Kaiser Acoustics

Kawero!® sounds strong and rich, clear and dynamic.
The Kawero!® speaker adds this missing energy by the backfiring woofer and midrange passive radiator.

Kawero! comes custom-tailored to your needs. You can select from a great variety of veneers or  colours of course – but its not only a matter of finish. Acoustic fine-tuning is individual and there  are three custom woofers to choose from, so depending on the reverberation time of your  listening room (and your listening preferences)we will select a matching woofer, tune the port  frequencies and the midrange passive radiator to optimise the sound.

You can also consider the external crossover option which brings further significant improvements to the whole speaker package. 

We believe our history, skills, experience, and knowledge bring to the market a speaker of outstanding performance and flexibility. And the result of all this effort is a listening experience of which we are incredibly proud. 

Kawero!® sounds strong and rich, clear and dynamic. It integrates seamlessly into your listening room to create a wonderful, open and 3-dimensional sound, with fantastic transparency and detail too. 

Above all, its about excitement, emotion and ® passion for music. With Kawero! you will be transported to the heart of the performance.



I was also very conscious of the way these speakers were able to expose the substantial differences in recording quality between discs, and that increases ones interest in and enthusiasm for re-exploring many past favourites
Paul Messenger
REVIEW SUMMARY: .......its magnificent dynamic range, fine timing and superior coherence actually provided rather more information about the recording processes than any other speaker I can readily recall.

In fact, I thoroughly enjoyed the several weeks I had with the speakers, and was very sorry when the time came for them to be collected. ……

Vivace is an unquestionably interesting loudspeaker, for both its physical discretion and its superior musical communication skills.

Please see link for extended review:

The World's Best Audio System..........
Jeff Fritz

REVIEW SUMMARY: The Kaisers sound simply huge, with none of the negatives you might think that implies; e.g., a ten-foot-wide singer. There are times when you just want to kick back and relax into a massive soundstage, letting the music wash over you from seemingly every direction. You want to feel the power of music in your chest, while letting the highs caress your ears with subtle but detailed sound. You want to occasionally open your eyes and be amazed that the beautiful yet modest structures in the corners of your room are doing all that and more. If this experience sounds like one you want -- and what audiophile doesn’t? -- I recommend you go hear a pair of Kaiser Kawero! Classics. And definitely hear them before you buy something that your spouse will say dominates the living room, and that might cost even more.

I said at the outset of this review that I didn’t know what to expect from the Kaiser Kawero! Classic. Now I do, and my base of audiophile experience has been greatly enriched. They have a special sound. I think you’ll enjoy them. A lot.

EXTENDED REVIEW: Having reviewed high-end audio gear for over 15 years, I like to think I know what to expect, and most times I’m at least close to being right -- these days, I’m rarely surprised by what comes through my listening room. Still, there are times when there’s a big difference between what I think I’ll hear and what I actually do hear.

Kaiser GmbH is based in Germany, near the border with Austria, and their Kawero! Classic loudspeaker is perhaps the most surprising product I’ve had in my listening room in the last few years, but not for the reasons you'd imagine. The outward appearance of the Kawero! Classic certainly doesn’t tell the story of the advanced design work put into it. Or much about the sound that comes out of it. 


The driver layout and cabinet configuration of the Kawero! Classic are unique. Rainer Weber, the engineer whose brain is behind this product, has a solid understanding of the acoustics underpinning good loudspeaker design, though his implementation of that knowledge is unconventional. When I first saw the speaker, I wrongly assumed a worst-case scenario: that it had been cobbled together using a little science and a lot of home cooking. It was not configured like any of the speakers that have sounded best to me over the years. But as I dove into the details of the Kaiser’s design, I began to understand how thoroughly engineered it actually is.

The three-way Kawero! Classic has two front-firing drivers, one in each of two stacked modules. Its claimed bandwidth is 25Hz-60kHz, with impedances of 6 ohms nominal and 4 ohms minimum. The tweeter, a 2.5” RAAL 70-20 XR ribbon, is custom-made in Serbia and uses a transformer that is wired with a silver-gold-palladium alloy. It is housed in its own small enclosure atop the main cabinet. The tweeter enclosure’s position can be adjusted from front to back through a range of about 3cm, and toed in to achieve a closer match of dispersion characteristics with the midrange driver. Louis Motek of LessLoss, Kaiser’s North American distributor, gave me a good starting point for placement of the tweeter module. I adjusted it slightly from there to suit what sounded to me like the most neutral tonal balance.

The Kawero! Classic’s other drivers are made in Denmark by Audiotechnology, and have custom cones made of a sandwich of carbon fiber and paper. The 7” midrange is at the top of the main cabinet, just below the tweeter, and -- this is what so surprised me -- it’s loaded by an 8” passive radiator that fires directly to the rear. This novel midrange-loading technique requires a bit of an explanation.

Kaiser Kawero! Classic

Speaker designers have to take into account something commonly called the baffle step. As you probably know, the lower the frequency, the more its dispersion is omnidirectional. (This is why, when a subwoofer is properly integrated into a system and room, you can’t tell where the sub is by listening for where its sound is coming from.) This must be taken into account in the placements of drivers on a speaker’s front baffle. As soundwaves fall in frequency and become more omnidirectional, and start to leak around to the sides of the cabinet, the result is a 6dB decrease in the speaker’s forward-firing output. When this step down in sound-pressure level (SPL) -- the baffle step -- is measured in an anechoic chamber, you can see something between what appears to be a first-order crossover slope or a wiggly drop-off, depending on the design. To achieve flat frequency response, designers take the baffle step into account by lowering the output of the midrange driver above the frequency at which the baffle step begins, in order to achieve a linear response through the driver’s entire passband.

Instead of this padding down of output, Kaiser has done something different, based on the fact that although we hear a combination of direct and reflected sounds, the ear/brain interprets these as a single sound -- as long as they reach our ears with near simultaneity. That 8” passive radiator on the rear of the Kawero! Classic’s cabinet, directly behind the 7” midrange -- along with some contribution from rear-firing 10” woofer below the radiator -- is tuned to fill in output where this step down in the midrange occurs. Ideally, then, the total amount of acoustic energy the Kawero! Classic is putting out into the room will sum properly to give a fairly linear response at the listening position. A benefit of this is that the speaker’s sensitivity can remain high because the designer doesn’t have to reduce the midrange’s output to compensate for the baffle step. The Kawero! Classic’s claimed sensitivity is 92dB/W/m.

Kaiser Kawero! Classic

The midrange hands off at a low 60Hz to that rear-firing 10” woofer, which is mounted on the lower half of the main cabinet and is ported through the bottom of the cabinet. The vent breathes freely; the enclosure is raised on a plinth separated from the cabinet proper by three Kaiser-made spikes (Stillpoints are optional). Also on the rear is a single pair of binding posts -- no support for biwiring or biamping was available on the review samples, but that is an option at time of order. The crossover network is realized with a combination of components from Mundorf and Duelund, the two names that seem to always come up these days when discussing the best passive-crossover parts. They’re certainly far more expensive than the crossover components used in most loudspeakers.

The Kawero! Classic is quite heavy at 218.3 pounds, because its cabinet is made of panzerholz (tank wood). According to the folks at Kaiser and LessLoss, “Panzerholz is a high-tech natural wood product manufactured in Germany. Under extreme heat, pressure, and moisture, the wood is compressed to half of its original dimensions. The cellulose fibers bond on a molecular level, creating an engineered wood substance not found in nature. . . . Panzerholz is known for its extremely high density (it sinks in water), its high strength (it is used as a metal substitute), and that it is bulletproof. Engineering spec sheets show that panzerholz ranks among the very best regarding its acoustical damping characteristics.” The panzerholz walls are said to be further damped by a rubbery mixture filled with glass fibers. When rapped with a knuckle, this cabinet sounds much more inert than the typical speaker enclosures of 1”-thick MDF.

Although my review samples had seen some wear, having been used in demo systems at the Consumer Electronics Show and other events, I could tell that their quality of finish was quite high -- and Kaiser and LessLoss go into great detail on their websites about the finishing process each Kaiser speaker undergoes. As for the cosmetic fit’n’finish and overall build quality, I’d rate it as higher than 80% of what I get in for review, if still a half step behind the very, very best -- as I saw in a direct comparison with a pair of Atria speakers from Rockport Technologies ($21,500/pair), which had just arrived. A variety of veneers and semi- and high-gloss finishes are available for the Kawero! Classic at various costs. As for the visual impression, I can’t say I loved the Kaisers’ angular look from the listening seat -- a bit more contour would have been welcome. But compared to some of the behemoths I’ve had in the Music Vault, I absolutely loved the Kawero! Classic’s overall dimensions of 47.6"H x 16"W x 19.4"D -- especially considering the sound that came out of these things.

That sound . . .

The Kaiser Kawero! Classic benefits sonically by one more important technical detail, which I discuss in this section of the review because it so closely correlates with what I heard. When designing the Kawero! Classic, Rainer Weber studied a body of research by Professor Jens Blauert, of the University of Bochum, Germany, who wrote Spatial Hearing: The Psychophysics of Human Sound Localization. His research led Weber to design into the Kawero! Classic some very slight frequency-response shaping to accomplish some specific sonic goals. A slight peak between 5 and 8kHz is said to raise the virtual height of singers to about 1.6m, or 62”. Another slight peak, between 1 and 2kHz, purportedly deepens the soundstage. Unlike speakers that have ragged frequency responses because their designers haven’t been able to tightly control their acoustic outputs, such precise shaping of the response curve shows great command over the finer elements of loudspeaker design.

I’ve heard a number of speakers that are essentially flat in their response, with low distortion, etc., and with many of them it’s taken me some time to sort out my reactions to their overall sound because that sound was so neutral and unassuming. This can be a good thing, but it can also lead to a speaker that has a hard time differentiating itself from similarly priced and designed competitors. The Kaiser speakers did not suffer from this. The first time I fired them up, I was blown away. The Kawero! Classic is the biggest-sounding midsize speaker I’ve ever had in my room.

