Date: 2025-01-06

Meet Marius Dittert and Markus Nolden of HiFi-Studio Wittmann in Stuttgart

Since its founding in 1993 by Oliver Wittmann, HiFi-Studio Wittmann has become a cornerstone in the high-end audio world. Driven by a passion for music, the HiFi-Studio in Stuttgart-Botnang is now ranked among Germany’s top 30 audio specialty stores—a distinction awarded by the High End Society.

A Personal approach tailored to customer needs
Marius Dittert explains: “Our customers are music lovers and audiophiles seeking something special. Often, they want to upgrade their existing setup or are looking for an entirely new system tailored to their preferences. These clients don’t just drop by; they schedule personalized consultations and listening sessions with us because they trust our expertise.”

“During these appointments, everything revolves around the customer. Together, we analyze their preferences, musical taste, and the acoustic conditions of their space. We then factor in their budget, expectations, and technical possibilities to achieve the next step in their setup.”

“Finding the perfect combination is a creative process for us. It requires time, experimentation, and attentive listening to harmonize all elements perfectly. As music enthusiasts, we share our customers’ passion and go the extra mile to ensure they are satisfied and feel well cared for,” says Marius.

A loyal customer base
“What sets us apart is that profit is not our primary goal. We help our customers find the perfect solution for them, and that is only possible through honesty. If a customer is heading in a direction that we feel doesn’t suit them, we’ll say so.”

“Our customers love music and exceptional-sounding audio systems. It’s always about emotions and feelings! They know that we understand this. We ensure that their system has a soul.”

“For larger speakers and particularly high-end electronics or turntables, we assist our customers in their homes whenever possible. This commitment has earned us an exceptionally loyal clientele.”

Wittmann and Octave: A 30-year partnership
“Our collaboration with Octave has been going strong for almost 30 years, which says a lot about our shared passion for high-end audio,” notes Markus with a smile.

“Octave is renowned for its unique sound. Octave tube amplifiers combine power and control over connected speakers with uncompromising musicality—a rare combination for tube amplifiers. This makes Octave a unique and popular choice among music lovers.”

Why customers choose Octave

• Customers who choose Octave appreciate:
• The impressive sound and musicality
• The exceptional build quality and reliability
• The stylish design
• The flexibility to customize the sound with various tubes

An example is the MRE 220 SE mono power amplifiers, which allow users to choose between KT88, 6550, KT120, KT150, and KT170 tubes. This flexibility enables fine-tuning of the system’s sound. Many listeners are truly astonished by the results.

Currently, we have two Octave systems on display. The first is paired with the impressive Franco Serblin Ktema speakers, and the second with Burmester B38 speakers. Both systems are exceptionally musical, and we are proud to showcase them.

Our passion for Octave amplifiers
At HiFi-Studio Wittmann, we feature many high-end brands, but Octave holds a special place in our hearts. The brand stands for extraordinary quality, innovation, and reliability.

“My experience as a journalist for two renowned German audio magazines has given me extensive knowledge of testing and evaluating high-end equipment. I have always appreciated Octave products for their distinctive sound, clear identity, and high practicality. Oliver Wittmann, with his technical background as a former service manager for a well-known German high-end manufacturer, is also a big fan of the brand. He deeply values the innovative way Octave amplifiers are designed and built.”

What makes Octave unique
“Octave amplifiers combine phenomenal sound with unparalleled technical reliability. The safety design is an excellent example: even if we disconnect speakers while the amplifier is still on, everything remains intact—neither the speakers nor the amplifier are damaged.”

“In 30 years, we’ve never encountered a defective Octave amplifier. Every model is thoughtfully engineered and flawlessly constructed, both technically and sonically. These qualities make Octave a brand that not only we but also our customers consistently value.”

Date: 2024-12-30

Active or powered speakers are finally having their hay day, the demand for smaller wireless audio systems is largely why this is happening now but incorporating amplifiers and electronic crossovers into the speaker cabinet has advantages way beyond space and cost saving. The main advantage and the one for which active systems have long been used in studios is that the amplifier is connected directly to the drive unit, there is no crossover network in between to suck power and screw up phase. This makes genuine active speakers seem expensive as, unlike their powered wireless cousins which merely build the amp into the cabinet and use a regular passive crossover, they have an electronic crossover and one amplifier per driver which is naturally more costly. Yet rarely is it more costly than building a nice box for the amplifier and one for the loudspeaker which is what most of us buy.

