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 have previously reviewed Rolf Gemein’s impressive RG2 preamplifier as well as the RG9 and RG10 Reference amplifiers, this is my first review of the brand's tube equipment.

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. 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. 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.

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 >