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Continuing the theme of simplicity and cost savings, the Fun 13 also abandons a discrete chamber for its 3kHz/12dB/oct crossover as the Geniun FS3 had it. Here the filter network mounts to the lower closed end of the bass horn. I found it welcome relief to find such deliberate cost-saving measures acknowledged openly. Far pricier speakers use MDF without discrete filter chambers. It’s quite common in fact.

Sound Part I. Some monitors play big like floorstanders—I think of the Harbeth Super HL5 or a more recent review loaner like Phonar’s Credo Primus—whilst some towers play it more compact. The latter describes the Blumenhofer. The lower 1.5 octaves are plainly MIA and the remaining bass power is merely a tad more muscular than that of my Thiel SCS4 monitor. The associated upshot is obvious. Forget macrodynamic battles and excessive levels in general.

Are you still with me? Good. Let’s assume your wildest parties are a few years past, massive symphonic fare isn’t a daily occurrence and your music room isn’t called salon unless ironically. You listen mostly at medium levels to fare that makes merely average demands on low bass and do so in a medium-sized space (my 30m² room was satisfying but anything bigger probably wouldn't be). It’s always good to know what one doesn’t need. If you can do without, you’ll get higher value for the things that are important to you. Which leaves what? One minute…

The Fun 13’s overall tonal balance feels very linear even with its tiny preference toward the warmer end of the stick. Shouldn’t a speaker with clear LF limits build in the same on the opposite side to tally up ‘balanced’? This theory not only sounds plausible but the smallest Blumenhofer in fact didn’t sound overly explicit on high. I’ve come across more airiness well prior to super-treble turf (the stable mate Genuin FS3 applies) and more energy too in the upper mids/lower highs.

The treble of the Fun 13 orients itself as long-term friendly rather than particularly brisk. Amplitude here is sufficient for an open impression. Once that plateau was reached, someone simply must have said ‘stop!’. The treble is adequately resolved—neither bad nor awesome—and I never came across incidents where artefacts, harshness or sibilance would have intruded. The upper registers are there but never in the foreground. That’s true for the speaker’s entire audible bandwidth in fact. The Fun 13 is nearly a poster child for coherence not merely tonally but on timing. While the bass lacks extension and pressure, it’s ultra wiry, instantly present and essentially gapless with the midband. This cohesion is so high in fact that the analytic parcel game we expect of reviews truly misses this picture. Today's speaker simply sounds transparent and natural, period. Forget identifying specific bands. Well, that's easy for me to say. You expect more. Since I already covered the extremes, let’s talk meat and midrange.