PMC is long established in the pro audio world and the list of top class studios that use their speaker systems is long, the company even has its own facilities for mixing in multi-channel with Dolby Atmos being a speciality. They are very well versed in what it takes to make an active loudspeaker and have offered such models in their more ambitious ranges for some time. This year they added a range of active models to the entry level twenty5i range. From the front the new active models look exactly like their passive counterparts, the change is on the back where the stainless steel back panel now has line level and power inlets instead of the usual binding posts.

The active board can be used with any twenty5 or twenty5i series two-way loudspeaker, so owners of passive examples from the current and previous series can upgrade with the minimum of palaver and at a reasonable price (£1,795). This panel contains an analogue electronic crossover and a pair of 100 Watt amplifiers, one for each driver. It’s worth noting that the crossover is an analogue example because this is a luxury rarely afforded to less expensive active speakers which rely on DSP (digital signal processing). DSP has its uses and gives a range of set up options but rarely sounds as good as analogue circuitry in this situation.

The amplification modules in the active twenty5.22i are the latest from ICEpower, a Class D technology that was originally pioneered by Bang & Olufsen but which has since become an independent organisation. PMC chose these modules because of the experience that they have with them in pro monitors; if they meet the heavy demands of studio usage they are more than appropriate for end users.

The the larger of two bookshelf models in the twenty5i range, the active twenty5.22i is has a six and a half inch main driver and 19mm tweeter. The other two ways in the active range are the smaller 21i bookshelf and the 23i and 24i floorstanders, PMC describes the active twenty5.22i as the choice for those looking to fill a larger space with a bookshelf speaker, one that stands 41cm (16 inch) high in its leant back cabinet and weighs in at just over 10 kilos (22 lbs). I was surprised to see that the active twenty5.22i is weighs only slightly more than its passive counterpart, this is because the crossover components are so meaty on the latter and Class D amplifiers are not so big.

The active twenty5.22i driver array consists of a 19mm tweeter in a 34mm surround built by SEAS in conjunction with PMC, it uses ferrofluid to aid cooling when the speaker is used ‘in anger’ for extended periods. This has a fixed metal grille that aids dispersion and protects the soft dome. The mid/bass driver is a long throw type for greater extension and power with a g-weave cone in a cast alloy chassis. G-weave is PMC’s proprietary woven cone material and described as a resin-bound, fine-weave glass fibre. It’s interesting to note that Bowers & Wilkins also have a proprietary woven cone in their midrange drivers, maybe there is something in this tech after all.

The cabinet is PMC’s favoured advanced transmission line type, these are more complex than the common reflex loaded variety with a transmission line that takes frequency energy from the back of the main driver to the vent at the bottom of the front baffle, filtering out higher frequencies in the process. This provides low bass reinforcement that is in phase with the output of the driver itself and tends to result in excellent low frequency performance.

Sound quality
I experimented with stands under these speakers and found that wooden 58cm Hifi Racks ones sounded better than a 60cm steel example, quite possibly because the Hifi Racks have foam decoupling pads on them. I assumed that the active twenty5.22i is would work better with an active preamplifier than the passive one I usually use, so I brought in an ATC CA2 for the purpose, later experimentation revealed that the passive Townshend Allegri gave a more refined result but that it couldn’t match the dynamics provided by the powered preamplifier.

And as dynamics is one of the main benefits of active operation it is worth giving up a degree of finesse for. I suspect that you could get close to the latter with a better preamplifier of course and as you will read I did find an alternative which seemed to offer the best of both worlds. There was an awful lot to enjoy with the ATC in the driving seat however, not least a soundstage that totally escaped the cabinets when the level was raised. This occurred with a number of recordings and sources albeit some sources proved better than others, but when it happened the effect was quite thrilling and not one that you encounter with separate amp/speaker combinations at this price. It’s almost like the speaker disappears and the sound takes over with a degree of three dimensionality that is uncanny.