Kaiser Kawero! Classic

I don’t mean “biggest-sounding” as in overblown and unrealistic, but “big” in the sense that the Kawero! Classics could do all the things that really big speakers do so well. If you’re a fan of the huge monoliths that capture the hearts and ears of many audiophiles -- the speakers seen in “super systems” at audio shows -- then you must hear the Kawero! Classic in a setting you’re familiar with. Put on a recording that you know has ample space around the performers, or that casts a huge, wall-melting soundstage, sit back, close your eyes, and prepare to be amazed. The sound was simply huge, both in dimension and gravitas, and took me aback immediately. I picked an audiophile classic to listen to. Hearts of Space, released in 1993 by The Abso!ute Sound, has been part of my music collection for at least 15 years, and I’ve ripped it from CD (16-bit/44.1kHz AIFF, Hearts of Space). Listening to it through the Kaiser Kawero!s was mesmerizing. There were tons of ambient cues; low bass that, though subtle, expanded the apparent size of my listening room; and musical elements that generally created a spacious and beautiful soundscape. The Kaisers effortlessly cast a stage that expanded the walls of the Music Vault -- both to the sides and front to back -- and completely immersed me in the music. The speakers were soundstaging champs in regard to overall breadth, and to making performers of all types sound realistic in scale, and weighted just right in the context of other performers around them. Again, the operative term was big -- these speakers were like the ant carrying a huge leaf: the sonic heavy lifting they were doing in my room seemed impossible for anything their size.

The other aspect of the Kaisers’ sound that added to the effect of realistic scale was their bass response. I cued up my longtime reference for bass weight, depth, and room-energizing power: “Norbu,” from Bruno Coulais’s music for the film Himalaya (16/44.1 AIFF, Virgin). This track begins with huge impacts from bass-drum whacks that quickly grow in energy to fully pressurize the room, as the low frequencies roll from front to back before the decay trails off behind the listening position. The Kawero! Classics reproduced this track in a commanding fashion, with excellent pitch definition in the initial whack, and then with enough guts to flex the room and, finally, reproduce enough detail in the low bass to let me clearly hear the decay. To put this in context: No, the Kaisers did not have the earth-shifting capabilities of the Rockport Arrakis or Magico Q7, but they were far more capable than something like the Sonus Faber Amati Futura or the Raidho C2.1. They split the difference between those two groups of speakers, getting far closer to the Rockports and Magicos than their size would seem to warrant.

Kaiser Kawero! Classic

Tonally, the Kaiser Kawero! speakers were, perhaps surprisingly, not easy to pin down. With the admitted frequency-response shaping of their output, I would have expected to hear some anomalies in comparison to the more neutrally designed speakers I’ve had in my room over the past few years. To judge this, I listened to “Texas Rangers,” from Rebecca Pidgeon’s Four Marys (24/96 FLAC, Chesky/HDtracks). This track was instructive because, although I was listening for tonal characteristics that might reveal the Kaiser’s underlying design, what struck me hard was, yes, this singer’s height on the soundstage. I could pinpoint Pidgeon’s image, about 5’ tall, with great specificity -- she was perfectly centered, placed not out front and not too far back. Tonally, there was nothing to write home about. There was a woody quality to stringed instruments that invited me right into the music. The highs were not overly prominent in the mix, but nestled just perfectly within the body of the sound. Essentially, even if the tonal balance is the result of some engineering trickery, it worked quite well. What I heard from these speakers was generally neutral.

Kaiser Kawero! Classic vs. Raidho C2.1 . . . and throw in some Magicos

I didn’t want to be unfair, but I guess there’s no way around it. I wanted to compare the Raidhos and the Kaisers because of their obvious similarities. Both have ribbon tweeters and some frequency-response shaping in order to give the listener a specific perspective on the music. The Raidho C2.1, however, retailed for US$28,000/pair when I reviewed them in May 2012. At twice that price, the Kaiser Kawero! Classic should provide more bass, and have a greater ability to reproduce large-scale works with authority.

They did just that, by perhaps a wider margin than you’d predict. The Kawero! Classic speakers could play considerably louder and cleaner than the Raidhos. When I listened to “Low,” from Jonas Hellborg’s The Silent Life (16/44.1 ALAC, Day Eight Music), I stated in my review of the Raidho C2.1 that they “couldn’t quite reproduce the scale and physical propulsion of the bottommost frequencies that are required to make ‘Low’ come fully alive.” This, my most serious criticism of the Raidho, is something that many audiophiles would consider a fatal flaw, depending on the type of music they listen to and at what volume level. The Kaiser didn’t suffer from this flaw at all. I cranked “Low” up to about 95dB, and the sound was clean and powerful, even propulsive. More important, it was satisfying, in the way that big speakers satisfy man’s primal instinct to occasionally rock. In terms of everyday use, this was perhaps the biggest difference between the Raidho and the Kaiser.

There were similarities, too. The Raidho was quite good when it came to meshing the sonic outputs of its cones and ribbon tweeter. I couldn’t hear the handoff at all -- the crossover was sonically seamless. I can say the same of the Kaiser Kawero! Classic: There was no hint that I was listening to two disparate driver types. In fact, the Kaisers “disappeared” into the soundstage (a much larger one, by the way) in just the way the Raidhos do. On the other hand, the Kaiser was not a resolution monster in the way that the Magico Q3 or, to an even greater degree, the Q7 is. The Magicos are perhaps the highest-resolution speakers available today, and this allows listeners to dig deep into recordings, to hear every minute detail within a realistic soundstage. The Kaisers were more forgiving in this respect, more concerned with the overall picture as opposed to sorting out the smallest things on the soundstage. In this respect, the Kaisers may lend themselves to more varying quality levels of recordings -- they weren’t as picky. You’ll have to decide what, as a listener, you value most.

Lastly, the Kaiser is far more substantially built than the Raidho. The finish is better, the cabinet much more inert when rapped, and the attention to detail a couple of notches higher. No, they’re not “military grade,” like the Magicos, but what else is? And you can dramatically change the Kaiser’s look with the multitude of finish options, which might make a pair just perfect for your listening environment.


The Kaiser Kawero! Classic loudspeaker is just the ticket for someone who wants big-speaker sound in a package that will fit in spaces big speakers just can’t go. Big speakers -- the really good ones -- cost big money. The Kaisers cost big money, too, but nowhere near six figures.

Kaiser Kawero! Classic

The Kaisers sound simply huge, with none of the negatives you might think that implies; e.g., a ten-foot-wide singer. There are times when you just want to kick back and relax into a massive soundstage, letting the music wash over you from seemingly every direction. You want to feel the power of music in your chest, while letting the highs caress your ears with subtle but detailed sound. You want to occasionally open your eyes and be amazed that the beautiful yet modest structures in the corners of your room are doing all that and more. If this experience sounds like one you want -- and what audiophile doesn’t? -- I recommend you go hear a pair of Kaiser Kawero! Classics. And definitely hear them before you buy something that your spouse will say dominates the living room, and that might cost even more.

I said at the outset of this review that I didn’t know what to expect from the Kaiser Kawero! Classic. Now I do, and my base of audiophile experience has been greatly enriched. They have a special sound. I think you’ll enjoy them. A lot.

. . . Jeff Fritz

This is part one & two preview of the upcoming Kaiser Kawero Chiara speakers review and short elaboration regarding the small high-end audio monitor speakers...
Matej Isak

PART I - I’m having the luxury or exploring the prototype version of the Kaiser Kawero Chiara speakers finally at my home. This is just an opening act before the final production Chiara will arrive here. It will be great to compare the two and see what the updated, current version adds on. The sound? 

What I can say? This is by far the best high-end audio monitor speakers I’ve head pleasure of experiencing! Period! I can say I'v heard quite a variety of small monitor loudspeakers over the years and along with floorstanders I've have a special weak spot for smaller speakers as they can offer great integration for most domestic listening places. What Kasier Kawero team achieved with this product is special and it would be duplicitous not to speak up loudly about it. Paired with Thrax Audio Heros Monoblocs, Robert Koda Takumi K-10 preamplifier, TOTALDAC D-1 Dual DAC and tandem of Göbel High End/Skogrand cabling this is a setup up that offers a mighty, balanced and impressive presentation. As I called it in my Kaiser Kawero preview. This is the Porsche of high-end audio for many reason even before hitting the sound… I’m entrapped with the sonic performance and most positively surprised. More to come soon…

PART 2 - Each time i write something about the Kaiser Kawero Chiara speakers reactions starts to fly in as the an endless torrents of the rain. As it seems these standmounted monitor speakers ignite different emotions and a huge contemplation from both audiophiles and musiclovers.

In my last postings I was being asked how do they compared to the small monitors from the companies like Raidho, Crystal Cable, Magico etc. In the era, where physical dissection seems to become an audiophile merit for the ultimate sound reproduction I’m kind of lost in these sound orientation. For me, the intricate ability of any speaker being able to touch the essence of the music plays the first, foremost and most crucial role in judging. Anyone is free to spend their hard earn money. No questions asked. What I’m putting forward as the food for the thought is the real reference and sound orientation. There is no question in my book of leafs for what should stand as the the one and only guidance. Music! Pure, unaltered, uncompress and as raw as it gets. Comparing some of the speakers with live, un-amplified, acoustical music recorded in the natural acoustic space is not only frustrating, but completely wrongly oriented. As we’re following the robotic language of automatons rather then poetic, lyrical and tuneful nature of the music. 

As first and foremost clear distinctions of Chiara I would put forward few things to elaborate. The tonal correctness, non fatigued spatiality (yes they can address the audiophile pin pointing), ability to portray layers of the harmonics from different instruments vividly and the absence of dynamics distortion. Compared to the very cold nature of the aluminum entrapped enclosures from some of the competition, Kaiser Chiara is able of tuneful colors. One thing I closely connect with the completeness and correctness of the presentation is the choice of the tweeter. For me the typical tweeter just don’t justify with the ultra and high-end sound performance. Compression driver based tweeter and ribbons posses this intricate ability of non fatigued and distorted sound. I’m not saying that traditional tweeter fail completely. Still, even the most exotic endeavors and materials still deal with the physical limitations of the basic tech being implemented. At certain point they come to the point of the distortion impact, that is audible to the trained ear instantly. This sadly brings the fatigued, push forwardness of the sound, that reflects very little of what supposed to be associated with an actual sound.

Harmonic decay of the instruments can be quickly squashed, restrained and in the absence of the real life attributes, yet Chiara is as vibrant as it gets. Involving and captivating.

Passive woofer on the back side brings an unimposing performance and the Chiara speaker stand chamber generate the physical size of the sound that is more close to the balanced performance of the floorstanders then small monitor speakers. 

With their unique design they are able to disappear instantly, but still keeping the large size soundstage and sense of the space. This is actually the Über achievement and the thing of prolonged R & D from the Kaiser Acoustics team. 

I’ve been repeatedly asked about the current state of the high-end audio industry. For me, its the best time to be around as finally we’re reaching the realms of audio genuinely refined advancement. With the products like Chiara my faith in the matured and complete high-end audio speakers is restored. Kaiser Kawero Chiara speakers represent something that is more then worthy of all the attention and highlighting. 

