving as a music streamer, preamplifier and power amplifier. Hidden from view behind the metal-grid doors of a custom-built hi-fi rack, it was perhaps also protected from the curiosity of the children in the household. Henrik’s most prized music source was a large, solid Transrotor turntable with various MC cartridges. He had a separate step-up transformer (Phasemation t550) and phono preamp (Audionet PAM V2) for these. For reasons known only to Hegel, the H360 does not have a built-in phono input with RIAA correction.

Henrik’s loudspeakers were the Achenbach Trinity 15-8B. While his speakers were preassembled by Dieter Achenbach himself, the famous two-way monitor speaker with a 15-inch bass driver was mostly sold as a DIY kit. This gave it an excellent reputation among enthusiasts in terms of value for money. With the right equipment driving them, the speakers can produce a musical and live sound, but they are demanding in terms of placement and electronics. Their clean, forward-sounding treble is driven by a Beyma AMT (air-motion transformer) with a waveguide — a combination that can be unforgivingly revealing. At the other end of the spectrum, the PHL B38-5011 bass driver accentuates room modes due to its size and requires strong guidance from the amplifier despite its power sensitivity. 

The Hegel’s damping factor of 4,000 is useful when it comes to driving and controlling such large-diameter bass drivers. The AMT also benefits from the H360’s ability to produce highly accurate, non-fatiguing treble. At the time, however, Henrik’s listening room was still a work in progress. There were unbecoming first-order reflections behind the speakers, a slight boominess in the lowest bass frequencies and an odd bass dislocation towards the right rear corner of the room — a phenomenon that we could not explain at the time (1, see below). Consequently, my initial impression of the Hegel was negatively affected by its surroundings. It was only when Henrik suggested I take it to my studio for further testing that I began to discover its hidden merits. 'There's more to it than meets the eye' certainly came to mind when I attempted to lift the 20 kg H360 from its rack for the first time.

The remote control was also much heavier than its modest size and tiny, identical-looking buttons would suggest. As I mostly handle vintage equipment in my listening adventures, which either has no remote control or only a cheap plastic one, the solid build of this specimen came as a surprise. The next surprise came when I could not find the Hegel power switch. It was not on the remote control, nor could I find it at the front, rear or back of the unit. I sat down on the carpet in my studio and stared at the Hegel for a long time. Henrik may have told me where to find the power switch, but if he did, I could not remember. So, I slid my hands under the sides and front of the unit and finally felt the button underneath the front. I pushed it upwards.

My audio source was a Marantz CD-17 CD player featuring a Ken Ishiwata output stage. This was connected to the Hegel via a chinch/RCA cable, using the player’s internal converter. Initially, the settings displayed on the Hegel did not mean much to me. I then realised that I had forgotten to attach the speaker cables to the amplifier terminal. Usually, I would have connected all the cables first, but for some reason, I had forgotten this step that day, and the cables leading to my Martin Logan SL3 electrostatic speakers were still connected to a Symphonic Line RG9 amplifier. 

With the speaker cables in place, I turned up the volume on the Hegel, indicated by a decreasing negative decibel value on the display. The analogue input 'An01' was selected and the Marantz was playing music, but there was no sound coming from the speakers. In true 'IT Crowd' style, I turned the H360 off and on again to reset the system. When the Hegel started up and the relays clicked into action, the way was cleared for the music to reach the Martin Logans. The Hegel is a capable amplifier with a strong power supply and circuitry that delivers 250 watts per channel into an 8-ohm load and 420 watts into a 4-ohm load. However, it seems that its patented SoundEngine technology with adaptive feed-forward circuitry needs to know exactly what speaker load it is dealing with. The amp will go into protection mode and wait for a reboot as long as this information is missing.

My Martin Logan speakers have a nominal impedance of 4 ohms and can therefore demand up to 420 watts per channel from the Hegel amplifier. Adhering to the Harman Kardon philosophy that a good amplifier should have no limitations, the H360's frequency range extends from 5 Hz to 180,000 Hz. However, when paired with the SL3, this can be problematic due to the electrostatic load resulting in an ultra-low resistance of 0.2 ohms from around 20,000 Hz. The stators act as capacitors at high frequencies. It is all the more surprising, therefore, that the best cable for driving these speakers is a custom-made, high-capacitance design. Having recalibrated its output expectations to the specific load, the H360 seemed unimpressed by the Martin Logan's demands. This came as a pleasant surprise and is another example of the sophistication that the Hegel’s simplistic design does not betray.

