During the burn-in time the mid-woofer already made a good impression with its speed and openness. Even if I would rather avoid seeing a mutual dependency between sonic impressions and design features, the lack of any crossover components in front of the mid-woofer can be considered as a reason for the equally detailed and airy reproduction. Yet with all the openness on hand, the sound does not free itself from the cabinets as I have experienced it with other speakers, especially with the Kawero! And that's why I'm starting to change The Pure's positioning in the room a bit:  Also for the Trenner & Friedl Isis, which for today's taste features a quite wide baffle as well. The usual speaker position in my listening room hadn't proved to be the ideal one. So I pulled The Pure a little bit further apart from each other, angle them only slightly in to my listening position, and even pushed them a few centimeters further from the back wall of the room. Suddenly the position of the speakers is hardly to be located anymore, the initially quite flat seeming sound stage significantly yielded much improved depth, and the sonic portrayal appears to be a lot more three-dimensional. Positively speaking, only one thing didn't change:  the tremendous enthusiasm and spontaneity of The Pure.

From that point onwards, Einstein's speaker system plays the way I would expect a first-class loudspeaker to perform in my listening room—and, it's about time to play some of my well-known records. Surprisingly, one of my test records finds its way onto the platter, which I have been listening to for far too many times—at least I thought of it that way—and which first of all leaves a lasting impression. That would be the "Buck Dance" of Dick Schory's Bang, Baa-Room And Harp, which I thought I knew by heart. But I have never been able to experience those simple bass lines in my listening room this colourful and melodious. Even with AudioMachina's Maestro GSE, I hadn't become aware of this particular skill before. But, please don't ask me why. However, it clearly turns out that the low-frequency rendering abilities of The Pure is somewhat a revelation for someone who—like myself—has a particular predilection for deep notes:  Here, the bass range of the corresponding records appears not only vigorous and vital, but also enchants with melody and colour—and this, as already noted, does not deprive the low frequencies from their fundamental energy at all.

Jeremy Steig and Eddie Gomez' Music for Flute and Double Bass may be one of my long-time favourite records, but it has been quite unsuitable and therefore much too good for testing purposes. And, there are not only the two instruments mentioned in the album title to be heard, but, due to studio technologies, several of them at the same time. Adding to this are such effects as Octave Divider, Ring Modulator, Mutron III or Echoplex that join the scene. Combined with a placement of the instruments in the stereo-panorama that, speaking in a friendly way, needs some getting used to, it emerges as a peculiarly floating, not very much comprehensive, and gripping sonic image, which I easily can let aside because of the wonderful music. The Einstein chain, of course, hasn't got the ability to assign the instruments any other place, but lets them perform in an earthed and substantial manner. The effects no longer seem to be a mere self-purpose, but is now shown to be better integrated into the musical message. The record no longer sounds artificial, just a touch more lively and genuine. How nice it is, and that even after 30 years, to discover new facets on one of those LPs you would take to the famous lonesome island!