Lindemänner. This assembly shows Groove's form factor and docked look. We appreciate that Norbert's widebander sits at very similar height as Yun-hyeok's 4" version on virtually tailormade Q Acoustics stands. Obviously Move's cubic volume is about 6 x bigger. I run our lilac minis off an analog 4th-order 60Hz high pass. That hands over to a matching 4th-order low-pass into a dual 9½" force-cancelling sealed Dynaudio sub. To compare apples, I began my Move assessment in the same way before hitting my Gradient Box II remote's bypass to send it uncut signal and eliminate the sub from the equation. The final rounds activated the stack first off my DAC then music:book Source II.

Below is the Move/Groove combo fronting a COS Engineering D1 DAC with analog volume control into the outboard active crossover into the amp. The Danish sub built in China sits on Swiss sound|kaos isolators to float off the suspended floor and 86cm closer to the seat to compensate its 2.5ms digital latency for correct time alignment. After all, late-arriving bass is slow by definition. Who wants laggard limping bass which additionally triggers structural resonances by coupling to the floor?

Source was this FiiO R7 on an iFi power supply with a 1TB SD card of Redbook or better files. It outputs USB to a Soundaware D300Ref USB bridge which forwards coaxial S/PDIF down the right sidewall to the COS. For an in-room headfi reference the Soundaware also outputs AES/EBU to a Cen.Grand stack of DSDAC 1.0 Deluxe and Silver Fox amp into a pair of Raal 1995 Immanis or HifiMan Susvara. Without superior headfi, how to correctly identify all of our room's sonic impact?

Here we see the €1'800/pr Move Mini with 60Hz-36kHz response. It's the Bavarian incarnation of our lilac Koreans just without hidden isobaric doubles. Being 3dB less sensitive than Move and requiring a different 'notch' filter—more on that anon—it cannot combine with Groove.