So much fuss for 20 additional hertz? Yes, and again yes! With this moderate setting, no one should expect more pressure in the low frequency range. The Goebel seems not to lack that. And the last few hertz are not produced by almost any instrument, yet they provide for a more extended spatial illusion. It now seems more natural and self-evident. It seems to me that this can be explained halfway conclusively with this popular example: Even blindfolded, one immediately has an impression of the size of a room one is entering. When one enters a church, the size of the room is revealed by the minimally resonating enormous volume of air stimulated, for example, by the closing of a door. It makes no difference whether we perceive the vibrations with our body or with our hearing. This cannot be countered with the argument that in a listening room with moderate dimensions, the long wave corresponding to a very low frequency cannot build up completely. We also react to the pressure changes - - even at a barely perceptible level.

Much more difficult for me to explain are the acoustic effects that the minimal downward extension of the frequency response causes in other frequency ranges: transients seem even more realistic, the imaging of instruments and voices appears clearer and more precisely delineated. In addition, thanks to the two Velodynes, the overall sound image seems more cohesive, a touch smoother and more natural to me - a term I am reluctant to use in sound descriptions. But here I simply can't get around it.

So far, I have always used both Velodynes, one per stereo channel. Now that I'm slowy realising that I don’t want to do without subwoofers in the future, the question naturally arises whether it’s really necessary to invest in two - especially since my room isn’t exactly the largest. So, I connect the XLR cable, which was previously connected to the left DD+ 10, to the right and increase the level there. Even a single Velodyne provides a more intense musical experience than the Aeon Fine alone. Nevertheless, there is no doubt that two subwoofers provide an even more credible spatially representation - even if, according to all theory, the frequencies emitted by the two subs should no longer be locatable. Is this due to the more even excitation of the room? Never mind, let's continue with two DD+ 10s.

Initially, I had only heard files from Melco or Qobuz over the system playing with even greater excitement with the Velodynes. With additional very low-frequency bass energy in the listening room, there is the danger that a not ideally tuned tonearm / cartridge combination could lead to feedback. I then very carefully tried the Thiele TA01 in conjunction with a Lyra Etna. In doing so, I didn't even start with very low levels. I took the precaution of placing my thumb on the mute button of the remote of theAudio Exclusive R7. This would have been an easy way to prevent an acoustic disaster by quickly muting the preamp. But my concerns proved unfounded. The placement of the LaGrange on the Artesania audio rack and the arm/system combination proved immune to low-frequency excitation. Gradually, I could begin to enjoy the gain in room size, clarity and intensity of impulses thanks to the Velodynes, even during record playback. However, the remote control was still within reach.