On the topic of space, the particular fashion in which a soundstage gets built is one of the aspects where, to return to an opening question, dividends are gained from extra outlay. Against the Dynamikks it became clear how the Blumenhofer layered more deeply whilst (which personally is even more important) it also rendered the on-stage performers with more focus and body. To overwrite for emphasis, a perhaps smaller and tighter stage perspective with greater embodiment factor is more advantageous for the reproduction of voices than a broader flatter presentation whose outer areas remain fluffily airy. The Blumenhofer wasn't just the grippier performer but also conveyed the greater intensity, energy and concentration. In short, I gained more powerful involvement. Whether those qualities would hold vis-à-vis the smaller Genuin FS2 I couldn't swear given the passage of time and absence of a direct A/B. At the time, the FS2 trumped the Dynamikks Monitor 8.12 on those exact points. But when it comes to the ability to erect a giant virtual stage, I'd expect the bigger Genuin to eclipse the smaller stable mate which was far from compact to being with. With the Genuin FS1, I occasionally suspected in fact that my room was a bit crammed to fully allow for the soundstage the speaker meant to project. 60m² should be really lovely to welcome a large orchestra or capacious sound images à la Nicolas Jaar, Matmos, PVT, Nils Petter Molvaer, certain Björk efforts and assorted other stuff to maximize the Genuin's genuine potential. But don't misread into that any enforced gigantomania which balloons everything out of proportion. Far from it. Chamber music and girl-with-guitar fare remained as compact as the recording demanded.


Where the soundstaging chops of the Blumenhofer were anything but chopped liver then, it still wasn't the core element to understand its appeal. Soundstaging was just one of the disciplines covered. The core appeal is really everything like your proper all'rounder, here admittedly with that extra penchant for breathtaking dynamics and—I'll get to that in a moment—top-class resolution. Pure space fetishists will already hit this level with the half-priced Ascendo System F whilst relinquishing some PRaT and dynamic prowess. For equal scratch like the Audiograde Ardora, you'll even exceed the Blumenhofer on focus and sorting power but give up some bass and macrodynamics. And on the Audiograde subject, now there's a prime example for how fundamentally different given speaker designers approach the same topic: instead of a 2-way, 3.5 ways; instead of a tweeter horn with 16" woofer, exclusively ceramic transducers; instead of a harmoniously live wooden enclosure, an ultra high-mass cast composite which goes to ruthless war against all micro resonances. Except for the sticker, nothing overlaps.


Nothing? Not exactly. Magnification power was similar even though the heavy box from Aachen should still have the edge with its detail obsession bordering on the insane. But today's subject didn't miss much. Upon careful consideration, it's well possible in fact that past the Ardora, the Genuin FS1 was the second-best resolving speaker I've yet hosted. How exactly was that done? Amongst other contributors, I'd point at the obvious combo of high efficiency and large cone area. When input electrical signal is most efficiently converted into acoustic equivalents whilst the drivers barely move—this reduction of distortion from excess excursion becomes paramount in the bass—the result is very pure, clean and translucent to micro detail. And here the complete treble comes through the horn whose mouth rather than throat acts as effective radiation surface. That nets 420cm², about 80 x more than your typical 1" soft dome. Excursion requirements are essentially nil. Meanwhile the infamous horn colourations are entirely MIA which likely is the real art practiced with excessive prototyping of compression chamber and horn flare relationships. In a direct A/B against my highly resolved Dynamikks, the Blumenhofer demonstrated that more was possible. Take "A Home Away" from Tuxedomoon's Cabin in the Sky album. When the winds entered, their tone was cleaner and more opulent of texture. When the electronic noises at around 2:30 began, there was more teasing out of individual sparks. Or with moderately well-recorded vocals in general, I sensed subtleties I'd missed before as though a very fine gray scrim had evaporated to leave the vocalists at full Monty. Such purity of tone is rare.