Another hidden feature was that the Hegel remote was compatible with my Marantz CD-17 player. This meant that I could control both devices with a single remote. I am not sure if Marantz still uses the same IR code for its newer models, but if they do, this compatibility could be a selling point for future buyers of either unit. The Hegel also offers Ethernet (RJ45), USB and Apple AirPlay as audio inputs, making it an attractive all-in-one solution. If we use a separate streamer or DAC to play music from internet or computer sources, we also need to pay attention to every step of the process, otherwise the resulting sound quality can easily be poor. While my Symphonic Line RG9 is an incredibly musical performer, it lacks this type of modern integration. I was not so aware of this before I had the Hegel in my studio.

However, this is only one side of the story because, whereas the Hegel has no turntable input or RIAA correction, my RG9 has both. Since I have never experienced a high-quality optical signal connection, I found the single cinch/RCA input for analogue connections rather limiting. (Two analogue inputs, if you count the variable home theatre input which can be programmed as fixed.) Furthermore, when playing music via this input, it initially seemed as though some aspects of the natural flow of music were being sacrificed for superior instrument placement in terms of depth and width. While my Symphonic Line kept the instruments within a relatively narrow stage, giving each its particular timbre, the Hegel cut the instruments out of the group, creating open spaces between them. The tonality was similar to that of the Symphonic Line, but perhaps a little more disparate than musically accurate at times. Achieving believable timbre is indeed an elusive art. And there can be too much of a good thing.

Although I was impressed by the superior soundstage of the Hegel, I found the Symphonic Line more engaging. I probably would have left it at that had Henrik not come by for a visit and suggested we try using the Hegel’s internal DAC instead of the Marantz's. This was an intriguing idea, so we quickly reconnected the cables. Our first attempt did not produce a signal. I used my HiViLux digital cable, which caused the Hegel to close the input. There was something about the cable that disagreed with the Hegel’s circuitry and expectations. We then established the connection using my WSS Platinum Line KS10 interconnect, restarted the amplifier, and this time it worked.

As before, Hegel's soundstage was spacious, with each instrument playing in its exact location and clearly distinguishable from the others. This was especially noticeable when listening to orchestral music, such as Max Richter’s album My Brilliant Friend. If you haven't heard it yet, it's a brilliant album, as the title suggests. The Hegel faithfully rendered each orchestral position, producing a spacious, clean and highly believable sound. The tonality was superior to that of the analogue connection using the same WSS cable(s). It was late in the evening and the Hegel benefited from the increasingly clean electricity supply and lower ambient noise. The bass was tight and clean. Who would have expected the Hegel DAC to be capable of elevating the overall sound experience to this level?

When used with ultra-faithful speakers such as the Martin Logan electrostats, the Hegel may produce a sound that is slightly too dry for some recordings. This is due to its superior damping characteristics. If the speakers themselves do not provide the necessary fullness, it simply isn't there. However, on great recordings such as Richter’s “Infra 8”, the lead violin stood solid and three-dimensionally, with defined space around it, as if you were looking down a hall. The opening and closing of each note could be heard, like drops of rain falling in slow motion. At other times, the Hegel can appear matter-of-fact, as it refuses to embellish the music. It makes no personal contribution to the mix and has no particular 'Hegel house' sound. When set up properly, it will not sound cold or harsh; however, it does not caress the music either. Its enormous power facilitates great orchestral swells and deep gurgling sounds where these are required. 

In this sense, the Hegel’s internal DAC is quite spectacular. The AKM AK4450 chip it is not the latest generation of converters (24/192 PCM), but in Hegel’s application, any digital input is first re-clocked by the H360’s proprietary master clock. This reduces timing errors before the conversion and is probably one of the Hegel’s best kept secrets. Deeply embedded in its oddly simplistic enclosure is a carefully thought out High-End DAC-clock combination that will rival, if not outperform, many far more expensive separate components. Hegel’s first all-in-one solution is especially intriguing to those who favour detailed, accurate sound with natural dynamics played on a dark and spacious canvas. The H360 favours music from digital sources and works great with orchestral arrangements. It can be beat, however, if the primary focus is on analogue music and in terms of lusciousness. The Hegel is not voluptuous. It does not interpret, it renders. And in sum it delivers far more than meets the eye.