The active twenty5.22i’s bass extension is very impressive for the box size too, put on something meaty and you know all about it, the weight and crunch that Amon Tobin’s mix of Nepalese Bliss (The Irresistible Force) inspired the active twenty5.22is to deliver was pretty damn monstrous. With the more sophisticated vibes of great acoustic jazz recordings you get a transparency and vitality that is equally enthralling. These speakers have a monitor like ability to reveal detail and this combined with PMC’s long established ability to create loudspeakers that time with unerring precision, this makes for considerable musical appeal with decent recordings. Heavily compressed examples will sound that way of course but it’s worth remembering that this is the way that the artist/producer wanted them to sound. These speakers tell it like it is in an unusually coherent fashion.

I have a pair of twenty5.22s from a few years back which are also very good and when partnered with a decent amplifier can deliver a more relaxed sound than the active twenty5.22i. But the key work there is ‘decent’, which means £3k plus, and that combined with the price of a passive twenty5.22i (£3,875) takes you well above the £5,275 asking price here. And even then you wouldn’t get the imaging and dynamic capabilities of the active version. I also managed to get a much more refined result out of the actives by using an Icon5 passive preamplifier with them, this has a buffer option which drives the long cables being used rather well and produced a beautifully smooth and finely detailed result.

Pricewise the ATC CA2 is a more appropriate partner however so I went back to that and revelled in Kendrick Lamarr’s Alright (To Pimp a Butterfly) and enjoyed the taut, solid delivery combined with clearly defined vocals that makes this track so engaging. It inspired a bass fest and the selection of Nils Petter Molvaer’s Quiet Corners, this really plumbs the depths and its brooding menace sprinkled with diamond dust from the trumpet came across with a degree of torque that few passive speakers can match. Bigger examples will go lower of course but the active twenty5.22i can certainly rumble.

These speakers revel in great recordings and those made in the last decade or so frequently seem to be of that ilk, one such is the rather dark Bvdub whose In Iron Houses managed to create a sound that swirled around each speaker in full 360 degrees. Mingus at Carnegie Hall is by no means recent but also manages to escape the cabinets, the sound describing the venue as well as it delivered the groove that the bandleader manages to create. Here I contrasted a remaster with the original (streamed) and was surprised to find that the bass line was more prominent on the older cut. I also really enjoyed some steel string acoustic guitar on a more recent vinyl release, the way that the active twenty5.22i is produce the immediacy and zing of the instrument made the instrument sound very real indeed.

Conclusion
The active twenty5.22i might look expensive for a bookshelf two-way but it is an extremely capable and superbly executed loudspeaker that is way more capable than might be expected. The active factor brings the ability to play at higher levels without effort and delivers dynamics and imaging that cannot be matched by a passive speaker with a separate amp for the price. If you like a revealing, powerful and engaging sound these PMCs are going to be hard to beat.

Date: 2024-12-20

Thorens Reference versus Thorens New Reference – which analogue fan could resist the opportunity to make such a comparison? I certainly couldn't, so I gratefully accepted the invitation to the brand new Thorens listening room.

Feature: Thorens New Reference

References
So that's how it was: In 1980, Thorens, then one of the largest record player manufacturers in the world, presented its statement on top record players. The device called "Reference" was limited to a series of 100 units, weighed over 90 kilograms, could carry up to three tone arms and was pretty much the most powerful thing the world had ever seen in this respect. Things like a quartz-controlled three-phase motor that drives a six-and-a-half kilogram platter via a flat belt don't really entice anyone these days, but at the time that was the end of the line. The initial selling price was 18,000 DM, which seemed unbelievable in 1980, but today would probably be met with a shrug of the shoulders. Well-preserved examples of the device cost several times that today and are difficult to find; most of these precious items are kept warm and dry by well-heeled Asian collectors.

A few years ago, Thorens’ new owner Gunter Kürten decided to create his own “Reference” model.

