Below the gold-plated speaker terminals provenient from specialist WBT, located in the German city of Essen, the integrated power amplifier section can be directly adressed. Next to it, as a counterpart, a pre-amplifier output is to be found. Electrically, this input terminal is on par with the other high-level inputs. Compared to the numerous RCA sockets, the two additional balanced XLR sockets rather stick out visually. My query to the extremely friendly team at Struss Audio, whether this type of contact is preferred, was answered in an undogmatical way: "That depends on the whole set-up. It’s not clear from the outset what will work out better in the end". Whilst not wishing to anticipate what comes later on, I must say that within the environment of the test system this type of input convinced with a somewhat more catchy, more stable performance. However, a headphone output isn’t to be found here at all. But, according to the Polish headquarters, an independent customized solution to feed any type of head-fitting transducers is going to be launched in the course of the year.

On the contrary, there is a remote control and it shows up as a real eye-catcher. It’s round and rests rock-solid on any surface due to its own weight, while accommodating exactly two single keys: Volume up and volume down. That appears to be stingy, but is part of the sound-optimised concept. Within the Ultimate, Struss Audio completely dispenses with any amplification in the pre-amplifier section. Incoming high level signals are thus treated solely in a passive manner. This significantly reduces the number of potentially sound-impairing components in the signal path. And so the Spartanic furnished remote control fits well into the overall picture as well.

Since features like source switching via remote control are not offered, the corresponding circuits on the board layout are obsolete. It’s conceptionally not very surprising that there is no balance control or the possibility to equalize the sound. The overall minimalism is reflected in a nice looking, clearly structured front panel. The visually dominant volume control, which operates with excellent channel synchronisation, uses a red LED to indicate the adjusted level. The engine bay presents itself accordingly tidy and cleaned up. The distances are short and the meticulously built discrete phono section is located sufficiently far away from the two transformers, which themselves are positioned directly adjacent to the power amplifier channels.