This is what 21st century high-end audio supposed to stand for and how it supposed to sound. 
his is part two of the Kaiser awero Chiara preview. Next installment comes as a full blown review. Stay tuned as it will be very interesting…
........Matej Isak

The bottom line is that this is one of the finest loudspeakers I’ve ever had the pleasure of reviewing.
Paul Meddenger

REVIEW SUMMARY: the Chiara ticks more boxes than any alternative I can recall, somehow managing to combine many of the best features of both large and small loudspeakers, albeit at a substantial price. Provided the laid back presentation is considered acceptable, the wide dynamic range and bandwidth plus exceptional freedom from boxiness unquestionably makes this speaker one of the great allrounders. And it even looks very good too.

EXTENDED REVIEW: the carrier refused to collect the Chiaras, claiming that they were ‘too heavy’. A standmount ‘too heavy’? I found this difficult to believe. However, the Editor stepped into the breach, somehow managing to struggle the package into his car. The Chiara is indeed a stand-mount, and a quite compact example in its way too, but it also incorporates an integral stand, and 

our samples came packed as a pair inside one already substantial flight case. Helping to unload them certainly went some way towards explaining the carrier’s recalcitrance, especially once I’d figured out that the total weight of the package just topped 100kg.

This must be one of the most costly stand-mounts on the planet, but there are plenty of far more costly floorstanders around these days, including other Kawero! models, and since all are designed to carry out the same basic task, there seems little authentic reason to make the distinction. Each type has advantages and disadvantages with respect to the other, and there’s really no reason why a stand-mount can’t compete directly with a floorstander, on sonic as well as price and presentation grounds.

However, before getting down to the nitty gritty of the speaker itself, some explanation regarding the nomenclature is necessary, because it’s all quite complicated. The speakers are actually manufactured by Kaiser Acoustics GmbH, a substantial family-owned operation founded in 1948 that specialises in advanced wood-based engineering and acoustic solutions, situated in the extreme south east of Germany. 

The Kawero! brand name is a made up composite of the three hi-fi enthusiasts that initially inspired the whole thing. The ‘we’ in the middle refers to Technical Director Rainer Weber, who carries out most of the design side (including component selection and extensive auditioning) in  a high quality purpose-built listening facility in Regensburg (a large city 120km north of Munich). 

UK company Vertex AQ began in the early 1980s. It was set up by Steve Elford, who had considerable previous experience in ultrasonic testing, and was applying some of the techniques he’d learned in order to eliminate low level mechanical vibrations from hi-fi systems. LeadingEdge is a joint operation set up by Kaiser and Vertex AQ to explore the hifi applications of the various technologies that the two companies were developing, separately and together, including specifically platforms, stands and acoustic room treatment panels.

Which brings us back to the Kawero! Chiara, an exceeding advanced stand-mount that incorporates a number of key engineering techniques from Kaiser, Vertex AQ, LeadingEdge and Duelund, in a money no-object attempt to maximise the performance of the compact loudspeaker – bearing in mind that the whole is invariably rather more than the sum of its parts. Our samples came finished mostly in matt white with a carbon-fibre front panel, and certainly looked discreetly elegant, though a variety of alternatives are available (at various extra costs).

One key technology is that the enclosure proper is built from something called ‘tankwood’ (a translation from the original German panzerholz, that maybe refers to its use in bulletproofing VIP limousine doors). It’s made by a German company, and starts life as a form of beech plywood. The layers are then impregnated with resin under very high temperature and pressure, which halves the original’s thickness and bonds the cellulose together at a molecular level, effectively forming a composite. The result is a material with considerable and non-frequency-specific internal damping characteristics. 

Tankwood is very dense. Drop a piece into water and it will sink, not float. As a result, it’s very difficult indeed to machine, and rapidly wears diamondtipped tools. This adds significantly to the cost of using it, though it can take a bolt thread without needing an insert. The tankwood enclosure, with an additional damping layer, goes a long way towards explaining this speaker’s 34kg weight, which is very substantial for a stand-mount, and invariably a surprise when handling it.The Chiara – an Italian word meaning ‘clear’ – has numerous other interesting features. The enclosure itself carefully avoids any parallel surfaces throughout: only the top, back and front are flat; the sides are made from two pieces set at a wide angle, while the base has three facets. Furthermore, the stand is much more than merely integral with the speaker, and is actually far more complex internally than it appears to be on the surface. It has a hefty shaped base with a single narrow but deep vertical spine. The speaker ‘head’ is designed to drain vibration efficiently away from the driver mountings, following paths that continue down towards two ‘impedance matched’ tankwood spigots. These extend down into the stand into three built in acoustic labyrinths arranged in series and designed to absorb the vibrations. A single pair of high quality multi-way terminals is conveniently located low down on the spine of the stand, feeding a crossover with Duelund components and Vertex AQ anti-vibration, -EMI and -RFI techniques.

Three spikes may allegedly be fitted to the base of the stand, but were not supplied in this instance, and didn’t seem to be a serious prospect in practice: the front spike socket worked fine with a 6mm spike, but the two socket threads at the rear seemed to be too large for 6mm spikes, and too small for the 8mm variety. Listening was therefore carried out with the speakers simply placed flat on a wooden floor, backed up by using sets of Townshend Seismic Corners.

This is actually a two-way design, as what looks like an extra rear-mounted bass driver is actually an ABR (auxiliary bass radiator) – an entirely passive device that behaves rather like a port, while offering rather greater flexibility in tuning and operation. Both these are made by Scan Speak specifically for Kawero!: the flush-mounted 150mm Illuminator-based bass/mid driver on the front has a 95mm paper sandwich diaphragm, while the 180mm ABR (also Illuminator-based) uses a 125mm aluminium alloy cone. 

The tweeter is recessed by about a centimetre behind the carbon fibre front panel. It’s a dedicated version of the Mundorf AMT (Air Motion Transformer) drive unit, with a radiating surface that’s approximately 28x60mm. (An AMT is a variation on a ribbon transducer, where the use of a heavily pleated diaphragm considerably enhances the available headroom.)Two years ago I reviewed a floorstanding Kawero! Vivace in these pages. While it was a very impressive (if costly) loudspeaker in nearly every respect, did find it a little too bass heavy in my 3.3x2.6x5.5m listening room, which indicated it was probably better suited to larger or more bass-absorbent locations.

That was one reason why I was keen to try this Chiara stand-mount, as it seemed likely to offer much of the performance of the Vivace alongside the advantages of a standmount, with less bass excess and a smaller price tag too. The only likely disadvantage might be some reduction in maximum loudness capability.

That’s pretty much how things turned out, to some extent at least. One interesting observation is that bass extension appears to have been increased by sacrificing some sensitivity. This actually seems rather sensible in the context of a costly compact loudspeaker such as this. According to our in-room far-field averaged traces, the ‘real world’ sensitivity is around 86dB here, a relatively modest figure, while output is maintained at this level right down to 25Hz, thanks to the ABR being tuned to a low 33Hz. Impedance minima are around 5 ohms, so the amplifier loading should be easy enough to handle. The pair match is truly excellent.

The measured frequency balance (again in-room far-field averaged) is pretty well ordered overall, though it might have been smoother below 1kHz, and does have a couple of distinctive characteristics that will certainly influence the overall presentation. The bass region (25-60Hz) is quite strong, to some extent compensating for a tendency towards upper bass leanness. However, the most striking feature is that output in the presence band (2.5-5.5kHz) is decidedly laid back and restrained, reaching -5dB 3.5-4.5kHz; the consequent freedom from aggressive tendencies will favour turning up the volume.

First impressions are nearly always important, as is the contrast with the loudspeakers that were being used previously. In this case, the Chiara followed a couple of crossover less speaker systems with solitary full-range drive units. Such speakers tend to have a lightweight ‘forward’ tonality that’s the complete opposite of that shown by the Chiara, alongside an overall coherence that two- and three-way speakers struggle to match. While the change in tonal balance was obvious, dramatic (and clearly favoured the Chiara), the surprise was that its overall coherence also seemed as good as the single driver system. That in turn suggests that the crossover network design and components (from Danish maker Duelund), and their operating environment (the addition of Vertex AQ treatments) are unusually transparent and effective.

Indeed, the only aspect of performance where the Chiara falls a little short is in dynamic grip and expression. This is hardly unexpected, as it seems to be endemic in small speakers with modest sensitivity. As with all loudspeakers, some degree of compromise is involved, but I should add that in this case the compromises are unquestionably amongst the very best I’ve ever encountered.

The laid back presence might not be to every taste, it has to be said, though it does have some interesting implications. On the one hand, because consonants and sibilants are a little restrained, one tends to play the system a little louder than one would if the speaker system had a more stronger presence output; however, this approach is very effective in avoiding any tendency towards aggression, even when playing upfront recordings at a relatively high level.

The dynamic situation is more complex. Although I’ve come to the conclusion that ‘going large’ (in terms of sensitivity and/or driver area) is the only way to achieve true dynamic ‘grip’, it’s also true that it’s much harder to control enclosure coloration in large loudspeakers. Here the small loudspeaker does have an inherent advantage, especially with the extra techniques and treatments that have been applied to the Chiara in order to reduce unwanted low level sound radiation. The Chiara might lack the vigorous dynamic expression of a large horn system, but it has a different ace up its sleeve. By minimising the amount of low level background ‘hash’ or ‘noise’ in the reproduction, it becomes more than a match in overall dynamic range. 

That effective elimination of low level ‘hash’ is the key to the Chiara’s indisputably excellent performance. Although it actually sounds like a large speaker in several respects, it also has all the advantages of a small loudspeaker, delivering pinpoint stereo imaging with a superb freedom from box colorations. Central images, such as monophonic speech, are rendered with great stability and precision, and whatever the source, one is never aware of the location of the speakers – just the image that they create.

The Chiaras were tried directly on the floor (with no spikes, as explained above), and also supported by Townshend Seismic Corners. Although some might prefer the warmer, richer tonality of the former, the latter sounded cleaner and less congested, with less boxiness and superior imaging. That said, the Seismic Corners did look aesthetically rather clumsy.

The bottom line is that this is one of the finest loudspeakers I’ve ever had the pleasure of reviewing. There’s no such thing as a ‘perfect’ speaker, but the Chiara ticks more boxes than any alternative I can recall, somehow managing to combine many of the best features of both large and small loudspeakers, albeit at a substantial price. Provided the laid back presentation is considered acceptable, the wide dynamic range and bandwidth plus exceptional freedom from boxiness unquestionably makes this speaker one of the great allrounders. And it even looks very good too.

