It’s obvious that I have to follow up with the lack of spatial depth, preferably with an LSC recorded with only a few microphones. In keeping with the celebration of the Offenbach jubilee, I once again pull one of my first reissues off the shelf and place Gaîté Parisienne with the Boston Pops under Arthur Fiedler onto the platter of my Avance. Already the first few tones reveal that the recording of the Pablo reissue has to be blamed for the lack of three-dimensionality. The LSC lets easily forget the position of the speakers: A large and deep sound stage opens up in front of the listener. The sound fascinates with a wealth of power and colourfulness. This good I've only witnessed my records in the living room once before: That happened when testing the Aurorasound Vida – starting at a price tag of a respectable 4,000 euros.

Keith Jarrett's "God Bless The Child" carries me away with its drive, in the opening sequence you can hear exactly the use of the dampers, while the double bass and the bass drum come with power and yet contoured, forming the ideal counterpart to snare and hi-hat, which sometimes might turn out a bit too brilliant in minimally bright sounding configurations: In this regard the Lyra and the Keces make a perfect team by simply avoiding it. Very nice. Finally, I listen to a record that seemed indispensable to me in the 80's in almost all – private – tests: Chuck Mangione’s Children Of Sanchez. It’s quite surprising how coherent and free of any gimmickry the vocals now sound through this system. The kettledrums and the brass figures haven’t lost anything of their drama. The Sphono is a great way to reminisce as well: It reveals new details without even affecting the emotional impact of the composition. With Keces’ S-class it's tremendous fun to be taken on the one or other nostalgic discovery trip!