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Good point. Attempts at a better explanation would mention that one way to achieve apparently higher resolution is to simply emphasize a detail—here the cymbal fade—by turning up its volume. Higher output equals higher detail which of course implies a very specific bump in the frequency response. This would usually be accompanied by either moving this detail forward on the soundstage or by taking up more subjective space in it. This can be spontaneously exciting but over time any selective zooming becomes superficial in an effortful ‘look ma’ fashion. The Blumenhofer attempts something more difficult—how quiet can a sound become and still be rendered completely?—and goes very far indeed. This ultra resolution in the upper octaves is truly extraordinary and something for true fanciers.
But this wasn’t limited to the treble. Further listening into "Tilldess" showed how it extended into the midband particularly with a saxophone solo. I’d describe the general effect as positive crispness. One senses the air around the instrument under tension. Something is being moved. It’s as though a very fine soft-focus prettifying filter was removed. What reveals without it is more energy and light. The illusion of a sax in the room is stronger because its reedy sounds feel more unplugged and direct. The resolution enabler is subservient to this greater illusion.
More realism relates directly to the sober clear presentation of musically irrelevant noises like inhales, key chatter and metallic resonances. It doesn’t necessarily get me any closer to the musical appreciation of any given piece when I make out a small noise in the farthest row but in the service of a suspension of disbelief to sense "someone might really be there" it still remains. Even so, the Blumenhofer doesn’t overstress these elements by artificially highlighting them (which tends to be a core issue with audiophile pressings). A perfect test record here is Anders Paulsson’s A Date With A Soprano Saxophone who performs mostly solo to not compete with any other sounds (and because this SACD is very well recorded though musically somewhat sparse). Whenever Paulsson inhales the Genuin FS3 conveys it shockingly tacitly but neither moved forward in space as though sucking air through the teeth nor shadowed behind a film. The effect is more akin to "sometimes this guy has to breath and thankfully he does it quietly even though he can’t quite hide it”. Such realism is impressive!
A few words to the depiction of space where one might reinvoke a mild zoom effect but relative only to the entirety of the action rather than specific frequency bands. Many speakers will erect the virtual venue primarily behind the speakers to become about how deeply they can layer. Thiel’s CS3.7 and Ascendo’s System F belong to this breed and are both far beyond average in this regard. Blumenhofer’s Genuin FS3 is cut from different wood. While not forward per se, the action does occur closer up than with the two others. This shortens the subjective observer distance for greater involvement. Width and depth perspective are good but layering isn’t as special as it is with the Thiel and Ascendo boxes. It’s a bit like photography. A wide-angle lens moves individual objects backwards but captures a greater slice of the panorama with greater depth. A zoom lens creates bigger closer objects but the front/depth perspective gets foreshortened. Which presentation is correct depends solely on personal preference.
Conclusion: With Blumenhofer’s Genuin FS3 one doesn’t merely acquire a handcrafted piece of furniture made in Germany but an unusually lively dynamic performer of décor-friendly size whose transient/impulse fidelity is accompanied by an exceptionally airy treble and very high effortless resolution. This unplugged directness moves the soundstage perspective closer to stage.
The Blumenhofer Genuin FS3 is characterized by:
A springy easy bass normally associated with greater surface area. This speaker delivers ‘fast’ defined bass veering into the extra dry. The lowest octave isn’t fully built out.
Both mid and upper bands are highly transparent and honest while the treble is particularly airy and detailed. Differentiation power between specific tonal color values is high.
Great dynamics and jump factor: Rhythmic fare gains in energy. Microdynamic finesse from the midrange upward is a core virtue. The smallest of tonal hues and harmonic shifts are revealed without highlighting. First class.
Adding up fat-free bass, neutral mids and high impulse fidelity nets a very linear tonal balance with a minor tendency into the lit up.
Soundstaging begins slightly in front of the speakers and envelops a believably broad and deep venue with good separation and sorting. The general perspective is more near-field for high involvement factor. Grand Canyon style depth layering and checker-board holography are not on the menu.
Easeful scaling of peaks atop already high median levels. Dynamic compression is noticeably smaller than with most speakers. More importantly even, low levels remain exciting because dynamic contrasts are retained. Nothing goes asleep. This makes for perfect late-night listening.
Facts:
Concept: 2-way bass reflex with treble horn
Dimensions and weight: 99 x 26 x 42cm HxWxD, 35kg
Sensitivity: 92dB/W/m
Nominal impedance: 8 ohm
Other: Standard finish is hand-rubbed Walnut and Cherry veneer, other finishes possible with a surcharge; switchable impedance correction for the crossover region; optional external bass impedance corrector and Aktyna Aris footers.