The Chiaras have some very innovative features that contribute significantly to their performance - two of which we can shed a bit more light on.The dip in the presence band is deliberate. We do not design to flat frequency response in that band, rather we design to the Fletcher Munson curves of equal loudness perception. This dip only occurs on axis - by 30 degrees off, the response is very smooth (+/- 1dB in that range) and by changing toe-in of the speaker, you can actually ‘set’ the frequency response at the listening seat for individual preference.

Secondly, in a conventional design, dynamic intermodulation back into the driver motors (of all that energy through the structure) would become a significant factor smearing the time domain, and RFI intermodulation with the complex signal would severely modify the tonal content of the output. The Chiara is doing substantial work when the music is in full flight, draining signal-related ‘real time’ energy down into the stand labyrinths from both the drivers and the crossover, and the EMI treatment is killing the signal/RFI intermodulation products too.

Ultimately, it’s about achieving good behaviour in the time domain, fighting against intermodulation products. If we made exactly the same speaker with MDF and without all the Vertex components, we would certainly have the same frequency response, but the sound would collapse as energy levels build.

This technology is so revolutionary that at first its not obvious why it’s there. But It’s the major key to a big sound out of a small speaker (less harshness, more clarity, improved dynamic range). This is really why the speaker behaves like it does – time domain coherence and the ability to keep a stable and detached image (phase accuracy), as energy levels increase, is the differentiator here.

the Kaiser Acoustics Kawero Classic friends top resolution and realistic warmth to an unusually high degree!
Srajan Ebaen

REVIEW SUMMARY: As syndicated German contributor Ralph Werner put it in a recent review, "it'd be far too easy to tag a speaker like Blumenhofer's Genuin FS1 M2 as an eccentric: high efficiency + horn + monster woofer = madness. No doubt, it's a bit insane, starting with even considering a speaker in this price class. That alone speaks to an obsession with music and sound, wouldn't you say? And it's true. All of it. Yet the Blumenhofer isn't some narrow individualist aka extremist. It's a bona fide does-everything of the highest calibre. Then it throws in an extra dose of speed, timing, dynamics and resolution as bits which are probably available at this level only from exactly such efforts. Whether that's to everyone's taste is irrelevant. I'll simply say that once exposed and used to, it's tough to do with less.”

EXTENDED REVIEW: My prior review of Kaiser's 'entry-level' Charia went to great lengths to showcase company and design philosophy. Practicing the lazy man's way to enlightenment or at least a good rest, I direct you at that article's intro pages. They'll get you up to full speed. For the heart of that lengthy matter, I'll merely reiterate basics. Panzerholz aka tankwood is 20 times costlier than the ubiquitous MDF. It's brutal on router blades, hence shunned by the vast majority. It's a composite which under intense pressure compacts Birch Ply to 60% of its original thickness whilst injecting it with a resin polymer to seal all of its molecular pores. Enter a manufactured material that's bullet-proof and tough enough to hold tightly machined threads without stripping. That's the stuff Kaiser build their speakers from. Theirs is a 3rd-generation family fully equipped woodworking operation in Germany. They specialise in large monolithic furniture for board rooms and hotel lobbies as well as VIP booths for car shows in Frankfurt, Geneva and Paris. Embedded in that industrial operation and essentially subsidised by it is a small acoustic division. It's here where they design/manufacture loudspeakers, acoustic treatments and extravagantly styled solid-wood listening rooms. The Kawero! Classic is their current 3-way flagship tower. Something far bigger is on the drawing board as requested by Asian distributors. Those industrious chaps wear the mantra of 'bigger and a lot more expensive is better' as bold body ink. Meanwhile their conservative European counterparts admit to living in regularly sized homes; or compact but luxurious inner-city flats. Those rational folks find complete non-subwoofer'd satisfaction in the unconventional passive radiator-equipped Chiara already. If they just must have something solid to the floor and mean to squeeze an extra 10 cycles from the stand-mounted Chiara's potent bass recipe... then those folks can pursue the heavier rather costlier Classic. Beyond that, they'd want palatial digs for justification. If then.

If the previous paragraph reeked of snarkiness, quite so. The aroma of fresh cow manure in the morning! Particularly the high-end speaker sector suffers from a huge disconnect between what actually does the job; and what people believe is necessary or even desirable. Speaker greed is probably the single most pervasive and most cruelly counterproductive hifi sin. Buy more than your room supports and you create disease. Buying more SPL potential than you'll ever tap is wasteful too; just like maintaining that spare guest room which nobody ever uses because your local B&B is more convenient. Show goers are well familiar with it. Keen on showing off their latest & greatest, speaker makers cram behemoths into small hotel rooms. Invariably their sound suffers. These folks really ought to know better. And bad results don't just do them a disservice but also the industry at large. It sends quite the wrong message. That punters don't know better is forgivable. They aren't the experts. That certain dealers don't refuse ill-matched sales just to make the bigger profit is bad form again. All this stresses something basic. For 90% of users, Kaiser's Chiara is all the speaker they should have. It played our >100m² space to perfection. Having had designer Rainer Weber and company owner Hans-Jürgen Kaiser over, I knew that our space was suitable also for the Classic. Of course the smart money would know that its extra bass reach over the Chiara could be readily exceeded (and for far less money) with our Zu Submission sub; and then be adjustable, not fixed. But today isn't about the Chiara. For Kaiser's own purposes, their entry model is arguably too good already. It encroaches some on the Classic's appeal for any but really sizeable spaces - if calmer heads rather than greed prevailed. 

That fine print kept it real so we won't upsell non-necessities. Now we're free to inspect the subject of today's affections: a 10" three-way with Carbon/paper rear-firing woofer and floor-facing port. The frontal drivers are a 7" Audio Technology midrange; and a custom 2.5" Raal ribbon with silver/gold/Palladium-wired transformer in a head module that's user-adjustable for front/aft time alignment and for toe-in as entirely separate from the main enclosure. The upper rear driver is an 8" auxiliary bass radiator. It loads the midrange in lieu of a port or sealed alignment. Now reference the opening photos. You'll appreciate how the main enclosure is wider in the back than front; narrower on top than bottom. The only parallel panels are the top and bottom. Add that geometry to the ultra-hard tankwood. You're looking at a speaker which not many could build (or would want to given its exorbitant manufacturing cost over MDF). Steep production expense continues with the top drivers and Mundorf/Duelund crossover parts. 

Kaiser speaker geneticsconnect to 1998 when Rainer Weber worked at Siemens Automotive overseeing vibration and material fatigue R&D. He'd already built speakers for personal use. His job had him hyper aware of the importance of resonance control. An introduction to Hans-Jürgen Kaiser via a student who worked on his thesis in Rainer's department led to their eventual collaboration under Kaiser Acoustics. Amongst personal hifi heroes, Rainer counts Aleksandar Radisavljevic of Raal; Steve Elford of Vertex AQ; Dietmar Bräuer of Trinity; and Per Skaaning of Audio Technology. In his lab he uses gear by Thrax, SPEC, Mastersound and Hypex nCore. In his Classic, the 7-incher covers from 60Hz to 5'500Hz to exploit wide unbroken bandwidth from the single most important driver. To compensate for its baffle step—when freqs in its lower pass band begin to wrap around the cabinet to subtract from direct sound—he fills in that power response loss with the passive radiator. The pass band of the woofer operates solely in the 4pi omni range to not impact directionality. But with his quartet of drivers and their strategic overlap, Rainer does pursue a very specific combo of monopole, di/bipole and omni radiations to give our hearing the proper mix of direct and diffusive sounds. The former help image specificity, the latter tonal warmth.

As its name might give away, the Classic was Kaiser's first model and remains their current flagship. The Vivace became a slightly downscaled version first suggested by Robert Mundorf. Hence it contains exclusively Mundorf and no Duelund xover parts and a Mundorf ATM, not Raal ribbon. The Chiara became the latest addition to their catalogue. A floorstanding Chiara to eliminate the very costly blade stand with its invisible labyrinth is under consideration. Today Rainer's day job has him work as director of Continental Automotive in charge of engine-system acoustics and R&D specific to year 2020-25 models from Mercedes Benz, BMW & VW/Audi. This laboratory position grants him rare access to specialist gear like dummy heads, laser-scan vibrometers, SPL probes, acoustic holography cameras and advanced simulation software.

When it comes to specific panel sizes and the location and thickness of internal braces, Rainer exploits Golden Ratio and Fibonacci sequences plus acoustic labyrinths which were modelled by tech contributors Vertex AQ. All of that invisible math serves to randomise remaining vibrational energies. To begin with of course, the non-homogenous structure of the 30mm Panzerholz which embeds wood fibres in resin can, like Carbon fibre, be ordered optimised for different mechanical stress behaviours, be those torsional, bending or push/pull. Unlike in homogenous materials like MDF or aluminium, the propagation speed of sound in Panzerholz varies in each direction. This unique fact undermines the build-up of resonances in the first place.

If all of this begins to suggest a rather uncompromised approach to designing and building consumer hifi products, that's very much the case. Both Rainer and Hans-Jürgen draw a secure salary from steady employment outside hifi. That's key. Even though one suspects a very unhappy accountant, they can actually afford to treat their hifi ambitions from an extremist not practical angle. You might say that Continental and the Kaiser furniture business are to Rainer and Hans-Jürgen what Spermot AG is to Solution. If more hifi buyers knew just how many upscale hifi brands are or at least initially were subsidised by outside funding (investors, personal savings, parallel industry), they'd considered themselves very lucky indeed to have access to gear whose creation relies on enthusiast rather than hardcore business sense. Were some companies to actually charge us what they'd have to from the latter position, none of it would sell. And by the way - the Classic can be ordered in one of three different woofer sensitivities to accommodate a client's space. Should you relocate to suddenly require a different bass balance, Kaiser will replace those woofers free of charge. Finally, the word Kawero is an amalgamation of Kaiser, Weber and Rottenwoehrer as the last names of the three men involved in the original launch of this unique speaker manufacturing enterprise.