1 = The perceived displacement of the bass towards the left rear of the room was an acoustic effect caused by the reverse polarity of the midrange-to-bass driver in the right channel monitor speaker of the Achenbach setup. This fault was identified during the measurements taken for the FIR activation of the speakers, conducted in cooperation with Bidjan Tschaitschian in August 2026.

< Martin Logan SL3 | FIR Activation >

Specifications

• Type: Integrated Streaming Amplifier
• Power output (8 Ohm): 250 WPC
• Power output (4 Ohm): 420 WPC
• Frequency range: 5 Hz - 180.000 Hz
• Analogue inputs: 1x XLR, 1x cinch/RCA, 1x home cinema
• Analogue outputs (cinch/RCA): 1x fixed Line-level, 1x variable Line-level
• Digital inputs: 1x coaxial, 3x optical, 1x USB, 1x Ethernet (type RJ45)
• Digital output: 1x coaxial (digital sources only)
• Control input: 3.5 mm IR-jack (rear panel)
• Signal-to-noise ratio: > 100 dB
• Crosstalk between channels: < 100 dB
• Damping factor: > 4,000 (power amplifier output impedance)
• Available finishes: matt black
• Dimensions: (H)12 cm, 15 cm including feet x (W)43 cm x (D)43 cm
• Weight: 20.5 kg (net.), 24 kg (shipping)
• Country of manufacture: China
• Year(s): 2015 - 2019/20

Lars Pagelsen Trio’s CD album “Inner Peace,” has been produced to a remarkably high standard in terms of sound quality. Its dynamics, spatial imaging, and tonal balance are impressive in their naturalness and transparency—qualities that stand up well, even when compared with well-received international productions. This makes the album particularly interesting for audiophile listeners. 

The recording captivates listeners with its natural sound stage, clearly contoured instruments, natural timbres, and high transparency. Piano notes are palpable in the room, the bass is precisely defined and tonally balanced, and the drums are dynamic and finely resolved—without artificial effects or exaggerated compression.

And the trio also shows its musical prowess. Its performances, described as “Mindful Jazz”, are less a style than an attitude. They leave room for nuances, rely on clear harmonic structures, and give each note the chance to take shape. Jazz music should remain comprehensible to its audience—was written in the announcement of the Trio’s live concert at the Elbeforum in Brunsbüttel. “Mindful jazz” thus describes a conscious focus on the essentials: sound, time, and the spaces in between.

Lars Pagelsen has taken a deep interest in jazz since the age of 18. His enthusiasm for the piano and for composing was encouraged by his piano teacher early on, who taught him the basics of notation and independent composition. Today, Lars studies jazz at Dr. Hoch's Conservatory in Frankfurt am Main—an educational path that is by no means standard, given the limited number of places available. It is not surprising then that Lars writes all arrangements for the trio himself.

The album “Inner Peace” was recorded at D-Room Studio in Gehrden near Hanover in 2024. Hervé Jeanne directed the recording, and Ralf Jackowski was responsible for mastering the CD. Lars was accompanied by Eleni Granitza on bass and Nicolas Rotermund on drums. The interplay between the musicians and the album’s thoughtful production have led to its cohesion and tonal depth.

Since the beginning of 2025, the Lars Pagelsen Trio has been performing with a new lineup: Alisa Pou Montz on bass and Felix Lothwesen on drums further expand the tonal spectrum. Alisa Pou Montz, a sought-after musician on the Frankfurt music scene, contributes a clear and groovy bass; while classically educated Felix Lothwesen lends his drums a versatile touch with stylistic openness and perplexing tonal differentiation.

“Inner Peace” thus documents not only a musical approach, but also a snapshot of the development of Lars Pagelsen—thoughtfully produced, sonically sophisticated, and with audible attention to detail. I am very much looking forward to the first recordings of the new lineup. The audiophile community can only hope that future recordings will be approached with similar care. — Let’s keep your finders crossed.

Purchase album here >