The fact that an audio system co-developed by Volker Bohlmeier surely doesn't cause any—rhythmically speaking—headache, I presuppose. This very much is confirmed by Muddy Waters' "Good Morning Little School Girl," taken from the Discovery Sound reissue of Folk Singer, and which the Einstein owner also had a hand in producing. Although the cautious remastering did not prevent Willie Dixons' somewhat suboptimally recorded bass to be still lacking a bit of control, thanks to The Pure it now is sounding with more colour and supporting the irresistible groove of the tune. How the mid-range driver translates the dynamics of the voice and the two guitars leads to mere pleasure. But the chain does not only perform the blues brilliantly: Keith Jarrett's "God Bless The Child" also makes sure that the drive of the trio doesn't leave the listener unmoved:  It is simply impossible for the listener to remain impassively seated in light of this rhythm, while Gary Peacock's expressive bass lines then put the icing on the cake.

After that I picked the "Polka" from the Classic Records reissue of the RCA classic The Age Of Gold, where my attention should actually lay on the spatial imaging. Right from the start, however, I am fascinated by the lighthearted vibrancy and rousing rhythm. The colourfulness of the creaking oboe and the airiness of the recording room do not surprise as well:  They simply meet the high-level expectations, which originate on the previous experiences with The Pure. However, the imaginary stage is not quite as deep as with the LumenWhite or the Kawero!. With these the percussive metal instruments shimmer even a bit more colourfully. The Pure certainly would behave the same way, if the frequency roll-off of the mid-range driver was minimally smoothed with a few crossover components in its upper range, but not without depriving the loudspeaker from its exhilarating liveliness and its distinct live character. And that, in fact, would be unforgivable.

Instead of executing further audiophile nit-picking, I rather prefer to dive into the low-frequency pressure of Jonas Hellborg's Elegant Punk. When a loudspeaker matches all hi-fi criteria with a clearly balanced and harmonious sonic performance at the highest level, while its rhythmic abilities, its tonal colours in the low-frequencies, and its enthusiasm still appear to be a bit more pronounced than the other virtues, then there is probably no record that extracts a higher benefit from that than the solo album of this exceptional Swedish bassist. Any further description of what was heard would lead to unrestrained effusiveness. So, enough is enough.