We now hand our vintage ribbon microphone to Rainer to fill in gaps in what is germane to the Classic loudspeaker on specs, design considerations and specific material implementations. "The 10" woofer is a custom version of the Audio Technology sandwich cone with carbon-fibre paper skins around a Rohacell core, with a 3" overhung voice coil for 10.5mm linear excursion and a special hybrid voice-coil former that's a combination of Kevlar and aluminium but not Per Skaaning's standard recipe. This driver features Thiele/Small parameter with extremely low mechanical losses and an oversized force factor with a low 0.22 Qts to get a shelving compensation for room gain. In other words, it's a very strong magnet to get less output in the bandwidth where room gain causes boomy bass. In house we apply a coating to the sandwich cone of a special violin lacquer called Steinmusic Maestro. That's comparable to the famous Ennemoser C37 lacquer but based on alcohol. This woofer choice matches 90 to 95% of all in-room boundary conditions. However, we also have a version with 1.5dB more output when the listening room is overdamped; and one with 1.8dB less output for overly live rooms. We recommend woofer matching with some room acoustic calculations before we start a project. Important parameters for these calculations are the RT60 of the room and bass ratios (the reverberation time below 100Hz compared to the reverberation time from 100-400Hz).

"The midrange is Audio Technology's C-Quence 18. It features a 2" underhung voice coil with 8.6mm of linear excursion and a special aluminium former. This former has special slits where it connects to the cone to control breakup of the former/cone system with a specific mechanical impedance (less stiff in the region of resonance breakup). Special T/S parameters make for a 5th-order high-pass function (ABR + 1st-order electrical). This cone too gets our violin lacquer treatment. The matching ABR uses the same cone material and curvature to get nearly the same sound as the active midrange and the same lacquer treatment. The Raal 70-20 XR uses two aluminium ribbons with oil damping between them. The matching transformer uses an amorphous C-core with Echole silver-gold-palladium wire on the primary winding and a special sensitivity tap so we don't need a resistor or gain adjustment in the crossover. Overall system efficiency is 92dB at 2.83V which needs to be measured in a hall due to the rear-firing units. The crossover slopes are a 1st-order low pass on the woofer, a 1st-order high pass—it's special to have an acoustical 5th-order high pass with ABR and cabinet—on the midrange, 1st-order low pass with additional elliptical Cauer filter at the crossover to tweeter and a 3rd-order high pass on the tweeter. The tuning frequency is 27Hz on the woofer and 63Hz on the midrange's passive radiator.

"The acoustic labyrinth is a very special structure where the cancellation of structure-borne sound takes place via phase randomisation of the vibration. To illustrate how this works, consider material fatigue testing. This for example is performed to test whether an aircraft wing has cracks. In that instance, a structure-borne ultrasonic pulse is fed to the wing. When the reflection is perfect, you have no cracks. If you do have a lot of cracks (a lot of different transfer paths back and forth), almost no energy is returned. Our labyrinth applies the same principle with a very high number of different transfer paths and path lengths wherein vibrations cancel themselves out. The critical thing is to get the matching impedance for the vibration entering the labyrinth from a specific part; and to have just a slight deviation of mechanical impedance from one element in the labyrinth to another. Each different impedance gives you refection and transmission. It's the same as in high-frequency electrical transmissions in cables for instance. Our labyrinth is used in the 3-dimensional crossover (tankwood bracket with included labyrinth) and each component is fixed to the labyrinth individually. Some components have their own labyrinth and the wires of the cables are attached to another one to drain vibrations out of the wire.

"Another important point is that we have included some psychoacoustics in the speaker. For better soundstaging, we have implemented certain findings by Prof. Jens Blauert of the University of Bochum which are called Blauert bands.This is very important for the depth and height of the soundstage. Consider that when a sound arrives from the centre, both ears receive the same signal. There is no delay between the left and the right and the amplitude is of the same intensity. How does our brain derive height and distance cues when sounds arrive from the middle? It's because our head, ears and torso affect the frequency response. We have specific filters depending on the angle of incident. This is implemented in the frequency response of the Kawero Classic. The important thing is determining whether you implement this in the first wave front or in the diffuse field. Here I simply don't wish to disclose any further expert knowledge. As to recommended setup, the distance between the main cabinet's front edge and the tweeter housing when placed straight out should be exactly 24mm for time alignment. Toeing the main cabinet in will give more focus but less soundstage depth. Toeing out does the opposite. Due to the down-firing port, the air between the bottom plate of the cabinet and floor acts as an extension of the port. If your feet are about the same length as the Stillpoints, the original tuning remains. If the gap shrinks, the bass will extend lower but with less punch; if the gap increases, the opposite happens." Due to the small contact patches of the Stillpoint risers and the massive weight of the speakers bearing down on just three areas, I worried about damage to the softer wooden floor of our rental. Hence I replaced them with the far larger Artesania Audio Exoteryc footers from Spain. Those spread the same weight over more than ten times the contact area. And, using the hard Nylon not Neoprene captive floor discs beneath them, I could slide the speakers back and forth and easily change their toe-in. As fellow renters can appreciate, any damage to our dwelling would eat into our very sizeable security deposit. Little is as expensive as replacing sections of old parquet flooring. Hence certain things aren't negotiable, audiophilia be damned. Whilst my solution did lower the speakers, hence their F3, I noticed no ill effects on bass textures. But, this performance aspect is tunable by adjusting gap height. Relative to the Goldmund amps, "Bob Visintainer of Rhapsody Music & CInema has exactly the same combination of Telos 360 + Kawero in his NY showroom. He will use this combo at the Axpona show in Chigago so your US-based readers might experience this system there."

Having in proper Zen koan styleparaphrased Laurence Dickie's Vivid Audio Giya speakers elsewhere as hornless horns, I'd call the Kawero Classic ultra-resolution Vandersteens. Either sketch points at a core quality even when such extreme condensation misses so much detail that detractors call it character assassination. But, great horns are ferociously dynamic and most direct. Voilà, the uncut Giya sound. It manages equivalent dynamics and speed with ultra low-mass glass-fibre/balsa enclosures and proprietary all-metal drivers. Vandersteens have always been warm speakers. Their resolving power simply increases as one ascends their range. Yet the central warmth never falters. Combining very high detail magnification with innate warmth—in current digital talk, the word is native—is also how the Classic does it. In that it was déjà vu all over again if you've heard the Chiara or read my review of it.

Sadly in audiophile chatrooms, 'warmth' is reflexively embedded in tube-based connotations. Rightly so, many of them are far from favourable. Hence warmth is bad. To give us a wide berth from unwanted and in this context not applicable meanings, let's pare back this warmth. It can come from limited treble bandwidth. Not here. This take on the superior Raal ribbon tweeter goes the other way with a vengeance. Then Goldmund's 3MHz circuitry banishes HF phase shift from its end. Warmth can come from too much 2nd-order distortion aka octave doubling. If you've heard Goldmund, Spectral or Bakoon direct-coupled amps, you'd know how that didn't apply. Warmth can be a by-product of painting with too dull or fat a tip. Things that should stay separate to properly individuate clump together. Not here. High resolution and cat litter don't live on the same sheet of music.

Warmth can be the product of distance where reflective sound dominates over direct sound. By definition, reflective sound is always late. It travels longer before reaching the ear. Civilians talk of echo which is far too delayed and extreme for our purposes but can nearly apply in churches for example. Studio lingo calls it reverb. Though it can be added artificially by software or with delay circuits, in real life reverb is simply room or venue sound. As that reflective contribution increases to overlay and envelop direct sound, warmth increases, sharp-edged separation decreases. Changing your seating from front row to the rafters of the balcony plays directly with these values. With this diffusive source of warmth, we've now arrived at the Classic. Recall its rear-firing drivers. Though lower frequencies will always wrap around the cabinet, the majority of this rear-aiminig output reflects off the front wall. With the ABR duplicating the frontal midrange's bandwidth which we already know to be unusually broad, we arrive at a quasi omni pattern. With too much distance from the front wall, the time delay between direct and reflected sound would fall outside the window in which our ear/brain sums the two. Then we distinguish between the two as original sound plus its shadow/echo. My setup was still too close to the front wall to create any discernible extra reverb. I had one sound, not two.

Too many speakers are designed with computer simulation software to prioritize linear frequency response in anechoic environs. That doesn't account for how a speaker actually behaves once it gets installed in a room. Do you know anyone who parks their high-end speaker in the back yard? Or at the end of a 10m pole to be in free air? No, boundary interactions are the playground of hifi loudspeakers. A good designer knows that. He accounts for it with great deliberation. The fact that compared to live sound, so many modern speakers sound painfully lean and harmonically threadbare suggests that their designers don't. Or perhaps they prize a different ideal of real sound. Since I couldn't compare Rainer's very heavy box to an OB version with the same drivers, we have to trust his claims for how effective the Panzerholz and labyrinth addresses are at combating common box issues. Those arise because acoustic energy trapped inside—the driver rear emissions as 50% of the total output produced—constantly fights against the structure. By simple triangulation to other speakers, I'm comfortable that the particular warmth I'm talking about wasn't the result of cabinet talk. Nor were warm and fuzzy electronics the cause. Having temporary loaner access to the Telos 360 monos which the designer himself endorses to the fullest, I felt reassured to experiencing his speakers in a very good light indeed. Hearing the Telos cubes on my own speakers, I'd already called them the amplifier equivalent of superior passive magnetic preamps à la Bent Audio/Vinnie Rossi, Audio Consulting, StereoKnight, MusicFirst & Co where autoformers or transformers handle attenuation. Knowing our room, I also knew what our usual speakers sound like in it to recognise where the Classic diverged.

Here then comes my reverb-delayed punch line. For various reasons hinted at above, audiophile perception views warmth as the enemy of resolution. When it's from box talk, insufficient bandwidth, noise, phase shift, high THD or all of it combined, that's a perfectly legitimate belief to nurse. When it's from strategic speaker radiation, it's time to get off that bottle. It's all fine and dandy to invoke recorded warmth by way of disputing the need or even justification for playing to room contributions. The typical argument is two-fold: a/ that such warmth wasn't recorded and thus must be shunned; b/ that it will differ from room to room to be entirely unpredictable and is to be avoided at all costs, too. As a theoretical diss, it's a peach of an argument. But consider the outcome. We already suffer from most unnatural recorded sound as a result of extreme close-mic'ing, multi-tracking, dynamic compression and more. That misery then adds itself to poor power response of in-room speaker behaviour. Combine the two and we face lean shallow insufficiently embodied tunes. Anyone familiar with the sound of real instruments and vocals recognises a plain lack of cojones, guts and glory. So... would you rather preach idealist philosophy to win arguments? Or do you want to experience actual satisfaction? 

That's the key question the Kaiser Kawero Classic asks and answers. You needn't agree with the thinking behind it to hear those results. You'll hear them from even the leanest, fasted most lucid electronics regardless. It's precisely why this warmth isn't due to the usual suspects of limitation. And it's why in this instance, warmth, very high resolution and terrific treble illumination can happily coexist without either/or shenanigans!