This was by far the most photographed exhibit at the Munich High End two years ago and impressed with both its impressive physique and a whole range of high-tech features that should make the machine called "New Reference" the perfect record player. To all those involved, conducting a "real" test with a device costing around a quarter of a million euros only seemed to make limited sense, especially since transporting the New Reference to Duisburg would have caused some logistical problems. Thorens has now significantly expanded its premises in Bergisch Gladbach and now has a really nice listening room with two setups, perfectly functioning room acoustics and both an original Reference and the first real production model of the New Reference. The question of whether it could be plugged into one of the two systems for a direct comparison was answered in the affirmative - so off to Bergisch Gladbach.

Let's first talk a little about the New Reference, which is undoubtedly one of the most complex record player designs on the market. The concept was largely developed by industrial designer Helmut Thiele, who has been delighting the hi-fi world with exciting ideas for many years and is responsible for a large number of products in the new Thorens era.

One of its most impressive features is its integrated, fully active vibration isolation, which was implemented in collaboration with the company Seismion. Each foot of the New Reference contains powerful, high-precision actuators that hold the device firmly in place in space - in all three dimensions. Extremely precise sensors provide data on whether the machine is moving even the slightest, and the actuators in the feet immediately compensate for any movement. A small display on the device provides information on the system's activity on request. In principle, we are dealing with a sensitive seismometer that could also be used to detect light earthquakes.

The drive is where most of the parallels to the original Reference are. The new one also drives its heavy turntable with a belt, and the power here also comes from a three-phase synchronous motor. Controlling the unit, which is manufactured in Germany, is of course much more complex than in 1980, especially since the New Reference uses real speed control. For this purpose, a speed sensor on the platter spindle reports its speed to the electronics. The manufacturer's website explains very well how the drive and platter bearing work hand in hand to achieve the best synchronization values.

A heavy metal ring plays a central role, which is screwed securely to the chassis of the New Reference. It serves as a platform for mounting a maximum of three tonearms. In addition to extreme stability, this results in a large number of possible mounting locations, which makes the New Reference a very universal basis for all kinds of arms. At the time of our visit, the model in the Thorens listening room had two tangential tonearms (Thiele TA-01 and Reed 5T) and a twelve-inch Thorens TP-124 mounted. The Ortofon Verismo, which we used to make the comparison, also found its place under the headshell. A practically identical arm (only nine inches long) was also mounted on Gunter Kürten's really beautiful original Reference, so we only had to swap the headshell and replug the tonearm cables.

The rest of the chain was also no shortage of superlatives: The sound transducers were a pair of large Wilson Benesch transducers, driven by a Soulnote amplifier combination, whose qualities we have already been able to convince ourselves of. The phono preamplifier also came from Soulnote.

The first impressions of the chain were pretty amazing: the positioning of the musical events in the room works excellently, the large speakers hardly appear at all physically in the sound image. The system sounds tight and disciplined, in fact it sounds very high-end. Tonally balanced across the entire frequency range, no artifacts that can be blamed on the room acoustics - it's bearable. If you ever get the chance to listen to a few records on the sofa - take it.

First, we were able to see for ourselves the effect of the New Reference's active isolation. Interestingly, it is very noticeable in the bass in a way that I hadn't expected: with the active isolation switched off, the sound appears significantly thinner and more reserved. With the Seismion system switched on, the Ortofon Verismo delivers a volume and impact that I have definitely never heard from it before. The spatial imaging also changes: without active isolation, it sounds flatter, less deep, and the treble imaging also suffers noticeably. The point clearly goes to the extremely complex technology that isolates the record player from the rest of the world.

Then it was time to compare the two record players. We essentially did this with the now quite famous live recording of the British singer/songwriter Fink from London's Union Chapel. The New Reference sounded extremely impressive. Very lively, the sound breathed, the atmosphere was there, the reverberation was believable, goosebumps were guaranteed.

Bottom line...
Even if this is certainly not a really meaningful test: The sovereignty with which the Thorens New Reference demonstrates its sonic superiority leaves no doubt that it is one of the greats in its field.

