Fusion Exhibition with Lucy

The ceramic exhibition by Gabi Ehrminger and Kenji Fuchiwaki at Ludwigsburg Castle was accompanied by the gentle sounds of our Lucy, which integrated almost invisibly into the exhibition space. At the opening, the Fuchiwaki couple played a piano concerto with German and Japanese songs.

The fusion of art and sound in the frame of the Lapidarium in Ludwigsburg Castle was a very special event for us and we are looking forward to further fusions.

hifideluxe 2018 show

We have returned from the hifideluxe show in Munich. It was a blast! From left to center: Excenter with BD4, Jazz, bbx on the WINDOW (!), transparent Lucy with bbx, Subway Subwoofer. Thanks to our visitors, Hifideluxe Team, Arcadian Audio, Josound and Opera Audio for the great support!

 

Review  Fidelity online: https://www.fidelity-magazin.de/2018/05/23/hifideluxe-2018-als-parallelmesse-zur-high-end/

 

Teaser from AV Showrooms: https://www.youtube.com/watch?v=yaQvH1wQLto&feature=youtu.be&t=12m29s

bbx customer review

I have since 2014 been experimenting with the new BBX driver, and now think it’s time to share some observations.

In order to put the comments in context, my previous speaker was an open baffle design based on the excellent AER MkI driver with a Seas base element to handle anything below 80Hz. 2 separate 47Labs Gaincards was used to bi-amp.

So, on to how the BBX stands up to this:

  • Detail and instrument separation is outstanding, actually the best I have ever heard.
  • The ability to handle complexity, both rock and symphony is excellent. The previous systems strong point was smaller ensembles
  • Live recordings are particularly interesting. It really is very good at recreating “the room”
  • Imaging is slightly less sharp then with the AER MkI system, but given the size of the BBX, a trade off I do willingly.
  • No need for any Sub, I have the LF set to 18Hz, and I am using a curve where 1000Hz is the zero level, then +2dB up to 20Hz and -6dB to 20kHz.
  • The speed of the bass in unlike anything I have heard before (of course apart from live music)

 

My system consists of

  • MacBook Pro w Audirvana and Tidal. Room correction made with LA Convolver using Menubus. The filters created with Accourate. I only play cd quality and resolution.
  • USB to Gustard X12 with digital coax to a 47Labs Shigaraki Dac
  • Amplifier Primare i30. The 47Labs Gaincard I also have (25W) is not able to play loud enough with a 4 Ohm speaker
  • Interconnects and speaker cables are 47Labs OTA, power cables and filter from Supra

 

The BBX unit is mounted with double sided foam tape to a steel plate screwed into the wall. The wall itself is made using concrete board instead of the normal plaster type. This was a chance I took, thinking a stiffer board would yield a quicker recovery when moved by the driver, and the sound I get proves this

Again – I am very happy with the sound. I think once you get use to this kind of bass sound and overall detail it will be hard to go back and listen to the regular driver based systems. The one improvement I am still looking for is eliminating this rare sharpness in the highs that sometimes is there.

I think the BBX system opens the door for many audiophiles to move the system into regular rooms. There might of course be some compromises, but at least for me it is very much worth it.

 

BBX Exciter product page

Customer Gallery

In the category “customer gallery” we show the “living rooms” of our customers. Here an exclusive system in Russia. The chain of the absolute top class components  is completed by our BD4 with ecentric horn. Our valued customer is excited and sent us a self-measured frequency response. Our Excenterhorn with BD4 driver delivers a nearly linear frequency response of 80 Hz – 60 kHz.

>History of the system over approx. 25 years

Bernadetta Sunavska listened the Axjet

An article of concert organist Bernadetta Sunavska published after a real music audio event:

Recording organ music is a special challenge for loudspeakers.  The ample acoustics in many church rooms endanger the audibility of quiet and quick passages, whilst the organ’s full sound hopelessly overstrains most speakers.  How often has one turned up the volume whilst listening intensely, only to jump up in panic the next moment to kill the volume when the loud sound set in again?  There is hardly a recording opposing the live experience of a concert to such extent, which is why to me, listening to recorded organ music is an annoyance rather than enjoyment.
I am pleasantly surprised that these questions did not have to be raised in the first place, as a pair of Axjet speakers recently played back a contemporary organ work of almost one hour.  Finally, one could duly enjoy an enormous sound spectrum.  Each and every articulatory detail could be heard, from subtle changes in the acoustic colours to vast tone clusters.  One had the impression to be right at the source of the resulting sound.
With these speakers I have discovered a whole new dimension of listening (not only when it comes to classic music), and that is something I am absolutely grateful for.

>Bernadetta Sunavska Website