Before this begins to reek of propaganda, swap the Pass Labs XA30.8 in to learn how radiation-sourced warmth plus warmish very buxom class A circuitry can conspire for perhaps too much of a good thing. And before that statement sets itself into stone, move our resident Albedo Audio ceramic-driver Aptica into position. You'd notice how that again favours the Pass if one pursued a very similar sound. As much as one might like to, drat, there isn't a one-size-fits-all recipe. To arrive at the most honest and practical statement in this context as based on having now reviewed two of their three models, I'd call Kaiser's sonic aesthetic the ideal playground for 'turbo-charged' amps. It's the very fast super lucid type which on typically lean bright speakers wouldn't be satisfactory and too anorexic. I thought that the XA30.8's undeniable bass prowess coupled to the Classic's prodigious LF power and quite possibly my lowered tuning from the Spanish footers made the combo too dark. I also thought that the truly terrific ribbon tweeter had the most refinement and gossamer decay trails when fronted by the cooler very lit-up class A/B Swiss cubes. This tracked with our preference for running our upstairs German Physiks HRS-120 omnis Oppo 105-direct off Crayon's CFA-1.2 sans preamp. It likewise mirrored why my desktop Boenicke W5se work very well with leaner class D amps like the Helios modules of Lindemann's music:book models. What all of these speakers have in common are radiation patterns which diverge from classic front-firing arrays. They play the room more than most. This favours fast lit-up electronics.

In a room of our size; and with a listening bias which considers 70dB median SPL plenty loud, with an extra 10dB for peaks... did the Classic's wildly more grown-up sticker justify itself over the Chiara? Given aural memory and the absence of a direct A/B, possibly on two counts, certainly on one. This particular Raal ribbon and its transformer are superior to the Mundorf AMT and even the Raal in our soundkaos Wave 40. That's the certainty part. It's a rather astonishing quality to get from a speaker which otherwise plays it this meaty. Having two low woofers rather than only one—the 12er in our downfiring Zu Submission subwoofer to ready the small monitor speaker for true competitiveness—meant that certain fare had more robust LF. However, this really wasn't a function of reach or amplitude but in-room presence. Given that it wasn't a constant advantage and even then not that significant, I will call this the possible bit. Of course once money enters the equation, you already know what I'll say: that the Chiara (plus a subwoofer for bigger rooms) gives you very comparable sound for a lot less. This reiterates my belief that Rainer Weber made the Chiara rather too good for the raw sake of business. Audiophile belief simply doesn't (believe it) to matter naught. But it also explains why, in an interview elsewhere, Rainer singled out the Chiara as the model he's most proud of. In certain ways, it really does 'impossible' things for a compact monitor

Summary summation.

The segment of not outrageously sized if still outrageously dear tower speakers is flush with contenders. Conceptually closest to the Classic perhaps are the smaller Canadian Verity Audio three-ways. In this class of literal heavyweights which play musical counterpoint to the 'singing cabinet' cadre of Harbeth, Spendor & Co, Magico and YG Acoustics promote aluminium, Crystal Cable do glass, Wilson push ultra-dense composites. With Panzerholz, Kaiser Acoustics are the solitary voice. Even LessLoss discontinued their tankwood-encased FireWall conditioner because raw build cost meant a no longer workable sell price when the usual multipliers were applied. Twenty times the cost of raw MDF does add up well before machine-shop curses and dealer/distributor margins. Purely by weight, the Classic is stuffed to the gills with this stuff.

As syndicated German contributor Ralph Werner put it in a recent review, "it'd be far too easy to tag a speaker like Blumenhofer's Genuin FS1 M2 as an eccentric: high efficiency + horn + monster woofer = madness. No doubt, it's a bit insane, starting with even considering a speaker in this price class. That alone speaks to an obsession with music and sound, wouldn't you say? And it's true. All of it. Yet the Blumenhofer isn't some narrow individualist aka extremist. It's a bona fide does-everything of the highest calibre. Then it throws in an extra dose of speed, timing, dynamics and resolution as bits which are probably available at this level only from exactly such efforts. Whether that's to everyone's taste is irrelevant. I'll simply say that once exposed and used to, it's tough to do with less.”

With a bit of rewriting, that paragraph dovetails nicely with the twice-priced Classic. Tankwood for armoured cars? That's insane when others drive MDF. Insane too are Duelund crossover parts, verkackte labyrinths and such exotic drivers. Starting at €54'208/pr is the mad king's ransom. Except that here it's easy to track where the money went. It's not marketing or the cachet of a mystical brand name. It's not inflated margins to curry favours with distributors catering to the nouveau riche in Asia. It's right there in the parts and uncompromising build. Where the extra dose beyond a do-it-all goes, here it's a full-fat sound based on a high-protein meatarian diet. This diet simply doesn't rely on anything outside the speaker. It's primarily a function of radiation pattern; and secondarily, I guess, cellulose-based drivers as good as they get plus small most strategic response tweaks. If you favour a firmly full-bodied sound but don't believe in seasoning with electronics—in short, your electronics are ultra-low distortion, ultra-low noise, super-wide bandwidth and direct-coupled—the Kawero Classic delivers as is.  

The decisive difference of such an approach is that it doesn't 'flavour' until the signal is no longer on the path of the electrical signal. It's already out of the tin can and deep inside the wild blue yonder of the room. Now it's about how our liberated signal transforms in this encounter with a three-dimensional acoustically reactive environment. That becomes the co-creative interaction which Rainer Weber exploits with great cunning. Because he doesn't really do anything to the signal 'as' the signal, nothing is lost in his trademark warmth. All the details are there and teased out most finely. It's simply not skeletal, sterile or bereft of tonal oomph. That this tactic doesn't require augmentation from the preceding electronics says perhaps more about competing speakers should those sound comparatively anaemic on truly neutral maximally resolving gear. Whatever your final perspective on this might be, in the very best of modern FaceBook tradition, 
……..Srajan Ebaen

Kawero Classic Loudspeakers - An Ultimate Experience
Jim Merod

REVIEW SUMMARY: Only when we finally replaced a single set of cables, swapping in a balanced pair of Stealth Metacarbon cables between the CD player and the preamp, did even more vividness, "there-ness," and sonic amazement burst forth. In my astonished witness, two events occurred simultaneously: (1) My most rigorous and challenging recording came to full life with completely transparent resolution; (2) Kawero speakers notched themselves into my awareness as not merely "world class" music delivery boxes, but speakers that are very hard to equal at any price. Sound is an elusive topic to describe verbally. You must hear these speakers to understand the full impact of their musical magic. I'll attest, right here, that Kaiser Kawero speakers are at the top of my list. I know of only one set of speakers to date that rival these for the sheer production of "living sound." Differences between the speakers that have earned my deep respect are subtle, but the Kaweros own the distinction of an indescribable invisibility. Their thoroughly absent audio "footprint" just may be, in my experience, unrivaled. Period.

EXTENDED REVIEW: I suppose I'm more fortunate than most because I'm often invited to audition fabulously expensive, and sometimes fabulously great, audio gear. It's part of the good luck of the sometimes hard work of an audio reviewer's life. I have no complaint about the hard work and, when it comes to the cheer of experiencing music at its utmost degree of resolution, anything invested in working with the High End world of sound is literally eligible.

Recently I had one of those wonderful moments of sonic bliss and motional as well as aesthetic surprise. Rick Brown, of Hi Fi One, Carlsbad, CA. is an audio guru of unusual discrimination and jovial intelligence. I was invited to join a small group of superior listeners, that included Robert Harley of The Absolute Sound and Steve McCormack of SMC Audio and the Lotus Group, for a late afternoon-early evening bivouac with Rainer Weber's Kawero speakers.

Rick had McCormack's extraordinarily resolving VRE-1B preamplifier in the sound chain along with a pair of Berning Quadrature "Z" amplifiers (at 220w each). Rick's listening room is beautifully set up and fully (carefully) damped with sound reinforcement panels, Rick's generosity as a host is perfect: amazing cheeses; gaggles of good beer; and many drams of good sparkling wine to cap such manic happiness.

We dug into the system with vinyl. Nothing we heard was out of whack, especially given the laser-like precision with which Rick and Steve McCormack dialed in tone arm weight. For anyone not thoroughly aware of the vast enhancement possible by accurate, well-chosen arm loading, find the nearest vinyl junkie who is an expert at such things. You have a world of sonic joy waiting. The Spiral Groove "1" platter was augmented by a Tri-Planar 4 arm along with a "Lyra Scala" pick up and Concert Fidelity SBA4BC. Until the end, all cables were Echole "Obsessions"... and here I must note that the entire system's jaw-dropping resolution, with its immense transparency, was brought to even fuller realization by many iterations of Paul Waukeen's Stillpoints' Reference Isolation System.

After our small gang got the point—that Rick's happy vinyl rig is a source of deep pleasure for him and for his friend—we moved to CDs. Rainer Weber was interested to hear the outcome of "live" recorded sound through the Kawero's. I was no less interested... in fact, far more, since the album I very much wanted to hear was perhaps the most difficult recording I've ever made: a seven mic set up to capture one of the greatest jazz trios on the globe—Buster Williams, on bass; Kenny Barron, on a Steinway "O"; and Lenny White, drums.

That recording was impeded (almost destroyed) by a break in to the SUV that held all my recording gear outside the producer's front door. My best equipment was stolen. I had to record this world class trio with inferior gear. Luckily, years of recording tricks learned the hard way and the good luck of having just plain old "good luck" working for me against odds (as well as the forensic mastering delicacy of Maestro McCormack) all eventuated in a successful recorded outcome. Joe Kubala was on hand in northern California on the day of the concert and helped considerably with mic placement during an especially burdened sound check before the performance. That fortuitous companionship is precisely part of the "good luck" at work here. The album's playback, through Rick's state of the art system with the Kaiser Kawero's in place, was the moment of truth for this recording.

The outcome was "affirmative cubed"... I have never heard this recording with such exposure and vividness. Any audio system driving musical signals through the Kawero speakers (at 92dB sensitivity and maximum internal damping) would be hung out to dry if it had a weak link in the sonic chain. I can now rest assured that concerns I had about the ultimate truthfulness of this recording were dissolved. With Kawero speakers delivering this fantastic trio's brilliant playing, there was no "recording." There were no speakers. The trio sat before us with utter reality, holographic and powerfully, texturally present. The music and these players were in the room with us.