Date: 2024-12-18

WHAT IS THE EE1 FROM ENGLISH ELECTRIC
There was once a time when we believed all that was needed to get the best from cloud-streaming music services was a router/modem and a suitable streamer. Sure, a wired connection would ensure a more stable connection, but many of us would not bother with the inconvenience. As things moved along and high-resolution streaming became the norm, we learned that ‘wired’ via a network switch was the way to go. Subsequently, low-noise network switches designed for audiophile applications appeared on the market, which raised the game considerably. Not least the 8 Switch and 16 Switch from English Electric, the latter I reviewed many moons ago for HFP.

To my knowledge, the first in-line ethernet filter to appear on the market was the eno from British company Network Acoustics, which I reviewed for HFP in late 2022. Whilst highly effective, the eno sits at a premium price point and is pretty much only available for mail order, hence paving the way for more affordable products such as the EE1 from English Electric, which can be distributed and demonstrated by sister company, The Chord Company, across their extensive dealer network.

An in-line ethernet filter can be placed between two points in your audio system’s network, such as between the router and switch, switch and streamer, or even between a network server or NAS device and streamer and/or switch. The EE1 can even be beneficial in your networked video systems say English Electric. So, there is no reason why several units cannot be used. The Chord Company/English Electric kindly supplied me with two filters and two 0.75m C-stream ethernet cables. Each filter retails for £250.

FORM FACTOR
The EE1 is a small aluminium box with input and output sockets at each end. An arrow designates the input and output sides. We are not given too much information about the internals’ contents. However, a ‘naked’ example was handed around The Chord Co’s demo room at the Bristol Sound And Vision Show last February. What we do know is that the internals claim to block low-frequency noise by way of Galvanic isolation and reduce high-frequency noise. The noise is turned into heat, although thankfully, the EE1 does not get hot. Such achievements are the result of extensive measurement and listening tests by the company’s boffins in Amesbury, Wiltshire. No additional power supply is required. The naysayers will try and argue that digital music is just binary, so noise does not matter, especially with packet data which is ‘check summed’. To those, I will remind them that digital music is transmitted as analogue signals – remember the strange noises we used to hear when loading computer software via tape or heard using the old ‘dial-up’ modems? When this noise accompanies these signals and enters our systems, for a number of reasons, it degrades the resultant music. To those who say that this is not possible, we at HFP suggest that they listen to products like this with an open mind and judge the results – if you cannot hear any benefit, then don’t buy one.

DOES THE EE1 IMPROVE YOUR ENJOYMENT OF MUSIC AND MOVIES?
It takes about five seconds to hear the EE1’s change or, indeed, see if you are using it on your TV feed. The music sounds cleaner, more dimensional, airy, and detailed. As super tweeters have proved, improving the high frequencies seems to improve perceived bass quality, and this is the case with the EE1. The cleaner top-end brings greater levels of definition, which, along with giving a more ‘foot-tapping’ experience, the greater high-frequency definition that accompanies bass notes, makes instruments like bass guitars and bass synths easier to follow.

I have been using various filters of this type in my reference system over the last couple of years, including the EE1. So before starting my evaluation of the EE1, I removed all filters and fancy cables and replaced them with a single length of C-Stream cable and listened to a few tracks from Qobuz, subsequently adding the EE1 between the network switch and my Moon 780D Streaming DAC. Compared to what I had become accustomed to, the sound was pretty hazy and lacking in life. So, adding the first EE1 was a breath of fresh air. In this setup, an Audia Flight FLS1 Preamp and FLS4 Power amplifier fed a pair of Kerr K320 MkIII speakers.

The first piece of music I listened to was Nala Sinephro’s latest album, Endlessness, in 24/96. Immediately, I noted that the cymbals were cleaner and more rhythmic, and the electronic effects, which, for want of a better expression, were bleep-like noises, jumped forward to the left of the soundstage. The bass was now both more defined and more textured. Next up was Tony Levin’s Me and My Axe in 24/48. Again, the cymbals and drumkit were cleaner, and their timing improved. The studio reverb was far more evident, and the bass and lead guitar lines had more detail and were easier to follow.

Whilst I am not a fan of her studio work, Raye’s The Thrill Is Gone, from her Live At Montreaux Jazz Festival album, in 24/48 shows she is a talented performer. Prior to adding the EE1, the top end was a bit of a mush, and the brass instruments were somewhat piercing. After adding the EE1, the track was far more enjoyable to listen to. The high frequencies were better resolved and defined but of more musical importance; the track was now fun to listen to. The bass guitar jumped forward and had a natural bounce to it.

