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In general I found the voicing to combine a midband with very even dispersion across a broad swath bracketed by a slightly emphasized lower mid and bass plus a minimally held-back treble range to arrive at the aforementioned long-term happiness and a lovely exception from the common choice to ‘balance out’ bass emphasis with equivalent emphasis in the treble. About the LF prominence I got on the horn with our domestic importer who recommended changes of speaker cable and setup, the latter because Genuin Audio’s Herr Wendt suspected a triggered room mode. At first my impression stuck despite these changes. This was followed by a period of no listening due to other duties. All I did during this phase was schlep the boxes to my neighbour and friend Jens who was shopping for new speakers and curious what contemporary designs might have over his 25-year old treasures. Even in his room my impression of a powerful bass foundation remained. Jens meanwhile desired more. His own speakers combine elevated if somewhat loose bass with a rather pronounced hole in the transitional range to the midrange. He was used to potent LF.

Jens' reaction reminded me of how our sonic ideals are shaped by constant exposure to what we’re used to. What I gauge to be correct bass power needn’t conform to your ideas (though I remain convinced that the Euphony 140’s measurements would show a deliberate emphasis). As said earlier, the quality of this foundation is simply so good that I managed to live well with its quantity.

To accommodate my adjustment, I deliberately began listening to tunes I’d either never heard before; or not in a very long time. I wanted to check whether the AudioSolutions made musical sense independent of tonal balance expectations on my part. Which was easily answered. Very! One example was Little Feat’s recently issued box collection entitled Rad Gumbo, The Complete Warner Bros. Years 1971–1990. Little Feat fans will want to know about it already for the bonus disc of outtakes and demo versions (it’s otherwise a very cost-effective chance to get to know this band). The live album Waiting for Columbus is one of those dastardly productions which kick off very subdued to have you prime the pump to hear anything.


When the band finally enters in earnest, things get… well, interesting. Between intro and the "Fat Man in the Bathtub" opener, there’s a place where bassist Kenny Gradney plays a few very low notes. These the Lithuanians captured clearly and decisively. And the whole album played with a power that moved plainly nearer a believable live vibe than usual. In short, musical sense.

The same disc also showed off the Euphony 140’s wonderful midband. Intelligibility of lyrics is my yardstick for resolution in the vocal and treble bands. Here it was excellent. And since I just used the word ‘power’, let’s add a comment on the earlier featured ‘power response’. This is easily checked from outside the actual listening room. I like to spin Little Feat whilst in the kitchen readying dinner. Even here I had the impression of a very non-lumpy but powerful bass. If you consume music not merely nailed to the sweet-spot cross but also whilst multi-tasking, this speaker has your number. "Enta Fen, Again" from the Yasmine Hamdan disc sports a nearly claustrophobic atmosphere. A quick threatening synth bass figure becomes backdrop for her vocals. She worries about her lover clearly for good reason. The music illustrates danger. If the bass of this track sets less of a scenic mood than the Lithuanians, its inherent ominousness dilutes, hence a vital element of the music. Again, musical sense.