Only when we finally replaced a single set of cables, swapping in a balanced pair of Stealth Metacarbon cables between the CD player and the preamp, did even more vividness, "there-ness," and sonic amazement burst forth. In my astonished witness, two events occurred simultaneously: (1) My most rigorous and challenging recording came to full life with completely transparent resolution; (2) Kawero speakers notched themselves into my awareness as not merely "world class" music delivery boxes, but speakers that are very hard to equal at any price. Sound is an elusive topic to describe verbally. You must hear these speakers to understand the full impact of their musical magic. I'll attest, right here, that Kaiser Kawero speakers are at the top of my list. I know of only one set of speakers to date that rival these for the sheer production of "living sound." Differences between the speakers that have earned my deep respect are subtle, but the Kaweros own the distinction of an indescribable invisibility. Their thoroughly absent audio "footprint" just may be, in my experience, unrivaled. Period.
.......Jim Merod

These are simply speakers from people who want to listen to perfectly without any limitations, - they will reward you with one of the most natural recitations that money can buy.
Daniel Brezina - Hi-Fi Voice Mag - Czech Republic (Translation)

REVIEW SUMMARY: The amount of information that Kawero! Classic translates into listening area is very compelling - from perfect, it basically is just sufficiently faithful recording. We were thrilled with how our speakers served the individual instruments and the entire soundstage in Elijah's "The vision of Games" ("The Windows" | FLAC | 24 - 88.2). Never mind the already mentioned fantastically compelling and natural separation of instruments and exactly hitting the size (he plays acoustic guitar, it's really guitar human scale, as her You hear concerts) fascinating is because the complexity and interconnectedness of all musical events, carrying out the air the recording space and revealing previously unheard detail - as if Kawero! Classic not transmit music from somewhere to help, but instead they took you and integrate you into the action in a recording space. The immediacy of their transparent and flawless highly detailed tone completely disarm you and you do not want than to listen. And listen. And listen. And listen. And as long as you listen to does not pay any physiological necessity, probably also to listen to you - it is amazingly simple and through to an incredible level of detail absolutely tireless. Kawero! Classic is because for some strange reason, surprisingly tolerant (at least in combination with electronics Trax), you'll enjoy the way to the top recordings, as well as the average....

EXTENDED REVIEW: German company Kaiser Acoustics're probably before 2013 hardly knew (then in fact appeared at the Prague HIGH End) - yet it's a company whose roots date back to 1948. It specialises in the treatment of acoustics, especially with the help of timber elements. Signature Kaiser bears over the years countless recording studios, auditoriums and other acoustically sensitive spaces. Recently, the company also closer to homes - into a dedicated listening rooms and a private cinema. From there it was really only a small step to what primarily interests us - the production of speakers.

Technical and technological equipment of the company had the right idea Records, leading woodworking and deep knowledge of acoustics are perfect facilities for the development and production of speakers. It is surprising that the case for Kaiser Acoustics started paying earlier. Even though - once you delve into the story of their production will be perhaps more surprising that the brand Kawero! (at the Kaiser mark their speakers) never saw the light of day. Family company from the foothills of the Alps have had first speaker began to build as a toy for their own needs and only a coincidence and necessity on a local show something to dub exposure family famous showed at that time unnamed model to the world - and lo and behold, harvested so successful that it was necessary to do more. And more. And more - it is almost a classic pattern garage miracle, which evolved into a full production today.

Apart from families Kaiser has to produce brands Kawero! its no small part also Rainer Weber - the company holds the position of chief acoustics and physics, but his daily bread is a job for the acoustic separation of Continental AG (yes, a tire manufacturer, as well as brakes and other auto parts) which comes into contact with cutting edge technology and Trends - the magic of large corporations (and its budget). Thus won their know-how then applied precisely at Kaiser Acoustics speakers and Kawero! It is yet another factor which on paper give this project a great chance of success. Who wants počíst a little more, we recommend the profile of the brand Kaiser Acoustics.

The term Kawero! Today we find three of the speakers, their unifying element is bold, yet not outrageous design and especially the concept that - remember that originally them family members of the Kaiser, their friends, and Mr. Weber wanted to give home and live with them - they are targeted to high "Double" acceptability and realistic listening space. The same weight as acoustic properties and has a build quality and aesthetics.

From a personal meeting, we must say that the exclusivity of product processing Kawero! is there are few parallels - pretty close, we mainly osahali Classic model (it is the original concept, that is exactly what Mr sees as an ideal speaker for home listening) and it's a word, beautiful. Slender body, clean lines, wonderful, awesome edges and painting that will perhaps its depth melts. The cabinet stands on a robust anti-vibration feet, and up to the top edge is actually a fairly conservative concept - not to be tilted slightly back, actually if it were the most classic shape of the baffle, which you can imagine. Orthodox concept breaks on top pinned "cube", continued gently from the bottom tapering lines, where you can find ribbon tweeter and can easily rotate sideways for the perfect tune towards the listening position. The module of high-speaker is also openly connected to the rest of the speakers massive cable.

From the front it bears impressed in the spirit of maximum quietness - fantastic disturbs paint just not dramatically large midrange and the already mentioned cube with a tweeter. On the back side it was quite a show gets going and there are two large speakers for low frequencies, almost fully utilizing the width of the enclosure; the pressure then sends air toward the floor beneath bass reflex enclosure. Near the bottom edge of the speaker is a pair of robust reproterminálů WBT. Bi-wire version is available, just ask for it (and pay ...).

That's it - simple, no visual opulence or ukřičenost simply a piece of quality furniture that just as easily handle the role of dominant solitaire in the listening space and the role tasteful interior decoration. Even if you do not hold absolutely everyone, its task, therefore look elegant and easygoing in normally furnished (and ordinary people populated) areas, perform to perfection.

Kawero !, but this is first and foremost something other than sex appeal and absolutely outstanding workmanship (by the way - each piece is unique customized so you can naporoučet virtually any veneer or paint). Being different brand builds on wood, from which internal partitions amply reinforced cabinet construction. And on the drive.

Wood is not actually in the classic sense of the word - is neither a solid nor a MDF. It Panzerholz which is beautifully hard sounding word corresponding to the hardness of the material itself. How do Panzerholz produced? Taking with birch wood, under high pressure and at high temperature and humidity is compressed and thus not only the volume reduced by half, but also its structure properly thicken. Thin wooden sheets are then laid crosswise over each other, not reform until the desired wall thickness of the Cabinet. The resulting material is so unusually difficult and especially hard - it has perhaps significantly smaller transmission resonances than aluminum (as evidenced by measurements on http://www.lessloss.com/page.html?id=80).

In addition to the production cost and the associated cost and actually Panzerholz no negatives. Even relatively compact Kawero! Classic weighs thanks to the baffle of this material 99 kg in any way atypical dimensions 121 x 33 x 49 cm (HxWxD). In addition to an extremely hard wood is another damping ensures even using fiberglass and rubber in some places the speakers, also vibration is actually minimal even when listening to the cabinet remains completely indifferent.

We said that it is important for Kawero! the choice of drives - conventional dynamic speakers comes the Danish manufacturer Audiotechnology, moreover, according to the manufacturer's specifications adjusts to its characteristics fit best into the concept (and the company does not adapt his idea available to components, but exactly the opposite). Black, shiny membrane are a combination of paper and carbon for the ideal balance of lightness and strength. Ribbon tweeter is then custom made completely in the Serbian company RAAL. It stands on the EX model 70-20, what is wrong with him, but otherwise never know - manufacturer it supplied exclusively to manufacturers, after previous consideration and conclusion of the confidentiality agreement. To what extent is it a unique know-how and to what extent the style of marketing, on paper it's hard to say, but we would bet on both and with significantly greater proportion of the actual technological secrets.

Uncompromisingly is also equipped crossover - capacitors and inductors comes from top producer Duelund and the models CAST. Just casually - the purchase cost of a single capacitor tag somewhere around four to five thousand crowns, which clearly belongs to the category where it does not matter the price. On the less exposed areas in turnout then we find capacitors Mundorf combined gold-silver-oil container made from specially treated paper (although the manufacturer does not say exactly what that means) - this is the level that most manufacturers deemed enough for any model, even at Kaiser plays second fiddle. All internal wiring in the base caters Echole Obsession, for an additional fee of not very used car lower middle class, it can be exchanged for Fono Acoustica. Obsession is incidentally the second largest manufacturer of model, it is a wire made of silver with a purity of 99.9999%, "spiked" with gold and palladium.

The speakers are then modeled in three dimensions on the computer to ensure the perfection of their functions - know-how and technologies of the automotive industry, remember? In the speakers is not so much the technology and the "goodies" that is hardly sesumírovat everything into a single text - perhaps turnout is (if the internal version) is stored in a special labyrinth, which in its tracks removed and gradually breaks down the energy of vibration and pressure so it works without sharp changes around the components.

Thanks to all the aforementioned work triband Kawero! Classic in the frequency range of 25-60 000 Hz for (albeit without any tolerance, but certainly we believe them), due to the sensitivity of 92 db (2.83 V / m), you will not have a problem play out, albeit thanks to a nominal impedance of 6 ohms with a minimum level 4 Ohm you will have to watch a little amplifier.

Kaiser Acoustics Kawero! Classic we listened to carefully tuned listening space importer on the border of Prague's Vinohrady and Žižkov, along with superior electronics Thrax - preamplifier Dionysos (CZK 420 000, -) monoblock Heros (CZK 672 000, -), and especially the D / A converter Maximinus (CZK 672 000, - CZK + 33 600, - for USB). From the extreme realms descended also signal cables EnKlein Aeros (CZK 276 000, - / 1.5 m) power cord again EnKlein, but the model Taurus Reference (CZK 88 300, - / 1.5 m) in replacement of Absolue Créations Tim Référence ( CZK 81 200, - / 1m and CZK 9,800, - for each additional 30 cm). The speakers were connected monoblock model Absolue Créations Ul-Tim (CZK 111 440, - + 5320, - for each additional 30 cm). Probably worth even say that the DAC and preamplifier were laid in technologically sophisticated rack LeadingEdge (CZK 305,000, -). Prices might this time mainly because the system cost in excess of 5 million - will just hear. In addition to consistently acoustically tuned chamber.