Moving over to something more soothing, Mao Fujita’s 72 Preludes – Chopin Scriabin Yashiro, in 24/96. Prior to adding the EE1, the piano had a piercing ring to it and lacked life. The EE1’s resolving skills meant the sound was actually slightly more spotlit, which helped reveal the recorded acoustic, yet those nasty edges were much reduced, making for a more relaxed presentation. A choral track streamed from a randomly selected new release, Charles Villiers Stanford, Partsongs, Pastorals and Folksongs, in 24/192 again benefitted from the EE1’s noise-killing talents, sounding more immediate, with improved vocal phrasing, ambience and texture.

It was now time to add the second EE1, which I placed between the router and the network switch. Now, the Tony Levin track Me And My Axe sounded more airy, cleaner and notably more detailed. I could now hear the strings being plucked, and I was getting the kind of guitar sound you enjoy when you hear a live band. The characteristics of Steve Hunter’s guitar pickup were laid bare. There were musical benefits, too, particularly on this Tony Levin track, which revealed a new-found level of interplay between Tony’s bass and Steve Hunter’s guitar. The Raye track had more of that live feel; the previously mentioned mush had all but vanished, and the reverb to the vocals and guitars, in particular, was easier to discern.

Replacing the supplied Chord Company C-Stream cables with a more expensive cable revealed there were further benefits to be enjoyed by doing so, with the soundstage now more expansive and the bass gaining in both fullness and weight when I substituted the C-Stream for my reference network cables. A flick through The Chord Company’s website revealed that the C-Stream is the base model in their range, which extends to levels well above that of the cables I had to hand. So, users of higher-end systems should discuss cable upgrade options with their supplying Chord Company dealer.

I generally use my Chord Hugo2/2Go wirelessly in the bedroom, but when listening in the office via headphones, I take advantage of the router’s close proximity and use a wired connection, which sounds better. I don’t have a network switch in the office, so the EE1 came in handy and proved similarly beneficial in this portable headphone setup. Whilst this is not surprising, it has further widened the gap between wireless and wired connections, which has since made it harder to listen to the former.

As mentioned earlier, you can use the EE1 in a streamed TV setup. Here, Netflix streams look noticeably sharper and cleaner, especially during dark scenes. Similarly TV audio is improved, which was a bonus. One word of caution here: I used the EE1 on the feed into my BT box, which is connected to the TV over HDMI. If you are using your TV’s ethernet connection, network noise will travel along the ground plane, so you will need to place the filter on the feed into the TV rather than your TV box or use an additional filter here.

CONCLUSION
I read a lot on forums about how streaming cannot match the results of physical media. Devices like the EE1 demonstrate that noise is the limiting factor and helps unleash the potential of streaming. As my results show, even with a good network switch in the system, the EE1 was able to improve my streaming experience considerably. Users with high-end setups will benefit from improved streaming cables. Still at £250, the EE1 and C-Stream improved my setup beyond what I expected, so it could prove more beneficial than spending similar amounts on component upgrades elsewhere in your system. That they can be hidden away as part of your system’s wiring loom has to be a bonus.

AT A GLANCE

Build Quality:
This is a very small device, but solid and perfectly formed

Sound Quality:
Clean and lively presentation, with enhanced soundstage. Reduces high-frequency hash and improves definition across the frequency range, making instruments easier to follow.

Value For Money:
£250 is fair value for the improvements I have experienced with these devices

We Loved:
It can improve the sound of most wired network music systems while being easy to hide from sight. The EE1 makes music sound clean, lively, and engaging, yet it can also improve the picture quality of streamed video content

We Did Not Love So Much:
It would be easy to get carried away and purchase multiple units and additional cables, which could prove expensive. If your system errs on the side of brightness, the additional high-frequency energy revealed by the EE1 could tip the balance

Elevator Pitch Review: This is a simple and effective upgrade for your wired music streaming setup. These devices help you enjoy streaming music and mean you listen to your system more, which can only be a good thing.