You might say that especially the volume and bass emphasis related to the internal volume of the enclosure, making it relatively compact (though not small) Kawero! Classic must necessarily be imperfect. But it's somehow not true - agile woofer (which, moreover by matching the parameters of its space), precision components and switches after all decent interior space ensures reproduction of the bass, which are not often hear. It will not be free and authoritative and accurate electronics there is a precondition, but then you will really enjoy. The single "West Coast" Lana del Rey ("Ultraviolence" | FLAC | 24 - 44.1 | HD Tracks) has a powerful and emphatic bottom line, plus a little dirty sound, but Kawero! Classic this song was played with gusto and nicely Thoroughbred - on the other hand, even though the bass was a lot of volume, its accuracy is really outstanding. Not dry studio, more musical, but nicely rounded and finely contoured. Even the technologically rather average songs mastered speakers create impressive experience. Perhaps because the report as a whole category of state-of-the-art and pop song was engrossing, very nice warmth and readable - as a sound engineer recorded, this system also zreprodukoval, moreover, with a very nice musicality. When it comes to bass tone is fantastic and his truly extraordinary concreteness and energy.

Eva Cassidy's voice in "True Colors" from selection "Audiophile Voices" (FLAC | 16 - 44.1 | CD rip) is perhaps a little "pushed by" dominant than compared to the rest of the recordings should be exactly so well in this the report was presented. If that proceeding with this in mind, you will find that Kawero! Classic can reproduce very faithful to the size of the vocal (or how it is captured on the record), nothing can not add, exaggerates and exaggerating an inch. In addition posazují voice extremely precise not only in the left-right direction and depth of the scene, but also in height, and that is exactly the step which is different from the vast majority of current production regardless of the price. Most systems this can not but Kawero! Classic yes, and it's impressive. In addition, we also enthused ability perfectly sound to distinguish a precise play from a very quiet levels - from those that do not disturb or at home listening at night. Vokál was very friendly, extremely rich in information and clear as the autumn sky. Kawero! Classic are certainly tip you It refers to the resolution, but they are not really little cold and analytical. They are very neutral, with a slight tendency to musicality. Everything works, of course, that such courts are actually a bit pointless.

He wondered how the Kaiser Acoustics consult with the deployment ribbon tweeter, said inverter type requires more care than conventional kopulky, whether cloth or metal. Compared to conventional dynamic drives is normally played faster and cleaner, which may at the lack of attention at the design stage speakers cause a mismatch in the integrity of the character. For speakers for the tens of thousands, though he also belongs to the high endových spheres, it can be more or less tolerated without comment, with speakers for nearly two million he would not have noticed it - and so do not notice. Reconciliation of inverters is absolutely, absolutely perfect. This is how precisely balanced and seamless continuous sound, so to speak, "floor to ceiling" just to hear. The actual tweeter, it offers a truly beautiful presentation highest band - the height of "Jingle Bells" performed by Eugene Ruffolo ("Even Santa Gets the Blues" | FLAC | 24 - 88.2) were actually pretty clean and clear, but without a hint jingle and excessive dominance. Rendering and gossamer tones are perfectly accurate, rapid and sound reverberation long and very relaxed, so at first not realize how long it will keep the belt air before it dissolved in hinterlands tones. Everything runs smoothly and very linear, no sudden loss of power or strength. Whatever extra you play as like loud Kawero! Classic neříznou, nezakřičí or simply put at altitudes not fall into unpleasantness. Cultivated musicality is definitely superior.

This is the strongest and most surprising in the recitation reasonably large Kaiser Acoustics Kawero! Classic is definitely the dynamics with which seizes the music - we had the opportunity to hear it ledasjaké speakers in this price class, even from the higher realms, but none so big cabinet have not been able to handle dynamic demands of classical music as much as it can Kawero! Classic. They are really enormously talented - loop in Haydn's "String Quartet in D major, Op. 76, no. 5 "(Engegardkvartetten | FLAC | 24-192 | 2L) are pretty relaxed, detailed and colorful phenomenally faithful. Captivating plasticity and specificity of tools, but also how the natural dynamics of emotionally limitless reserve and detachment can loudspeakers reproduce . Just feel that whether you do them, you start anything, can do this and that from the volume where your ears barely perceive, to those where it lacks a bit of bleeding from the drums. It does not matter, because Kawero! Classic play an increasingly anyway - just quietly or loudly, which is also very rare property. Strings are amazingly smooth and clean, we also received their separation and absolute sovereignty recitation.

The amount of information that Kawero! Classic translates into listening area is very compelling - from perfect, it basically is just sufficiently faithful recording. We were thrilled with how our speakers served the individual instruments and the entire soundstage in Elijah's "The vision of Games" ("The Windows" | FLAC | 24 - 88.2). Never mind the already mentioned fantastically compelling and natural separation of instruments and exactly hitting the size (he plays acoustic guitar, it's really guitar human scale, as her You hear concerts) fascinating is because the complexity and interconnectedness of all musical events, carrying out the air the recording space and revealing previously unheard detail - as if Kawero! Classic not transmit music from somewhere to help, but instead they took you and integrate you into the action in a recording space. The immediacy of their transparent and flawless highly detailed tone completely disarm you and you do not want than to listen. And listen. And listen. And listen. And as long as you listen to does not pay any physiological necessity, probably also to listen to you - it is amazingly simple and through to an incredible level of detail absolutely tireless. Kawero! Classic is because for some strange reason, surprisingly tolerant (at least in combination with electronics Trax), you'll enjoy the way to the top recordings, as well as the average....

But we succeeded - perhaps "The Diary of Jane" by Breaking Benjamin ("Best of" | FLAC | 16 - 44.1) proved to be very flat, dynamic significantly compressed recording. Therefore, do not I think we did not know before.Kawero! Classic but managed something unexpected - at the same time utterly without scruples to show that music goes basically nonstop fullest, but that even if it is not breathtaking musical experience, and here and there you are on the edge, handle these speakers a recording quite good "unravel" so that you perceive multiple overlapping guitars and I also understand what the singer is singing. On the other hand, a similar music is Kawero! Classic downright shame, though more moderate system probably will not deliver this song such urgency and even a touch of sophistication. It is really surprising how actually patronizing can be, without paying a price in the form of discolouration, distortion, or numb, zamženého recitation.

Kaiser Acoustic Kawero! Classic thanks indeed an honorable distinction can be transferred substantially perfectly genius loci of the recording space - ambient record in Rutter's "Nativity Carol" by the San Francisco Choral Artists from disk "Reference Recordings First Sampling" (FLAC | 16 - 44.1 | CD rip) is completely clear, bright, reflections choir in the nave are very specific and rich. Although very subtle and in the background, they are exceptionally easy to read despite intense singing choir members, which brings indeed very true and convincing experience. It is wonderfully pleasant to delve into precise, yet the Musical presentation, the experience is almost identical sitting on a bench in a real church, and it's damn high honors.

You might think that ribbon tweeter will undermine the persuasiveness of images and stereo sound stage their directional characteristics, but it seems RAAL can produce tapes without the vices. Accompany, if thorough, precise adjustment of the position of the tweeters (inward listening triangle actually directly "ears") appears in a very specific area. Continuous, with good localization (although it is also influenced by spacing enclosures and their location anywhere in the room) and a fantastic connection and a truly three-dimensional plasticity. "Misery" from Dave's True Story ("Unauthorized" | FLAC | 24-96 | HD Tracks) was amazing - the depth of space, layout tools and their excellent department. Along with a very precise vertical pozicováním vocals and instruments, you can enjoy almost a natural ability to browse your music. No, of course it's not holographically accurate record, but also in the reproduction space belongs Kawero! Classic lot up to the world top omnipolar and similar concepts (whether from the MBL, German Physiks Duevell or need to talk about those available in the country), which has an entrance just quite a few classic (or at least more classic) conceived the speaker. A lot of it probably also helped by a dipole concept, in which a substantial portion of the sound spread indirectly. Taxes for it but need to build Kawero! Classic least a meter from the wall in all directions - even more spatial impression harm.

Transparent impression of the reproduction helps a lot actually swift response to stimuli - even though they are Kawero! Classic fitted quite large converters that operate robustly, blurring, but also stops with unprecedented accuracy and speed - just because the sound is so clean and clear, but also because he can be a real emergency. "Waiting" by The Paperboys ("Closer to music vol. 3" | FLAC | 16 - 44.1 | Stockfish Records) dashes forward with energy properly thawed steam locomotive - emphasis drums, metallic sparkle guitar strings but also a whistle carry the music forward , timing is fantastically accurate, yet everything works wonderfully relaxed, non-violently, as if all this was the easiest thing in the world - just behind this confidence you are giving your money.

Needless to say neither the Kaiser Acoustics Kawero! Classic colors are also absolutely true - as with anything else, even in this exaggeration, does not add or detract, distort, do they conceal, but simply recite. Colors piano and cymbals on "He never Mentioned Love" from the same plate Claire Martin (FLAC | 24-96 | Linn) are absolutely perfect. Without exaggeration. Also, the strength of tones is top notch, the authority of the individual keys on the piano is really realistic. Actually, It is very captivating and if just a little to release the music take you totally give, you can not look away and just to do something else, because again and again, attention should go back to the music. Fascinating is also how easily you know, at that cymbal (although they are quite similar in size) just falls Bubeníková whisk. Even subtle differences are presented with such certainty that they can not ignore.

Kaiser Acoustics Kawero! Classic are exceptional. Its concept, its technology, its price. Technique actually turn not so much - it is "only" top-conceived and matching components, where does not matter the price tag. It is the know-how of how everything aligned, but it is not an alternative, volatile or unusual technology - everything was already there, at the Kaiser Acoustics It simply did precisely and accurately, and it shows. Unique is definitely a concept - from Kawero! Classic will get a very natural size sound, exaggerating, or detract from, the only clinically accurate and true as a photograph. Compared to typical analytical approach, however, also offers up an unexpected serving musicality and tolerance, so you can imagine the possibility of easily these speakers use in everyday domestic traffic, where the wife wants to turn on the radio or you intend evening embark need television, therefore no audiophile source. There, according to us will not be reading Kawero! Classic not vulgar . It simply can not. But he can be amazingly detailed and rigorous and dynamic as any speaker, regardless of the price range - all in a package then amazingly compact and phenomenally processed. Individualization options, ranging from elections woofer for a specific use in a specific area, to the choice of design and customize any interior (it does not matter if they Kawero! Classic unobtrusively integrated into its surroundings, or vytrčíte into space as elegant objects). These are simply speakers from people who want to listen to perfectly without any limitations, including financial ones. And if Kaiser Acoustics Kawero! Classic indulge in sufficiently good assembly (not difficult to choose from - just give them the best that you can afford) reward you with one of the most natural recitations that money can buy.
...........  Daniel Brezina